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      Space Projects creates Amsterdam store with thatched hut for Polspotten

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      A curvilinear thatched hut has been paired with terracotta-hued tiles at the Amsterdam store for homeware brand Polspotten, which was designed by local studio Space Projects.

      The studio created the store to straddle a shop and an office for Polspotten, a furniture and home accessories brand headquartered in the Dutch capital.
      Visitors enter the Polspotten store via an oversized triangular entrancewayCharacterised by bold angles and arches, the outlet features distinctive terracotta-coloured walls and flooring that nod to traditional pots, Space Projects founder Pepijn Smit told Dezeen.
      “The terracotta-inspired colours and materials refer to the brand’s first product, ‘potten’ – or pots,” said Smit, alluding to the first Spanish pots imported by Erik Pol when he founded Polspotten in the Netherlands in 1986.
      The interconnected spaces are delineated by cutoutsLocated in Amsterdam’s Jordaan neighbourhood, the store was arranged across a series of open-plan rooms, interconnected by individual geometric entryways.

      Visitors enter at a triangular opening, which was cut away from gridded timber shelving lined with multicoloured pots that mimic totemic artefacts in a gallery.
      A curvilinear thatched hut provides a meeting spaceThe next space features a similar layout, as well as a plump cream sofa with rounded modules and sculptural pots stacked in a striking tower formation.
      Travelling further through the store, molten-style candle holders and Polspotten furniture pieces were positioned next to chunky illuminated plinths, which exhibit amorphously shaped vases finished in various coral-like hues.

      Dana Arbib shows colourful glassware informed by root vegetables for New York exhibition

      Accessed through a rectilinear, terracotta-tiled opening, the final space features a bulbous indoor hut covered in thatch and fitted with a light pink opening.
      The hut provides a meeting space for colleagues, according to the studio founder.
      “The thatch, as a natural material, absorbs sound as well,” explained Smit.
      The store provides an art gallery-style space for homewareNext to the hut, Space Projects created an acoustic wall illustrated with “hieroglyphics” of Polspotten products, which references the gallery-like theme that runs throughout the outlet.
      “The store was inspired by Polspotten’s use of traditional techniques combined with a collage of their reinterpreted archetypes,” said Smit.
      It is also used as an office spaceElsewhere in Amsterdam, Dutch practice Studio RAP used 3D printing and algorithmic design to create a “wave-like” facade for a boutique store while interior designer Linda Bergroth created the interiors for the city’s Cover Story paint shop to streamline the redecorating process for customers.
      The photography is by Kasia Gatkowska.

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      Video reveals Michael Hsu’s organic approach to interiors of Austin high-rise

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      Texas studio Michael Hsu Office of Architecture has designed the common areas for a 50-storey residential high-rise building in Austin, as shown in this exclusive video captured by Dezeen.

      Called 44 East, the building is located east of downtown Austin in the Rainey Street Historic district. The firm designed the interiors of the building’s common areas, which take cues from its natural surroundings, particularly the neighbouring Colorado River.

      Michael Hsu Office of Architecture has designed the interiors of 44 East
      The practice enhanced the space using colour and texture, layering vintage and custom furnishings to create a relaxed and inviting ambience.
      Curved surfaces and light colours are incorporated throughout the space, with poured concrete terrazzo floors incorporated to pay homage to the gravel of the nearby riverside trail.
      Curved surfaces and light colours are incorporated into the lobby area of 44 EastThe interior is characterised by the use of soft shapes and natural materials throughout the various spaces, including on the eleventh floor, where pastel hues complement subtle architectural details.
      The outdoor swimming pool features a series of pebble-shaped islands, with a partially-covered patio inviting guests to relax outside and enjoy the views of the river.
      The eleventh floor features a circular outdoor swimming poolOn the thirty-seventh floor, a large moon-like pendant light is suspended above a plush circular sofa.
      The higher vantage point offers scenic views of downtown Austin, and features jewel tones and darker materials intended to complement the Texas skyline at dusk.
      The thirty-seventh floor features darker tones to complement views of the Texas skyline44 East was developed by Intracorp, while the tower and unit interiors were designed by Page and landscapes designed by DWG.
      The interior design of the common spaces is one of the latest projects by Michael Hsu Office of Architecture, which is based in Austin and Houston.
      The company recently completed its self-designed Austin studio, which is adorned in wood-and-fabric lined walls and industrial details, to accommodate its growing team.
      The photography is by Chase Daniel.
      Partnership content
      This video was produced by Dezeen for Michael Hsu Office of Architecture as part of a partnership. Find out more about Dezeen partnership content here.

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      Adi Goodrich and Sam Klemick among exhibitors at INTRO/LA

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      Curated by design consultancy Small Office, this year’s INTRO/LA features sculptural furniture from local designers such as Adi Goodrich, Sam Klemick and Jialun Xiong.

      The exhibition is being shown in Small Office’s Los Angeles showroom, with pieces displayed among semi-transparent dividers.
      Pieces by Los Angeles designers Adi Goodrich, Sam Klemick, Jialun Xiong and more are on display at INTRO/LAIt showcases both emerging and established Los Angeles designers.
      “The show is to display how diverse the community is, and how everyone’s working in different styles and production methods and materials,” Small Office founder Paul Valentine told Dezeen.
      For the first time, the exhibition is hosted at the showroom at Small Office, which runs the event. On the left is a collection by Estudio Persona and on the right is a collection by Adi Goodrich”[It’s] really to show the expansive of creativity here, rather than zero in on one trend and say, ‘this is what’s happening’.”

      Colourful, geometric pieces from Adi Goodrich’s Sing Thing collection are on display, including multi-tiered lamps, a checkered dining chair and playful, flat-pack side tables.
      Designer Sam Klemick showcased the Sweater Chair, a simple wooden chair draped with a carved-wooden sweaterThe collection is an homage to the silhouettes and character of the French L’Esprit Nouveau movement, as well as Lina, an influential woman in Goodrich’s life who taught her “how to live”.
      Sam Klemick’s Sweater Chair and an accompanying, wiggle-legged stool sit nearby.
      Jialun Xiong’s architectural side table features geometric cut-outsRecently on display as part of 2LG Studio’s You Can Sit With Us exhibition, the Sweater Chair consists of a carved-wood sweater draped over the backrest of a chair of the same material.
      An aluminium side table inspired by “the exterior of a boxy home” by designer Jialun Xiong sits among a chair, bench and stool featuring stainless steel elements and minimalistic lines.
      Caleb Engstrom’s Wet Wool chair is made of wooden and metal pieces draped with resin-soaked woolXiong’s Dwell side table consists of a metallic cube with rectangular and circular slices taken from around its body, “representing different architectural elements to enrich the user’s experience”.
      Caleb Engstrom’s Wet Wool chair is made of resin-drenched wool draped and set to dry over metal and wood pieces, which debuted earlier this year at Los Angeles Design Festival 2023,

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      The chair sits next to a stackable side table made of rubber, lacquer and resin table bases used in Engstrom’s other pieces. One such base layer contains “faux” lemons trapped in its transparent form.
      Other work includes rustic wooden stools and lighting by Ravenhill Studio, spikey, wooden chairs and a large mirror by Objects for Objects and scalloped, ceramic planters and side tables from BZIPPY. Also on show was a collection by Leah Ring and Adam de Boer as well as studio Waka Waka, which has a production studio next door.
      The exhibition was curated to highlight the diversity of local work. The collection shown is by Taidhg O’NeillThe INTRO series was started in 2013 as a platform to showcase both emerging and established designers in contrast to the traditional trade show format. Valentine aims to create “one interior feeling” by displaying pieces from various designers in close proximity to one another for a community-oriented exhibition.
      Previous design exhibitions around Los Angeles include Future Perfect’s Dear Future show, which displayed work from Gaetano Pesce and a variety of shows at Los Angeles Design Festival 2023.
      INTRO/LA is on show at Small Office in Los Angeles until 17 November. See Dezeen Events Guide for more architecture and design events around the world.
      The photography is by JJ Geiger.

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      Madera displays contemporary flooring and millwork products in Los Angeles showroom

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      Design and fabrication firm Madera has unveiled its latest showroom in Los Angeles, which was designed to showcase wood flooring and millwork products and has been captured in this exclusive video produced by Dezeen.

      The West Coast hub, which is Madera’s second showroom, is located in the Arts District of Los Angeles while its flagship showroom is in New York City.

      The showroom features a selection of wood products ranging from the brand’s signature wide-plank Thrasher flooring to custom cabinetry and benches.
      The space, which was converted from a former metal foundry into a showroom, aims to encourage clients to embrace wood and view it as an essential and natural element in design.
      Madera’s made-to-order Thrasher cabinetry is displayed in a living room spaceThe entryway features bespoke Douglas fir tables and benches, while the living room space has made-to-order Thrasher cabinetry showcasing the various finishes the brand offers.
      The kitchen displays a large custom island combining Madera’s Dogwood Ash and Travertine finishes, while a nearby conference room houses the brand’s Abechi Façade cladding in black.
      The showroom kitchen features a custom island that combines Madera’s Dogwood Ash and Travertine finishesMadera’s mission is to bring the natural beauty of wood into the spaces their clients inhabit to “redefine its place in the modern home”, according to the brand.
      Its Los Angeles wood shop, where custom stair parts and millwork elements are produced, is located only a short distance from its showroom.
      Madera’s showroom is located in the Arts District of Los AngelesThe brand recently launched its Seamless Wood Design system, which aims to ensure wooden products in an interior all complement each other.
      The system was created to offer designers and homeowners a customisable option that enables them to retain the character of wood throughout an interior.
      Partnership content
      This video was produced by Dezeen for Madera as part of a partnership. Find out more about Dezeen partnership content here.

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      You Can Sit With Us aims to open doors that “were firmly closed to us” says 2LG Studio

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      Russell Whitehead and Jordan Cluroe of 2LG Studio have curated You Can Sit With Us, a London Design Festival show that offered “a seat at the table” to a diverse mix of emerging designers.

      The 2LG Studio founders invited 13 designers from a mix of nationalities, races, genders and backgrounds to be a part of the exhibition, which was on show at London Design Fair.
      Cluroe (top left), Whitehead (top right) and Adam Fairweather of Smile Plastics pictured with 9 of the 13 chair designersThe exhibition took the form of a dining room, featuring a long table surrounded by chairs that were each designed by a different participant.
      Whitehead and Cluroe came up with the concept based on their own experiences of trying to break into the design industry and being made to feel like outsiders.
      The chair by Anna Maria Øfstedal Eng features a black lacquer finish”When we launched our practice nearly 10 years ago, there was an inner circle that felt very out of reach to us,” Whitehead told Dezeen.

      “We were so bruised by the industry and felt blocked by certain doors that were firmly closed to us,” he continued.
      “Instead of chasing acceptance where it wasn’t forthcoming, we decided to accept the love that was coming our way and put our energy there.”
      Sam Klemick’s chair incorporates a sweater into its carved wood formThe aim of You Can Sit With Us, he said, was to give a platform to a new generation of designers who may be having similar experiences.
      The exhibition’s name is a reference to the 2004 movie Mean Girls.
      “We wanted this to be a safe space that actively welcomed new perspectives,” Whitehead explained.
      Helen Kirkum produced a lounge seat with upholstery made from trainer insolesAmong the most eye-catching designs in the show is a lounge seat with upholstery made from trainer insoles by Helen Kirkum, a footwear designer who typically crafts her designs from recycled sneakers.
      Norwegian designer Anna Maria Øfstedal Eng has contributed a CNC-cut version of a hand-crafted ash chair she first made during the pandemic in a new black lacquer finish.
      Benjamin Motoc’s piece playfully combines a sketch with a basic 3D formA backrest with a sweater slung over it is part of the carved wood form of a design by California-based Sam Klemick, who had a career in fashion before she moved into furniture.
      Rotterdam-based Benjamin Motoc created a piece that playfully combines a sketch with a basic 3D design, while Paris-based sculptor Bence Magyarlaki has produced a characteristically squidgy form.
      Bence Magyarlaki produced a characteristically squidgy formOther chairs were designed by Amechi Mandi, Divine Southgate Smith, Wilkinson & Rivera, Net Warner, Hot Wire Extensions, Byard Works, Pulp Sculptuur and Blake C Joshua.
      The participants were selected across design, art and fashion because Whitehead and Cluroe “didn’t want to enforce boundaries in that way”.
      Rob Parker of Byard Works contributed a chair made from plywood and corkTheir chairs were arranged around a table produced by Smile Plastics using recycled plastic bottles and old tinsel, which created a glittering effect.
      The exhibition was an important project for 2LG, and for Whitehead in particular, who battled mental health struggles following the pandemic.

      “Emerging talents require nurture” says Jan Hendzel

      The designer said the project allowed him to explore how “heart and emotion” can be a part of design.
      “A lot of healing has taken place in the lead-up to this show,” he said.
      Granite + Smoke produced blankets featuring the title, You Can Sit With UsThe project included a collaboration with textile brand Granite + Smoke, who produced colourful blankets emblazoned with the exhibition’s title message.
      Whitehead and Cluroe also worked with homeware brand Sheyn on a series of suggestive 3D-printed vases.

      “The collection we designed together is a celebration of our queerness, something we have not embraced fully in our product design output, but it felt more important than ever to put that out there right now,” added Whitehead.
      You Can Sit With Us was on show at London Design Fair from 21 to 24 September as part of London Design Festival. See Dezeen Events Guide for more architecture and design events around the world.

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      Chair of Virtue presents experimental seating at London Design Festival

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      Digitally shrink-wrapped skin, armrests salvaged from parks and “frozen” resin featured in Prototype/In Process, an exhibition of seating presented by virtual magazine Chair of Virtue during London Design Festival.

      Displayed under a railway arch at Borough Yards, Prototype/In Process was made up of 1:1 scale prototypes of chairs, as well as chairs that are still works in progress, by 12 London-based designers who are either established or emerging in their field.
      Prototype/In Process features a chair by Sara Afonso SternbergSara Afonso Sternberg presented sculptural aluminium seating made of armrests salvaged from the middle of public benches in Camberwell. The armrests were originally created to make it difficult for homeless people to sleep or rest on the benches.
      “These objects are given a new form and use, inviting the public to critically engage with control mechanisms such as hostile architecture that permeate the urban landscape,” said Afonso Sternberg.
      Jesse Butterfield created a “frozen” resin pieceAnother piece on display was by Jesse Butterfield. The designer used vacuum infusion, draping and papier-mâché to create a chair covered in resin that was intended to appear “frozen”.

      Various methods of production were showcasedthroughout the show. Daniel Widrig used 3D printing to digitally shrink-wrap a rectangular chair with polylactic acid, a starch-based bioplastic.
      Daniel Widrig used 3D printing for his pieceThe result is a grey-hued chair with an undulating form, which mirrors the shared style of previous blobby stools created by the designer.
      “Its contours mimic the gentle curves and natural irregularities of body tissue, forming intricate folds and wrinkles,” explained Widrig.

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      Thomas Wheller also used aluminium by folding a single piece of the material to create his chair, while Louis Gibson experimented with “regular” construction stock materials by creating casts from disused pipes.
      “I was interested in imagining how these parts could be used unconventionally,” said the designer.
      Thomas Wheller also worked with aluminium”With such large volumes, I was curious to create casts, and then evaluate the internal forms in a new light, and finally address the problem of reassembly,” added Gibson.
      “I chose plaster for the purpose of quick setting, I also felt it was in keeping with the world of builders’ merchants stock supplies.”
      Louis Gibson experimented with salvaged construction materialsWhile the exhibition concluded at the end of London Design Festival (LDF), Chair of Virtue is an ongoing project curated by Adam Maryniak.
      Prototype/In Process was on display on Dirty Lane as part of the annual festival’s Bankside Design District.
      Furniture created from the remains of a single car and a modular display system by Zaha Hadid Design were among the many other projects featured during LDF.
      The photography is courtesy of Chair of Virtue. 
      Prototype/In Process was on show as part of London Design Festival 2023 from 16 to 24 September 2023. See our London Design Festival 2023 guide on Dezeen Events Guide for information about the many other exhibitions, installations and talks that took place throughout the week.

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      Gallery Fumi marks 15th anniversary with design exhibition informed by biology

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      To celebrate 15 years of Gallery Fumi, the London gallery is hosting the Growth + Form exhibition of “functional art”, featuring sculptural furniture and lighting with organic forms.

      The Growth + Form exhibition includes new works by 16 of the 28 past Gallery Fumi exhibitors, responding to themes of transformation, regeneration and biological growth patterns.
      The Growth + Form exhibition celebrates Gallery Fumi’s 15th anniversaryIt was designed by architectural designer Leendert De Vos and curated by design historian Libby Sellers, who invited former exhibitors back to showcase new pieces in a group display.
      The exhibition title and theme were informed by the On Form and Growth book by Scottish biologist D’Arcy Wentworth Thompson, which analyses the mathematical harmony of growing shapes in biology.
      Pieces in the exhibition were informed by biologyResponding to this biological starting point, furniture and lighting with organic shapes and natural materials can be seen throughout the exhibition.

      Danish artist Stine Bidstrup created a sculptural chandelier titled Light Entanglements, made up of twisting clusters of hand-blown glass.
      Light Entanglements is a chandelier made from hand-blown glassDifferent lengths of painted sticks were combined to create Marmaros Metamorphosis II, a circular decorative wall piece with a textured, tufted-like surface by sculptor Rowan Mersh.
      “Revisiting the very beginning of his career when Mersh used cheap materials to experiment with techniques, in this work using lacquered coloured sticks, he creates forms with the details and skill level he currently attains when using precious materials,” said Gallery Fumi.
      Seating crafted from a single yew log is featured in the exhibitionAs the gallery celebrates its 15th anniversary, Sellers likened its growth to the formation of crystals – the material traditionally associated with 15-year anniversaries.
      “Grown from small particles into a solid form of geometric beauty, crystal is both a poetic metaphor for Gallery Fumi’s own development over the last 15 years and an opportunity to explore the creative affinity between science, art, and the intricate nature of constructions,” said Sellers.

      Lara Bohinc designs Jesmonite lighting collection to look like unearthed relics

      “After all, is this not a definition of design? The meeting of knowledge, form-making, material exploration and beauty?” Sellers added.
      “The works are vibrant and active – sprouting, swirling, twisting, turning – transferring material and form into objects of beauty.”
      Wegworth created a crystal salt vase for the exhibitionAlso on show was a wooden cabinet covered in hand-painted shingles by Berlin-based designer Lukas Wegwerth, who also created a crystal salt vase titled Crystallization 183.
      “Crystallization 183 was identified by Sellers as most significant for the exhibition, as not only is the 15-year anniversary traditionally celebrated with crystal, but the process of growing the crystals is a poetic metaphor for Fumi’s growth as a gallery,” Gallery Fumi said.
      The wall sculpture Marmaros Metamorphosis II has a tufted textureOther pieces on display include a sculptural copper floor lamp with a stone base by London design studio JamesPlumb and a chair by British designer Max Lamb crafted from a single yew log.
      “Tapping into the creative affinity between science and art, the pieces created for the show will display fluid organic forms, natural materials and geometric structures,” said Gallery Fumi.
      The exhibition is on display from 7 to 30 SeptemberOther designers showing work include US sculptor Casey McCafferty, Italian designer Francesco Perini, design studio Glithero, Chinese material designer Jie Wu, German ceramic artist Johannes Nagel, Finnish artist Kustaa Saksi, British artist Leora Honeyman, Spanish artist Saelia Aparicio, British artist Sam Orlando Miller, design studio Study O Portable and furniture design studio Voukenas Petrides.
      Gallery Fumi was founded in 2008 by Valerio Capo and Sam Pratt. It has previously showcased work including a Jesmonite lighting collection by British designer Lara Bohinc and a limited-edition bench by JamesPlumb made using medieval dying techniques.
      The photography is courtesy of Gallery Fumi.
      The Growth + Form exhibition is on display at the Gallery Fumi in London, UK, from 7 to 30 September 2023. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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      Piles of green-hued books characterise London Aesop store

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      The interior of London’s most recent Aesop store in Marylebone was organised to reference a bookshop and features bespoke timber cabinetry by furniture designer Sebastian Cox.

      Skincare brand Aesop’s in-house design team created the concept for the Marylebone store, which recently relocated from its original home in the London neighbourhood to Marylebone High Street.
      The Marylebone store features piles of green booksThe team took “material references” from the British Library on Euston Road and attempted to emulate the layout of traditional bookshops by choosing warm timbers and towering piles of pale green books to decorate the interior.
      Divided into a main shop and an area for personal skin consultations, the L-shaped store features handmade cabinetry by Cox throughout.
      Olivier Cousy added frescos to the ceiling troughsThe shelving is defined by gently rounded edges, which Cox crafted from lime-washed oak and stained with linseed oil to enhance the timber’s warm appearance.

      He designed the cabinetry with flexible joinery that would allow the furniture to be disassembled and transferred elsewhere if needed.
      Sebastian Cox designed timber cabinetry throughout the interiorOversized rattan lampshades were also chosen for the main shop area, which displays uniform rows of Aesop products and includes large, metallic communal sinks built into the timber cabinetry.
      The store’s also features ceiling troughs with custom-made geometric frescos by artist Olivier Cousy.

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      Cousy was informed by Marylebone’s many green squares when painting the designs, which are geometric arrangements of autumnal colours – compositions that take cues from expressionist artist Paul Klee’s 1922 work Tower in Orange and Green.
      “Architecturally, our design method is to connect to the context of the locale, weaving ourselves into its fabric,” said Aesop chief customer officer Suzanne Santos.
      Wooden sinks characterise the skin consultation areaIn the skin consultation area, a sandy-hued, floor-to-ceiling curtain can be pulled to give customers privacy while geometric timber sinks were built into the space’s cabinetry.
      Known for its array of stores that pay homage to their individual locations, Aesop’s other outlets include a branch in London’s Piccadilly Arcade with marble fixtures that filmmaker Luca Guadagnino designed to reference the area’s jewellery boutiques, and a Cambridge store by British studio JamesPlumb with hemp and bulrush accents that nod to the nearby River Cam.
      The photography is by Alixe Lay. 

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