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    Danielle Brustman designs Harbour Early Learning facility to “inspire delight and joy”

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    Bold colours and graphic elements that represent the sea and sky add personality and context to the interiors of this Sydney children’s centre by Australian designer Danielle Brustman.

    Brustman was responsible for the interior package of the Harbour Early Learning educational facility, which is situated in the city’s Vaucluse suburb and aims to connect children with educators, nature and the broader community.
    The brief for the project called for a high-quality facility arranged over three levels with a focus on design integrity and the well-being of both the children and staff.
    Danielle Brustman has designed the interiors of Sydney’s Harbour Early Learning facilityBrustman employed oversized graphic elements throughout the spaces to help stimulate the imaginations of the children and create thematic experiences that respond to the building’s harbourside setting.
    “I wanted the design to inspire delight and joy for the people occupying the spaces,” the designer told Dezeen.

    “I also wanted to create a healthy space using environmentally sustainable and quality materials that would stand the test of time and toddlers!”
    The educational children’s centre responds to the building’s harbourside settingBrustman worked closely with architects SJB and Supercontext, as well as with landscape designer Fiona Robbe and signage experts Citizen to deliver a range of bespoke indoor and outdoor play and learning spaces that reflect the client’s educational philosophy.
    The building’s external and internal spaces were designed to reference the surrounding nature, with large openings framing views of the neighbouring mature fig trees.
    The interior was heavily influenced by the building’s seaside context, with each room given a specific theme including the Sky room, Sunset room, Rainbow room, Under the Sea room and Boat room.
    Oversized graphic elements and large openings frame neighbouring mature fig treesThe themes lend the rooms a unique character whilst reinforcing the thoughtful layout of spaces, with water-based elements on the ground floor and sky references on the upper floor.
    Graphic details were used throughout the interior to complement architectural features, including the arched windows and circular skylights.

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    Marmoleum flooring and carpet inlaid with geometric shapes also feature alongside bespoke murals depicting simplified elements like waves and clouds.
    The raw materials and neutral tones used for the exterior give way to more vibrant hues inside the building.
    Murals, marmoleum flooring and carpet inlaid with geometric shapes depict seaside waves and cloudsBrustman selected colours that she said have “a slightly muddied feel to them” to maintain consistency and a connection to nature.
    “It was important that the colour and materials palette was unique in each room but there was also a cohesive thread throughout,” she added. “The palette was designed to be enjoyed by both children and teaching teams.”
    Materials that appear on the building’s exterior, such as raw concrete and pale wood, recur in the reception area where they contrast with colourful elements that help with wayfinding and circulation.
    Primary colours, including a vibrant blue staircase, inform a palette enjoyable to children and teaching teamsThe primary hues in this space reference the work of Dutch abstract painter Piet Mondrian, while the blue staircase in particular evokes the colours of Sydney Harbour.
    Wherever possible, Brustman chose furniture that was designed and made in Australia, focusing on pieces that are robust enough to handle being used by children.
    Many of the furnishings have a graphic quality to them, including the Love benches by designer Daniel Emma, the stacked-cone pendant light by designer Edward Linacre and the Big Friendly sofa designed by CJ Anderson for Dowel Jones.
    Graphic furnishings are featured throughout the interior design, including the Love benches by Daniel EmmaBrustman is based in Melbourne and specialises in residential interior design and commercial design for the education, hospitality and retail sectors.
    The designer’s previous projects include a children’s centre in Melbourne featuring similar graphic elements in various pastel hues and a hair salon decorated using the client’s signature yellow colour.
    The photography is courtesy of Harbour Early Learning.

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      Linehouse defines Shanghai office with “unexpected combinations of materials”

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      Interior design studio Linehouse has renovated an office in Shanghai using numerous materials and art from a local gallery.

      Linehouse refurbished the ground floor of a three-storey building in Shanghai that The Independents global marketing group have occupied in Shanghai for numerous years.
      The office is located in a three-storey building in ShanghaiThe 374-square-metre space was designed as a communal area for the staff working on the floors above.
      It includes a reception area, meeting rooms, pantry and communal eating space as well as a flexible deskspace for twenty people.
      Metal curtains are used to blur the boundary between different functional spacesAdditionally, an art installation area has been integrated, taking advantage of the high lofty ceiling of the space, which will be used for monthly rotational curation.

      Linehouse aimed to create a destination by presenting art from a local gallery, which will be rotated monthly, in the space. Combined with numerous materials and abstract furniture pieces, the studio forms what the studio called an “unexpected collection”.
      The entrance features a circular seating installation wrapped in metal curtain”The support of the client to design an office that pairs unexpected combinations of materials was refreshing and a challenge,” said Linehouse.
      “The result is a space that allows art to breathe and creates a welcoming, natural and open place of work.”
      The workstations are located in a sunken seating areaThe spaces are each defined by different materials. Marine plywood was used for the wall of the reception and pantry area, separating them from the meetings rooms. The same plywood was used for to the workstations located in a sunken seating area.
      A circular seating area was wrapped in a metal curtain, with five-meter-high curtains used to divide other spaces.

      Linehouse transforms Shanghai swimming pool into office space

      A customised table, made from different shaped pieces of marble and laminates, is used for meetings and dining.
      Other tables in the meeting room features unique surfaces — one being a patchwork of timber textures and the other a gradient of glass transparency, from solid black to transparent.
      “The design challenges the traditional notion of an office to promote a healthier and creative mindset to collaboration and communication, with emphasis on openness and autonomy for how staff use and occupy the spaces,” Linehouse concluded.
      Marine plywood is used on the walls of the pantryLinehouse is a Hong Kong and Shanghai-based architecture and interior design studio established in 2013 by Alex Mok and Briar Hickling.
      The duo won the emerging interior designer of the year category at the 2019 Dezeen Awards.
      Meeting rooms feature custom made tablesThe studio has also recently designed a greenhouse-informed food market in Shanghai and the facade of a shopping centre in Bangkok.
      The photography is by Dirk Weiblen.

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      Max Radford Gallery opens London showroom to get people “in front of real objects”

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      Max Radford Gallery has opened a permanent space in east London that shows collectible designs from its past shows, including pieces by Carsten in der Elst and Amelia Stevens.

      Located in Hackney Downs, the showroom displays works that the gallery first showed at Belgium’s Collectible design fair, as well as pieces from earlier exhibitions.
      The showroom is located in east LondonBy combining works from different stages of its designers’ careers, the gallery aims to showcase how the artists it works with have developed over the years.
      “It’s a privilege to be able to track a designer’s development and change in their practice across a few pieces in the same space,” founder Max Radford told Dezeen.
      It features pieces by 15 designersThe gallery, which launched in 2020 during the Covid-19 pandemic, focuses on emerging artists. By opening a physical space, it hopes to also help them reach a bigger audience.

      “The Max Radford Gallery seeks to platform emerging creatives who are working in the grayscale between art and design with a London-centric focus,” Radford said.
      “This has always been the particular area that the gallery has been engaged with and stems from a need for physical spaces to see these types of works in London, rather than just on social media – as the only option was when the gallery was beginning.”
      Collectible furniture designs are on display at the galleryAmong the artists showing in the space are In der Elst, whom the gallery had previously included in its Hard Knocks show, and Stevens, who took part in Max Radford Gallery’s exhibition at the Aram Gallery.
      The new space also showcases furniture and accessories by designers Georgia Merritt, Fred Thompson, Grace Prince, Nic Sanderson, Inga Tilda, Eddie Olin, EJR Barnes, Ty Locke, LS Gomma, Natalia Tifantilyi, Andrew Pierce Scott, Louie Isaaman-Jones and Matthew Verdon.

      Aram and Max Radford Gallery showcase emerging designers in Now 4 Then exhibition

      Max Radford Gallery is now located in a minimalist studio, which its founder intends to keep as a paired-back space.
      “The showroom is a beautiful white-painted studio space with just over half of the floor plan having triple height up to skylights, producing beautiful changing light across the day,” Radford said.
      “We haven’t made any architectural changes to the space and are not sure that we will, potentially with the exception of some sort of temporary mezzanine in the triple height space for an exhibition-specific installation,” he added.
      Max Radford Gallery focuses on emerging designersBy opening a permanent gallery, Radford wants to support London’s community of emerging designers.
      “It’s for the community aspect that is introduced by the communal use of creative space; there is a burgeoning community of designers and artists in London with lots of crossovers through universities and workshops that support and raise up its members,” he said.
      “Facilitating a space for communities like this to express and interact seems like a key aspect to supporting what is going on here in London currently,” he added.
      The showroom features pieces from previous exhibitionsHe also hopes that the physical aspect of the space will encourage people to see design pieces in person.
      “It’s as simple as getting people in front of real objects, not just heavily retouched or rendered images of them,” Radford concluded.
      The photography is by Richard Round Turner.

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      Eight gallery-like living rooms with sculptural furniture pieces

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      For our latest lookbook, we’ve collected living rooms that feature sculptural furniture in homes from São Paulo to London.

      An undulating sofa, a lamp made from towering columns and a wiggly chair are among the sculptural furniture pieces in this lookbook, which showcases how they can be used to add more interest to living rooms.
      In pared-back interiors, these furniture designs can add a playful touch and make the rooms feel more special, while also giving them a gallery-like feel.
      This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration, see previous lookbooks featuring rooms dominated by dark-wood furniture, well-designed hallways and contemporary green bathrooms.
      Photo by Fran ParenteGale Apartment, Brazil, by Memola Estudio

      Local firm Memola Estudio renovated this São Paulo apartment with a combined living-and-dining area containing furniture in earthy hues.
      Among the sculptural pieces used are a low, pill-shaped coffee table with a decorative indentation and cosy, velvet-clad lounge chairs.
      Find out more about Gale Apartment ›
      Photo by François CoquerelHaussmann apartment, France, by Hauvette & Madani
      The interior of this Parisian apartment in a Haussmann building (above and main photo) was created by design studio Hauvette & Madani to have a gallery-like feel, inspired by the owner’s art collection.
      In the living room, two slow-slung curved sofas add a sculptural touch and are complemented by round chairs and tables.
      Find out more about Haussmann apartment ›
      Photo by by Genevieve LutkinLondon townhouse, UK, by Tabitha Isobel
      A stylish metal chair with a graphic fabric adds design interest to the living room of this London townhouse, where it matches a mushroom-shaped steel lamp.
      A textured painting in earthy tones hangs above the home’s marble green fireplace, while small sculptures add to the decorative atmosphere.
      Find out more about London townhouse ›
      Photo by by Denilson MachadoDN Apartment, Brazil, by BC Arquitetos
      The living room of this 230-square-metre apartment has a Petala table by designer Jorge Zalszupin that functions as a sculptural centrepiece.
      A velvet sofa and chairs with polished wooden globes are among the other sculptural furniture pieces on show in the apartment, which was designed for a landscape architect.
      Find out more about London townhouse ›
      Photo by by José HeviaCasamontesa, Spain, by Lucas y Hernández Gil
      Spanish studio Lucas y Hernández Gil drew on 1970s aesthetics for the interior of this Madrid bungalow.
      In the living room, a sculptural wavy stool, an arched fireplace and a round tadelakt coffee table add a fun touch.
      Find out more about Casamontesa ›
      Photo by by Jake CurtisChancery House, UK, by Norm Architects
      The only non-residential building on this list, the Chancery House workspace in London has a number of living-room-like spaces for relaxation.
      In one, design studio Norm Architects added floor-to-ceiling wooden screens to create a sheltered space, where soft, monolithic armchairs are contrasted against a low, geometric wooden table.
      Find out more about Chancery House ›
      Photo by Margarita NikitakiEsperinos, Greece, by Stamos Michael
      Numerous geometric shaped pieces by designer Stamos Michael fill the living room of this Greek guesthouse, including a lamp made from two towering, rust-brown columns of powder-coated steel.
      Also featured is a sculptural chair by Michael that features a metal pole running through its backrest and a brown-leather edition of designer Konstantin Grcic’s Traffic lounge chair.
      Find out more about Esperinos ›
      Photo by Helen CathcartThe Maker’s Barn, UK, by Hutch Design
      A concrete pig farm outside London was turned into a rural retreat by architecture studio Hutch Design, which decorated it with bespoke fittings and handmade furniture.
      The sculptural furniture in the living room include a metal table with triangle-shaped legs and a wiggly lamp.
      Find out more about The Maker’s Barn ›
      This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration, see previous lookbooks featuring rooms dominated by dark-wood furniture, well-designed hallways and contemporary green bathrooms.

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      Objective Studies drops first equitable design collection with A Calm Place exhibition

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      A tranquil exhibition during 3 Days of Design showcased the launch collection for Objective Studies, a digital platform that shares its profits with designers and makers.

      A Calm Place featured furniture and homeware from 10 designers and studios, all now being marketed and sold directly from Objective Studies.
      Objective Studies launched with an exhibition at RefugioThe objects were presented in a scenography inspired by Korshagehus, a thatched, modernist summerhouse in Odsherred, Denmark, built by architect Erik Korshagen in 1960.
      The exhibition was staged at Refugio, a co-working studio in Copenhagen’s Østerbro neighbourhood.
      The inaugural collection includes furniture pieces by Mario Martinez and Ted SynnottDesigner Matteo Fogale and e-commerce expert Lijana Norkaityte co-founded Objective Studies with a vision to bring greater equity to the design industry.

      “We are building a business model where we will share equal profits with designers and makers,” they told Dezeen.
      “We joined the industry with the belief that we can put designers and makers at the forefront, and shed light on the quality and hours needed to create unique objects that will stand the test of time.”
      Exhibition curators Sébastien El Idrissi and Sara De Campos also contributed piecesObjective Studies will launch products in limited editions, with product drops rather than seasonal collections.
      “Drops will appear when we have something valuable to show, not simply for the sake of launching or to keep adding items to an infinite collection,” said the founders.

      NoDe exhibition presents 28 emerging designers from the Nordics

      “We want to discourage unnecessary production, keeping quantities limited and made-to-order to encourage conscious consumption.”
      The first drop of 20 objects includes the pine-wood Korshage bench by Spanish designer Sina Sohrab, the Unité daybed by CPRV and the characterful Salas chair by Copenhagen-based Mario Martinez.
      Juhl & Lange designed the woven baskets, while the Korshage bench is by Sina SohrabAmong the lighting works is Arète, a vertical pendant made from sailcloth designed by Asca Studio, while pieces by New Zealand-based Ted Synnott include the aluminium Terra stool.
      Accessories also feature, with woven baskets and dustpan and brush sets by Danish studio Juhl & Lange.
      Sébastien El Idrissi designed the Stack plantersThe exhibition was curated by designers Sara De Campos and Sébastien El Idrissi with the aim of promoting slow living, inspired by Danish culture and in line with the ethos behind Objective Studies.
      The curators also have works in the collection; designs by De Campos include a hand-woven wool rug and an aluminium tray, while El Idrissi’s pieces include the Claro salt and pepper grinders.
      Juhl & Lange’s works also include dustpan and brush setsFogale and Norkaityte hope the launch of Objective Studies will bring greater transparency to the process and costs involved in designing and producing furniture, and how profit is distributed.
      “We want to challenge how design and craft products are marketed, and how designers are compensated for their work,” the pair said.
      “We want people to know why certain items cost what they do,” they continued.
      The scenography took cues from modernist summerhouse Korshagehus”We are well aware that not everyone can purchase a piece of furniture for over €1,000 but we hope we can expose the value that comes with each design object, from the materials chosen to the hours that it took to make them.”
      “We live with these objects, we use them every day and if we choose well, we can pass them on to generations to come.”
      A Calm Place was on show at Refugio in Copenhagen from 12 to 14 June as part of 3 Days of Design. See Dezeen Events Guide for more architecture and design events around the world.
      The photography is by the curators.

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      Natural Material Studio crafts entire home interior from bioplastic

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      As part of 3 Days of Design, Danish practice Natural Material Studio has created a futuristic fossil-free home interior where all the elements, from the curtains to the sofa, are made from the same bioplastic.

      White Utopia is Natural Material Studio’s most ambitious installation to date, adapting the studio’s Procel bioplastic to form massive functioning furniture pieces across three separate rooms – a dining room, a lounge and a bedroom with a walk-in wardrobe.
      The White Utopia installation includes a lounge (top image) and dining room (above)The exhibition envisions a future where our homes are made entirely using biomaterials like this, which can be endlessly remade into new products and backyard composted at the end of their life, rather than ending up in landfill.
      “The installation has for sure been the most challenging to date due to the complexity in scale and the three-dimensionality of the whole ‘house’,” studio founder Bonnie Hvillum told Dezeen. “You can really start to see how we can live with these new materials.”
      Every element down to the lampshades is made from Procel bioplasticNatural Material Studio initially developed Procel as a flexible biotextile, used to form everything from clothes to curtains. But recently, the studio started experimenting with adapting its recipe to create whole load-bearing furniture pieces.

      The core ingredient is a specific – although nondisclosed – natural protein, which Hvillum says can be derived from either plants or animals.
      Among the larger pieces is a monobloc biofoam sofa”It’s very much used in the medical industry, also in bookbinding,” said the designer, who sources her protein from different suppliers across Europe.
      “It’s used in many different places,” she added. “But when I called them and said ‘can you figure out a way of supplying this to me’, they were like ‘okay, we’ve never had this question before’.”
      The installation also features a bedroom with a walk-in wardrobeTo create Procel, this natural protein is mixed with a small amount of chalk for strength and a natural softener made from plant oils for flexibility.
      Combined in different rations and cast into different moulds, this mixture was used to create not just the textile room dividers found in White Utopia but an entire bio-foam sofa for the living room, stools for the dining area and a giant platform bed that visitors were encouraged to sit on.

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      By taking out the softener, Natural Material Studio was also able to create more rigid pieces, including a dining table that was originally cast as a simple rectangle but deformed into a more organic shape as it dried.
      “The presented design objects are really pushing the possibilities of these materials,” Hvillum said. “Opening the door to making them structural is a completely new route for us.”
      “I think it holds so much potential, creating materials that resemble polystyrene and vacuum-formed plastics.”
      Visitors were encouraged to sit on the bioplastic bedFurnituremakers including Isomi and Natuzzi have already started experimenting with using natural latex as an alternative to traditional polyurethane upholstery foam, as the plastic is hard to recycle and contains toxic chemicals.
      Hvillum argues that Procel could offer another promising alternative, as it can be endlessly recast to form new products or simply buried outside in the garden, where it will degrade within a month.
      “We are basically investigating fluidity,” Hvillum said. “So everything is in motion and things can move on to have another life. ”
      “This is how we envision the future to be.”
      Procel biotextiles were also used to form wall coveringsProcel has already made it out into the real world with clients including Calvin Klein and Copenhagen restaurant ÅBEN.
      A collaboration with a Spanish luxury fashion house is also in the works, despite the brand being weary of using animal-derived protein.
      However, Hvillum argues that animal polymers can actually be more sustainable than their vegan counterpart because they are made from waste residues from the meat industry.
      The dining table deformed as it dried”When we work with animal-based materials, we can actually tap into a waste flow so we work with second-generation materials,” she explained. “Whereas when we work with plant materials, we work with virgin materials.”
      “Sustainability is a lot more complex than just: is it animal or is it vegan,” she added. “It’s more about: what sources can we reuse from so that we keep things in a circular loop.”
      The photography is by Peter Vinther.
      White Utopia was part of 3 Days of Design, which took place at venues across Copenhagen from 12 to 14 June. See Dezeen Events Guide for more architecture and design events around the world.

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      Signe Hytte designs home of a poet for Enter the Salon show

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      Danish designer Signe Hytte had Oscar Wilde in mind when designing this home for a fictional poet, presented during 3 Days of Design in Copenhagen.

      Enter the Salon was an exhibition of furniture and homeware products from seven different brands, styled to feel more like a lived-in interior than a show space.
      Enter the Salon took cues from the salons of the 19th centuryThe project was initiated by The Conary, a private members’ club for senior executives with C-suite roles. The club gave Hytte free rein to transform its rooms during the design festival.
      Hytte, who was previously head of design for &Tradition, decided to create a modern reinterpretation of the 19th-century salon, a place where artists, musicians, writers and thinkers would come together to share ideas.
      Rooms featured furniture and objects from seven different brands”I wanted to create a narrative,” Hytte told Dezeen during the tour.

      She said she aimed to create an interior that didn’t feel branded, so guests could imagine real-life scenes unfolding. This led her to think about the house being home to a poet.
      “My vision was to do away with the classic fair stand and tell a story instead, one where every guest can explore multiple layers and find their own to be inspired by,” she said.
      Rooms include a study designed for a writerThe exhibition spread across two floors, with furniture by Japanese brand Karimoku Case, lighting by Japanese company Ambientec and beds from Sweden-based Carpe Diem Beds.
      Portuguese homeware brand Origin Made, American design office Ladies & Gentlemen Studio, Danish textile company Silkeborg Uldspinderi and Danish box-making company August Sandgren completed the line-up.
      Wall tapestries from Ladies & Gentlemen Studio hung in various roomsThe most striking space is the study, where shelves filled with assorted objects provide a backdrop to a bureau.
      This desk was also laden with objects, including piles of paper, a leather pencil pot and bound letters, while a large paper pendant lamp hung overhead.
      “I wanted to push the brands out of their comfort zone,” said Hytte. “You can imagine this as the study of a writer.”
      A bag sits next to a sofa in the ground-floor reception roomUpon arriving, the first room visitors encountered was a large reception space that flowed into a dining area.
      The mood here was defined by a Japanese-style skylight, which created a soft-lit atmosphere.

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      Upstairs, the study formed part of a private suite including a small living room and a bedroom.
      The upper floor also included a double-height atrium that Hytte styled as a courtyard patio.
      A Japanese-style skylight offered a soft atmosphere in the dining roomThe colour and material palette was highly muted, with most objects and surfaces displaying shades of cream, brown, taupe and soft green, but each room had a distinct mood.
      Traces of life could be found throughout but were very subtle. A pair of glasses appeared to have been left in the first-floor sitting room, while a handbag sat next to one of the sofas in the ground-floor lounge.

      In the bedroom, details included a wall tapestry by Ladies & Gentlemen Studio resembling a hanging kimono.
      To enhance the salon feel, a soundtrack created a sense of someone playing the piano elsewhere in the house, while Oscar Wilde quotes can be found on some of the walls.
      Danish brand Kvadrat supplied textiles for curtains, bringing an element of softness. The effect is most pronounced in the atrium, where white curtains surround the entire space.
      An atrium became a courtyard patio for eventsThis space served as a venue for events throughout 3 Days of Design, including a drinks reception co-hosted by Dezeen and a panel discussion chaired by editorial director Max Fraser.
      Other installations at 3 Days of Design include an exhibition by furniture brand Federicia that shows adaptations of iconic mid-century furniture classics and sculptural wood furniture created by Faye Toogood in Danish design studio Frama.
      Enter the Salon took place from 12 to 14 June as part of 3 Days of Design. See Dezeen Events Guide for more architecture and design events around the world.
      The photography is by Sofie Staunsager and Jonas Bjerre-Poulsen.

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      Jens Quistgaard Around The Table celebrates legacy of “world-famous unknown Dane”

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      An exhibition during 3 Days of Design showcased the vast archive of Jens Quistgaard, who is one of Denmark’s most successful designers, despite being relatively unknown.

      Quistgaard, who passed away in 2008, was responsible for bringing Scandinavian design to homes across America.
      As chief designer for US-based homeware manufacturer and retailer Dansk Designs for three decades, he designed more than 4,000 objects, many distributed to hundreds of stores nationwide.
      Jens Quistgaard Around The Table showcased furniture and tableware by the late Danish designerQuistgaard’s name is nowhere near as well known as the products he designed, so his contribution to Danish design history is largely unrecognised.
      With Jens Quistgaard Around The Table, archive consultancy Form Portfolios hoped to promote a wider appreciation of this “world-famous unknown Dane”.

      The exhibition was on show at Form Portfolios’ Copenhagen office for 3 Days of Design.
      A dining table showcased many of the products Quistgaard developed for Dansk Designs”With his 30-year collaboration with Dansk, Quistgaard was the design genius behind the scenes of that seminal brand,” said Mark Masiello, CEO and founder of Form Portfolios.
      “He was more committed to bringing Scandinavian modern design into American homes than building his own design legacy,” he told Dezeen.
      Quistgaard’s series of sculptural peppermills was displayed on the wallQuistgaard was recruited in 1954 by Dansk Designs founders Martha and Ted Nierenberg, who were impressed by a cutlery set that the designer had previously developed.
      Many of the designs that Quistgaard produced for the brand were tableware and kitchenware, which is why Form Portfolios made a dining table the focal point of its exhibition.
      The designer developed more than 4,000 objects in his 30 years at Dansk DesignsThe table provided display space for dozens and dozens of Quistgaard-designed objects, including plates, cutlery, candleholders, glasses, cooking pots, jugs and more.
      Behind the table, rows of shelves accommodated a series of sculptural peppermills.

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      As the designs for which Quistgaard is most likely to be remembered, these turned-wood peppermills recall the shapes of familiar objects, from chess pieces to pieces of fruit.
      “The peppermill designs clearly show the love of sculpture that flows through Quistgaard’s work,” said Masiello.
      The exhibition was on show for 3 Days of Design”His daughter, Henriette Quistgaard, said he hoped the peppermills on their own could be the beginnings of great dinner conversations,” he stated.
      The exhibition also featured larger objects, including a handful of furniture designs. Masiello pointed to the Stokke Armchair (1965) and the Sculptors Chair (2004) as being particularly noteworthy.
      The Sculptors Chair was among the furniture works on display”I find his creative range so inspiring,” Masiello said. “Working with different materials and object types, he was always pushing his design practice to new frontiers.”
      “He is more well known for the kitchen objects, but he was always exploring other designs too, including chairs, stools and tables,” he continued.
      Many of the objects were sourced from Quistgaard’s former homeThe show was curated in collaboration with Stig Guldberg, author of the monograph Jens Quistgaard: The Sculpting Designer, which was published by Phaidon in 2023.
      Many of the exhibits were sourced from the home where the designer spent his final years, a farmhouse on the outskirts of Copenhagen where Henriette Quistgaard still lives today.
      Original sketches featured alongside the objects”My father was a visionary of design, bridging the old world of craftsmanship into the new world of manufacturing,” Henriette said.
      “It is thrilling to see the full body of his life’s work being shown.”
      Jens Quistgaard Around the Table was on show from 12 to 14 June as part of 3 Days of Design. See Dezeen Events Guide for more architecture and design events around the world.
      The photography is by Sofie Hvitved.

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      NoDe exhibition presents 28 emerging designers from the Nordics

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      Swirling metal lamps, stools made from old kitchen cabinets and a fur-covered desk were among objects on show at House of Nordic Design’s exhibition during 3 Days of Design in Copenhagen.

      Titled NoDe, short for Nordic Design, the exhibition featured furniture, homeware and sculpture created by 28 up-and-coming designers and makers from Denmark, Sweden, Norway and Finland.
      Sissel Warringa’s Peel Lamp rests atop Anton Mikkonen’s Silhouette tableThese works were dotted around the rooms of a century-old artist’s atelier, located in a loft apartment on Store Strandstræde that could only be accessed via a small old-fashioned lift.
      The show was curated by Natalia Sánchez, who founded House of Nordic Design in 2023 to provide both a sales platform and a business support network for designers at the start of their careers.
      At the entrance, a textile by Plain Weavers hangs over Lisa Darland’s Mylla rug”When you’re on your own in a studio, it’s very hard to do everything that’s needed to get out there, be part of the market and get attention in the magazines,” she explained.

      Some objects were positioned as you might expect to find them in a home, while others had more surprising settings.
      Upon entry, visitors were greeted by a ceiling-hung textile by Plain Weavers, which created an unusual juxtaposition with Lisa Darland’s textural rugs underneath.
      Works by Moa Markgren, Atelier Marée and Netta Kandelin on display in the kitchenIn the adjacent kitchen, bulging wooden vases by Moa Markgren and ceramics by Atelier Marée are among objects that can be found on the work surfaces.
      A bright green stool by Better Weather provided a focal point here. It was playfully displayed atop a fridge freezer in a nod to its materiality – the product is made from recycled cabinet doors.
      Better Weather’s Transformer stool stands atop the fridge freezerThe living room featured Studio Kasa Kasa’s fur-covered desk, plus another by Anton Mikkonen with sculpted metal trestles and a glass top.
      Other works in this room included Sissel Warringa’s swirling Peel Lamp, Carlberg Design’s bent wire chairs, marbled panelling by Snedker Studio and a granite table by Reeta Laine.
      Studio Kasa Kasa’s furry desk stands with Carlberg’s Design’s Skir chairThe final room was a bedroom where a wall of shelves provided display space for many more curiosities. The room also featured a daybed embellished with a patterned textile by A Seat in Siena, as well as Tobias Berg’s bent aluminium chair.
      The list of contributors was completed by Anne Nowak, Bellamoli Studio, Dain Kang, Gabi Humnicki, Kajsa Willner, Linda Weimann, Live Berg, MMH Objects, Netta Kandelin, Shunsuke Koya, Stine Mikkelsen, Studio My Comét, Studio Wes, Tale Berger Hølmebakk and Tessa Lulu Kaner.

      Kasper Kyster handcrafts “organic” plastic furniture

      Sánchez made the selection after receiving 140 responses to her open call. Many of the designers will continue to work with House of Nordic Design, as it is set to launch an online shop later this year.
      “NoDe is an exploration of what’s to come,” said Sánchez.
      Artworks by Linda Weimann hang above Reeta Laine’s Torner Side Table”It’s about giving a platform to young designers who are not only pushing the boundaries of design but are also deeply committed to exploring and experimenting with their chosen material,” she continued.
      “These designers are the voices of the future, and their work reflects the innovative spirit that is at the heart of Nordic design.”
      Bellamoli Studio’s Ratio tables sit beside A Seat in Siena’s Verona daybedNoDe is the second exhibition that House of Nordic Design has staged, after launching with a smaller show at last year’s 3 Days of Design.
      The project forms a continuation of Sánchez’s long-running support of emerging designers. She was previously the curator of DAWN, a regular 3 Days of Design show dedicated to young Danish designers.
      Visitors to this year’s 3 Days of Design could also explore reiusses of a number of classic chairs and a colourful collaboration between designer Faye Toogood and Danish brand Frama.
      NoDe was part of 3 Days of Design, which took place at venues across Copenhagen from 12 to 14 June. See Dezeen Events Guide for more architecture and design events around the world.

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