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    Plantea Estudio creates “frank and efficient German ambience” inside Acid Berlin bakery

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    Spanish practice Plantea Estudio has completed the interior of Acid bakery in Berlin, which features a palette of austere and functional materials chosen to echo its urban context.

    Acid Berlin is located on a corner lot in the city’s central Mitte district, with large ground-floor windows looking out onto Rosenthaler Strasse and Auguststrasse.
    Plantea Estudio has designed the interior of the latest Acid bakery in BerlinHaving previously designed the bakery’s original outlet in Madrid, Plantea Estudio opted for a similar pared-back style with nods to Mitte’s gritty urban character.
    The main materials used throughout the public areas include chestnut wall panelling and red Ferrés tiles, which contrast with the more austere sections finished in stainless steel and grey paint.
    The interior is reflective of Mitte’s gritty urban character”The aim was to achieve a frank and efficient German ambience and at the same time a temperate refuge, a Mediterranean ‘nativity scene’ in the harsh urban territory of Berlin’s city centre,” said the designers.

    The premises are located on the ground floor of a residential building, with large wood-framed windows providing a visual connection to the streets outside.
    Orange resin flooring reflects on the surfaces of stainless-steel machineryThe L-shaped internal plan is organised with the workshop area on the longer side towards Auguststrasse and the cafe space facing Rosenthaler Strasse.
    Ovens, fermenters, mixers and office equipment are arranged along the bakery’s back wall in front of stainless-steel panels that produce gentle reflections of the goings-on.
    Tables for kneading and rolling are positioned in the centre of the room facing the windows, so passers-by can observe the bakers at work.
    The cafe counter is clad entirely in stainless steelThis space also features a robust orange resin floor that complements the tonality of the tiled public areas and is reflected on the surfaces of the stainless-steel machinery.
    The cafe area is organised around a six-metre-long counter containing a glass display case for pastries and space for coffee-making equipment.
    The counter is clad entirely in stainless steel, giving it a utilitarian aesthetic that ties in with the materiality of the bakery.

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    Behind the counter is a steel worktop and shelving system where bread is displayed in front of semi-opaque panels with a subtle orange-white gradient that allows a partial view through to the work area.
    Tables, benches and stools by Copenhagen brand Frama are arranged along the facades and back walls so customers feel immersed in the cityscape.
    Semi-opaque panels allow a partial view through to the work area at the backPlantea Estudio drew directly from the restrained forms, materials and tonality of the urban surroundings to design a space that feels raw yet refined.
    “It is simple and austere, practical and functional, like the city but in no small measure warm and welcoming, bold and spontaneous like its inhabitants,” said the studio.
    Tables, benches and stools are arranged along the facades and back wallsWoodwork, ceiling panels and bare brick walls are painted a unifying shade of light grey that echoes the simplicity and functionality of the adjacent mid-rise apartment buildings.
    The panelled walls and red-clay tiles used for the flooring and built-in bench seating introduce warmer tones and bring an expressive touch of handmade quality to the space.
    The tables feature white polyethylene tops set on chrome bases that add a further reflective element, while the birch stools provide another natural detail alongside the grain of the chestnut panelling.
    Simple lighting fixtures includes wall sconces from Santa & ColeSimple lighting including wall sconces from Spanish brand Santa & Cole and a classic Japanese-style paper lantern provide gentle illumination.
    Ceramic works by female artists Raquel Riola, Wendy Taylor and Saeam Kwon were chosen to add textural highlights that complement the character of the interior.
    Decorative ceramic works add textural highlights that complement the interiorPlantea Estudio was founded by brothers Lorenzo and Luis Gil in 2012, with Carla Morán joining in 2017. Much of the studio’s work focuses on smaller projects including hotels, family homes, restaurants, cafes, shops and offices.
    The studio’s output is characterised by a careful consideration of materials and fabrication, with previous examples including a store for footwear brand Veja featuring raw finishes and brutalist details, and a minimalist restaurant that uses plywood and chipboard to create a light and warm ambiance.
    The photography is by Marina Denisova.

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      Translucent and reflective surfaces ricochet light around Cologne apartment

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      German architecture studio Demo Working Group has removed all non-structural walls from this 1970s high-rise apartment in Cologne, creating a utilitarian open-plan interior.

      Named Kier after its address on Kierberger Straße, the apartment is set in a housing block built in 1972. Before the renovation, wallpaper covered its concrete shell and a myriad of dividing walls created dark, enclosed rooms.
      Demo Working Group has renovated a 1970s Cologne apartmentNow, a structural concrete wall in the middle of the floor plan is the only interior wall that remains, although Demo Working Group used a concrete saw to cut out a doorway and create a direct link between the living space and the bedroom.
      “We were interested in how these concrete structures can be transformed to enable new spatial options,” partner Matthias Hoffmann told Dezeen. “The new opening between the living and the sleeping area redefines the circulation in the apartment.”
      Soft furnishings and reflective finishes take the edge off the stark concrete wallsRaw concrete perimeter walls work together with the remaining central wall to create an industrial-looking backdrop, consistent throughout all areas of the apartment.

      “The high-rise structures of that era are typically built out of concrete,” the studio said. “We took off the wallpaper so that the building’s structure with its specific texture and character can be experienced inside the apartment.”
      Light is bounced around by glass and reflective surfacesThe newly liberated interior benefits from having windows on two sides, which the designers capitalised on by employing translucent, transparent and reflective surfaces throughout.
      Former internal walls were replaced with sheets of transparent and frosted glass, allowing light to penetrate further into the space and providing a contrast with the heaviness of the concrete.
      Like the rest of the apartment, the kitchen has a cool-toned colour schemeThis creates a free-flowing atmosphere in the space, which almost functions as a studio apartment as a result of the minimal, see-through divisions between the living space, kitchen, bedroom and bathroom.
      Mirrors and reflective surfaces are applied to other spaces, too. In the kitchen, cupboards are tucked below a window that casts light onto a full-height mirrored backsplash on one side.

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      The green kitchen counter also reflects light and is made from a heavy-duty plastic, which Demo Working Group says is usually reserved for use in laboratories.
      Glossy white tiles line the kitchen and bathroom area while a built-in storage unit in the living space is clad in sheets of aluminium to level up the brightness of the interior.
      Three purple-upholstered cantilevered chairs surround a metal dining tableFurnishings follow a colour palette of blues, greens and purples, with the sofa and window frame in the living area picked out in a deep blue, referencing the accent colour found throughout the wider apartment block.
      Metal continues to feature in the furniture and fittings, from the legs of the dining set and bookshelf to a horseshoe-shaped light fixture on the bedroom ceiling.
      The shower enclosure is transparent and contains white fittings and fixturesDemo Working Group was founded in 2019 and works on architecture and interior projects throughout northern Germany.
      Other apartment interiors that have recently been featured on Dezeen include a refurbished art deco-style apartment in Milan and a flat in Kyiv that features colourful furnishings and glass bricks.
      The photography is by Jan Voigt.

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      Sabine Marcelis creates colour-blocked scenography for VitraHaus loft

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      A mint-green lounge pit and custard-yellow home office are among several colourful set pieces installed by designer Sabine Marcelis on the top floor of Vitra’s Herzog & de Meuron-designed flagship store in Weil am Rhein, Germany.

      Marcelis, who is known for her work exploring colour, translucency and reflection, was invited to create a series of domestic scenes within the VitraHaus loft that feature some of the furniture company’s most iconic products.
      The scenography immerses visitors in a world of colour, with the various spaces providing a vision of domestic life that aims to be both practical and imaginative.
      Sabine Marcelis has transformed the VitraHaus loft showroom in Germany”The philosophy behind the design closely mirrors how we created our family home,” said Marcelis, who organised Vitra Design Museum’s archive into a colour-coordinated exhibition called Colour Rush in 2022.
      “It features a large open space divided into functional zones, delineated by colour. We then blended my creations with those of other designers, artists and, of course, Vitra furniture to create a cohesive whole.”

      A series of domestic scenes showcases colour-blocked furnitureMarcelis worked closely with Vitra to transform the loft of the flagship store on the Vitra Campus, also home to Zaha Hadid’s dynamic Fire Station and Frank Gehry’s swirling museum building.
      The loft, with its gabled openings framing views of the surrounding countryside, has a domestic scale that is accentuated through the choice of furnishings and the layering of colour and materials.
      Marcelis is known for her experiments with translucency”The VitraHaus loft is the perfect canvas to display the diversity of Vitra furniture,” said Till Weber, the company’s creative director of interiors and scenography. “It provides a collage where we can mix and match furniture for the characters that live within it.”
      “The tones and hues Sabine has used are recognisable from the natural, organic world and they have a rich interaction with the various spaces – things are connected but do not all perfectly match,” he continued.
      Limited edition food-inspired colours of the Panton Chair are displayed throughoutVisitors arriving via a lift enter a cool-green living area featuring a large lounge pit created using Jasper Morrison’s Soft Modular Sofa. The sofa is complemented by a green rug and Marcelis’s floor-standing Curve Light.
      “The original sofa system is generally used to create L shapes and we’ve just merged it all to form this enveloping pit,” the designer said.
      “I think it’s so important to have a good lounge. It can be really fun – I have a lounge pit at home as well and it’s the core of the house. It’s so good to just jump in there.”
      Reflective surfaces are another hallmark of Marcelis’s workThe lounge space is one of seven distinct areas, each designed to celebrate a different colour. These include a soft-pink bathroom with a custom onyx tub, sink and vanity.
      Other zones include a small seating area with caramel-coloured carpeting that matches the leather upholstery on a pair of George Nelson’s Coconut Chairs, as well as a minimalist kitchen with shelving and stools in a plum hue.
      A custard-yellow home office is also among the colour-blocked set pieces”The colours used in the VitraHaus Loft are personal favourites,” Marcelis said.
      “I like these colours and never tire of them, which makes them timeless for me. I think this attitude is important for anyone creating their own home.”
      The bathroom features a soft-pink onyx tub and vanity unitIncorporated within the scenography are iconic pieces from Vitra’s archive including two of Verner Panton’s midcentury furniture designs, which Marcelis has updated in seven new colours.
      The limited edition versions of the Panton Chair Classic and the Visiona Stool are produced in food-inspired hues including bubble gum, butter, honeydew and plum that match the colour scheme used in the VitraHaus Loft.
      Along with upholstery in the seven new colours, Marcelis specified different types of finishes for the cylindrical Visiona pouf, including faux fur and untreated leather.
      Also on show are Marcelis’s own designs including the Candy Cube side tableThe designer also selected artworks by friends and collaborators that help to create a homely feel throughout the spaces.
      Pieces by Maria Pratts, Johnny Mae Hauser and Carolijn Jacobs feature alongside printed bedsheets by Ehsan Morshed, which were created for the VitraHaus Loft and are available to purchase at the VitraHaus.
      Caramel-coloured carpeting matches Coconut Chairs in one seating areaMarcelis has worked on numerous projects in recent years that display her innovative take on colour and materiality.
      Most recently, she created colourful plinths for the match balls of the Euro 2024 football tournament and designed a conceptual version of the Renault Twingo car featuring a semi-transparent exterior and raspberry-coloured interior.
      The photography is by Clemens Poloczek.

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      Jolie creates temporary restaurant with “aesthetic and sensory” materials in Frankfurt

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      Interior design studio Jolie has completed The Nest restaurant with lime-wash walls and natural materials that is designed to be relocated in five years time.

      Set above an underground car park in Frankfurt, the restaurant was designed for future relocation using modular construction and lightweight materials to minimise its impact on the site as well as maximise material reuse.
      The temporary restaurant will operate for five years”The temporary nature of The Nest had a significant influence on its design, guiding many key decisions to ensure sustainability, flexibility, and minimal environmental impact,” Jolie founder Franky Rousell told Dezeen.
      “The need to keep the structure lightweight, due to its location above a car park, meant that every material was chosen not only for its aesthetic and sensory qualities but also for its weight.”
      Lime-wash walls and natural materials decorate the spaceThe restaurant has a bright dining area lined with wooden tables and chairs fronted by full-height glazing.

      A bar, with a curved counter that wraps around an oversized column, divides the space and is lined with a raised seating area.
      Hues of red, green and brown are used throughout the interiorLime-wash paint, glossy laminates and plastered walls line the tactile interior. Hues of red, green and brown permeate the space and are set off by neutral-toned ceilings, floors and furnishings.
      “The tactile elements are designed to evoke comfort and luxury,” Rousell said.
      “Surfaces like cool pink marble at the bar and natural wood and soft textiles in the outdoor lounge area invite touch and contribute to a relaxed yet refined environment.”

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      A curved motif is repeated throughout the space, with two rounded seating areas nestled into individual corners and complete with plush cushions.
      Doorways, shelving units and countertops are similarly finished with rounded edges.
      A curved motif is repeated throughout the restaurantSituated behind the main restaurant is a separate kitchen area that runs along the length of the structure.
      Meanwhile, an external wooden patio backed with greenery provides additional seating sheltered by parasols at the restaurant’s front.
      Additional seating is provided outdoorsJolie is an interior design studio based in the UK founded by Rousell in 2017.
      Other restaurant interiors recently featured on Dezeen include a London restaurant that balances steel and mirrors with wood and leather and a New York restaurant with a buttery yellow interior.
      The photography is by Billy Bolton.

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      Gisbert Pöppler creates own office and showroom inside former Berlin bookshop

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      An old bookshop in Berlin is now home to the studio of architecture and interior design practice Gisbert Pöppler, which incorporates the building’s grand arched doorways and other original features.

      The office is situated on Karl Marx Allee, a major boulevard lined with buildings designed in the socialist classicism architectural style of the 1950s.
      Staff desks in the Gisbert Pöppler office sit near the building’s entranceGisbert Pöppler’s workspace had previously been located in Berlin’s Kreuzberg neighbourhood, set above a row of nightclubs.
      “We had an amazing view of the city up there and enjoyed being in the midst of it all,” the practice told Dezeen.
      Archways offer views of the showroom at the building’s rear”We outgrew our space though and coincidently our landlords decided to completely renovate and add-on to the building, so we would have had to leave for a while anyway,” the studio added. “This was when we discovered that the former bookstore was available.”

      The bookstore had been left in a “depressing” state.
      But as soon as the Gisbert Pöppler team moved in, they sought to find ways to transform it into an efficient office and show space for their range of furnishings and textiles, all while preserving the site’s original features like its arched doorways and terrazzo flooring.
      Furnishings are displayed on carpeted platformsA formal work area with desks and computers has been created directly beside the office’s entrance, allowing staff to greet and interact with visitors as they walk in.
      Shelving here that originally stored books now holds material samples, image mood boards and other project-related paraphernalia.
      Meetings can be held in the next room along, which is centred by Gisbert Pöppler’s reflective aluminium Cherry table.
      The office’s literature corner has been painted bright pinkThen follows the showroom, where pieces are displayed on purple carpeted platforms that the practice created in collaboration with Swiss rug makers Rückstuhl.
      “Preservation regulations were intense for this place, so our solutions are somewhat unconventional,” the practice said. “We built platforms to define spaces and solve technical situations without harming the building’s fabric.”
      Hanging utensils decorate the office’s kitchenTwo further spaces branch off from here: a conference area for larger staff gatherings, and a “literature corner” filled with inspirational reading material.
      Unlike the rest of the office, which is painted an icy-blue shade, this corner has been completed in a vivid pink hue to offset the lack of natural light in this area.
      A dresser in the kitchen contains porcelain handed down from Pöppler’s grandmotherAdditionally, there’s a kitchen on-site where staff can prepare and eat their meals at lunchtime, featuring simple white cabinetry and hanging utensils.
      To one side of the room stands an ornate dresser, restored by Gisbert Pöppler’s eponymous founder as a young man. Inside, the cabinet is filled with an array of Meissen porcelain tableware collected by his grandmother.
      There’s also a basement where the practice keeps more materials and client orders before they’re shipped out.
      More materials and furnishings are stored in the office’s basementGisbert Pöppler has worked on a number of residential projects around Berlin.
      One such example is an apartment in the city’s Mitte borough, designed to be like a “tailor-made suit” with one-off furnishings and bespoke fixtures that suit the owner’s particular needs.

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      ACME and BWM design adaptable interiors for MM:NT apartment hotel

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      Modular furniture, app-operated doors and a self-serve bar are among the experimental ideas being trialled at MM:NT, a mini-hotel in Berlin that will constantly evolve in response to feedback from guests.

      Australian hotel group TFE Hotels worked with design strategist Philippa Wagner to develop the concept for a compact apartment hotel featuring interiors by architecture firms ACME and BWM that will operate in an ongoing beta mode.
      MM:NT is an experimental hotel in BerlinThe hotel operators describe MM:NT Berlin Lab as “a first of its kind mini-hotel laboratory, allowing guests to shape their own stay and actively change hospitality trends”.
      Occupying a renovated building in Berlin’s Hackescher Markt, the hotel has six standalone bedrooms and several shared spaces including a lounge in the foyer and a kitchen with a self-pour bar, all of which guests can access without the need for on-site personnel.
      The hotel has a self-service barInstead, guests use a concierge smartphone app to check in, check out and communicate with staff. The app also unlocks doors at the touch of a button and provides access to secure storage throughout the hotel.

      ACME was the lead interior designer for the project, working on the communal areas and four of the bedrooms, while Austrian architecture office BWM designed room 00.02. The rooms range in size from 11 to 28 square metres and are intended to act as prototypes for use across future locations.
      Lockers can be accessed via an appThe remaining bedroom 00.03 was created by project partner and fittings manufacturer Häfele to showcase furniture and digital technologies aimed at personalising the guest experience and enhancing operational efficiency.
      MM:NT’s design sought to optimise the compact spaces and create the most convenient experience for guests, whether they choose to spend time in their rooms or the public areas.
      In keeping with the hotel’s focus on reducing resource consumption, these spaces are furnished with vintage items or products made with recycled materials.
      ACME designed most of the bedroomsACME’s design for the bedrooms aims to create a sense of a home away from home, using a palette of tactile materials to bring layered texture to the compact spaces.
      “Calm, uncluttered spaces are essential to the MM:NT Berlin Lab experience,” said studio director Friedrich Ludewig.
      “Modular construction and using natural and recycled materials were essential to creating this. Compact rooms with smart storage solutions and built-in features to make the most of the available square metres.”

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      ACME also designed the communal spaces at MM:NT Berlin Lab, which include a snug with an area for lockers containing additional amenities that help to reduce clutter in the rooms.
      A multipurpose lounge space called The Counter allows guests to serve themselves coffee and sandwiches during the day, and drinks including locally sourced beers and wines in the evening.
      A co-working area beside the bar features a bespoke table made by materials design and manufacturer Smile Plastics. The table is surrounded by chairs designed by Snøhetta and manufactured using recycled ocean plastic.
      BWM designed one of the Middle roomsGuests at MM:NT can have groceries, laundry and meals delivered to secure lockers housed in an area called The Hub that can be controlled via the hotel’s app.
      The hotel offers three different room types, defined as Little, Middle and Big. The smallest rooms contain a double bed, shower room and modular storage, with the middle size adding a compact kitchenette.
      The smallest room takes up just 11 square metres and was designed by ACME to feel cosy and uncluttered. The sleeping area is wrapped in wood panelling and features smart lighting that can be adjusted throughout the day.
      Mint green details feature in the kitchenViennese studio BWM designed one of the Middle rooms, which features pull-out seating and foldable wall panels that enhance the adaptability of the 19-square-metre space.
      The hotel’s only Big room measures 28 square metres and is designed as a mini apartment, with a small kitchen and open-plan living and dining area. A fold-out bed provides space for an additional guest.
      Materials that recur throughout the guest rooms include bamboo flooring, recycled tiles and birch veneer furniture. The bathrooms feature Durat sinks made from post-industrial plastic waste and Foresso worktops made using waste generated from furniture production.
      Green tiles also feature in some of the bathroomsMM:NT Berlin Lab launched with a two-month experiment where guests stayed for free and were asked to provide feedback on the hotel’s rooms, services, atmosphere and ethos.
      The hotel will begin taking bookings in summer 2024 but will continue to operate in “beta mode”, with comments from guests helping to shape the spaces and service offering.
      Founded in London in 2007, ACME’s previous projects include a shopping centre wrapped in a latticed concrete facade and a modern family home that references a traditional Kentish oast house.

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      Studio Aisslinger completes “nature-loving” renovation of Hotel Seegarten

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      Designer Werner Aisslinger has renovated a lakeside hotel in Germany’s Sauerland region, adding hydroponics and locally sourced materials including wood and terrazzo to craft interiors informed by the surrounding nature.

      Hotel Seegarten is owned and operated by TV chef Olaf Baumeister, who took over the traditional inn from his parents in 1992 and has overseen its transformation into modern boutique accommodation.
      Werner Aisslinger has renovated a boutique hotel in the SauerlandWerner Aisslinger’s studio was influenced by the hotel’s location overlooking the Sorpesee lake when developing its “nature-loving” concept for the guest rooms and public areas.
      This includes Baumeister’s Seegarten restaurant, where hydroponic shelves are used to grow ingredients for the kitchen.
      Terrazzo and wood feature throughout the interior”The overall atmosphere is friendly and close to nature, as all materials are processed in their purest form and can be felt,” said the design team, adding that further inspiration came from Baumeister’s passion for using local produce in his cooking.

      The studio described the hotel’s setting as an “oasis in the Sauerland”, which informed a design that is casual, modern and focused on promoting wellbeing.
      The two main materials used throughout the scheme are terrazzo and wood, which are intended to evoke the pebble beaches of the nearby lake and the trees of the surrounding forest.
      Stones from a nearby quarry were incorporated into the grey terrazzoOther elements such as curtains, carpets, plants and rattan screens were chosen to complement these two cornerstone materials, as well as adding different tactile surfaces to the interior.
      Stones from a nearby quarry were incorporated into the grey terrazzo, which was processed by a local firm and is used throughout the bathrooms.
      As well as referencing the natural surroundings, the use of local materials and regional manufacturers helps to minimise the project’s carbon footprint by reducing shipping requirements.

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      The bedrooms feature bespoke shelves housing planters filled with herbs, along with equipment that guests can use to brew their own tea.
      In the bathrooms, Studio Aisslinger commissioned custom-made towel rails shaped like swimming pool ladders that attach to the bathtubs.
      Traditional wood panelling features in the Seegarten restaurant, providing a contrast with the metal hydroponic troughs and their bright LED grow lights.
      Furniture designs by Aisslinger include the Wood Bikini chairThe hotel’s wellness area features flat and curved rattan screens that are suspended from the ceiling and can be adjusted in height to provide privacy if required.
      Furniture created by Aisslinger for various design brands is used throughout the hotel, including the Geometrics pouf for Cappellini and the Wood Bikini chair for Moroso.
      The public areas also feature the solid oak Cep tables, the geometric Urban Jungle rugs and the Addit sofas designed for German furnituremaker Rolf Benz in collaboration with Studio Aisslinger’s design director Tina Bunyaprasit.
      Curved rattan screens and sheer curtains feature in the hotel’s wellness areaAisslinger founded his studio in Berlin in 1993, adding a Singapore office in 2008.
      The studio’s previous projects include the transformation of a famous Berlin squat into a photography museum and the design of a futuristic exhibition exploring topics from urban farming to robotics.
      The photography is by Nicoló Lanfranchi for Studio Aisslinger.

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      Jane Withers picks five projects that don’t “take water for granted” from MK&G exhibition

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      An exhibition at Hamburg’s MK&G museum examines the global water crisis and what architects and designers can do to help. Here, curator Jane Withers selects five highlights from the show and explains the stories behind them.

      Water Pressure: Designing for the Future is the result of several years of research by Jane Withers Studio, which involved compiling a broad range of ideas on how to confront water scarcity from the fields of design, science and activism.
      “The current water crisis is largely the result of mismanagement and overconsumption, so there is potential to rethink the systems,” Withers told Dezeen. “A multidisciplinary approach is required and architecture and design are strong components within this.”
      A new exhibition at MK&G (top image) deals with issues of water scarcity (pictured above in Cape Town)The exhibition, on show at MK&G until 13 October, is organised around five themes: Water Stories, Bodily Waters, Invisible Water – Agriculture and Industry, Thirsty Cities, and Ecosystems – Land and Ocean.
      Each theme explores water as a life force and a common medium that unites humans, plants, animals and the landscape.

      “We take water for granted in every way and we need to rekindle our psychological, physiological and spiritual understanding of it,” Withers said.
      The projects on show range from the CloudFisher system, which harvests water from fog or clouds, to a proposal for low-cost floating schools by architecture studio NLÉ and a mural by Slovenian architect Marjetica Potrč calling for the recognition of water as a living being.

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      While some reflect on water’s poetic and mythical associations, others offer more scientifically-led solutions to specific problems associated with water scarcity, human-induced climate change and water justice.
      Withers said she hopes visitors to the exhibition will leave with a better understanding of water and the challenges we face, as well as recognising that there are things we can all do to help shape a different future.
      “We need policy change but also individual changes of mindset and a new water consciousness,” she added. “We’re very keen that the exhibition is a starting point for conversations and for campaigning about water culture.”
      Below, Withers outlines five key projects featured in Water Pressure:
      Graphic by Marjetica PotrčTime on the Lachlan River by Marjetica Potrč
      “The first room in the exhibition is framed by two wonderful works by artist and activist Marjetica Potrč. The mural Time on The Lachlan River illustrates the campaign by Australia’s Aboriginal Wijaduri people to prevent the enlargement of a damn that could have deprived the land downriver of water.
      “On the other side, the visual essay The Rights of a River tells the story of a water referendum in Slovenia in 2021, when an overwhelming majority of people voted against a law that would have allowed private businesses to exploit the country’s rivers for profit.
      “This shift in thinking about rivers and how we view them not as objects to be exploited but as subjects with their own rights is fundamental to creating a more equitable water culture and sets the tone for the exhibition.”
      Photo courtesy of NLÉMakoko Floating System by NLÉ
      “Architectural practice NLÉ has been researching the potential for floating architecture in African cities affected by rising sea levels for over a decade. Their prototype floating building was a low-cost school for the Makoko community in Lagos inspired by their vernacular floating structures.
      “The Makoko School became something of a poster project for floating architecture through photographer Iwan Baan’s alluring images of kids clambering over an ark-like wooden building. It could have stopped there but NLÉ has gone on to develop a scalable prefabricated floating building system for the development of waterfronts amid the challenges of climate resilience.
      “The studio is currently working on a regeneration plan for the Makoko area based on this technology, and recently published the book African Water Cities that examines the potential for waterborne living in other African cities.”
      Photo by Ugo CarmeniDeath to the Flushing Toilet by The Dry Collective
      “Death to the Flushing Toilet is a campaign by The Dry Collective that provokes a rethink of the waterborne sewage systems we take for granted. It’s madness that wealthier regions of the world use vast quantities of freshwater to flush away human waste, while two billion people still lack basic sanitation.
      “In urban areas, as much as 30 per cent of freshwater is used to flush toilets and often this is drinking quality water. The Dry Collective aims to persuade architects and designers to use alternative systems.
      “Taking the traditional Finnish huussi – a composting dry toilet used in rural areas – as a model, they produced a film set in 2043 that imagines a global shift where water is no longer wasted on flushing and human waste is recycled as fertiliser. The technology for circular sanitation systems already exists so the real issue is overcoming prejudices and the ‘yuck factor’.”
      Photo by Merdel RubensteinEden in Iraq
      “Eden in Iraq is an incredibly inspiring project that has gotten off the ground against the odds in Iraq’s Mesopotamian Marshes, where the discharge of untreated sewage has polluted the fragile marsh ecosystem and led to disease.
      “The wetland garden is designed to use plants to clean the local community’s wastewater. The garden’s ornate symmetrical design takes inspiration from the embroidered wedding blankets of Marsh Arab tribes and their tradition of reed construction for buildings.
      “The first construction phase, completed in 2023, demonstrates the potential for nature-based wastewater systems to work at a community level.”
      Drawing by OOZE ArchitectsRe-imagine Water Flows by Ooze Architects
      “Re-imagine Water Flows is a special commission for the Water Pressure exhibition using the MK&G Museum as a case study to understand the water challenges Hamburg faces and how the building’s water ecosystem could be made more resilient.
      “A mural by Ooze Architects shows two versions of the museum – one with its current situation marooned between massive roads and Hamburg’s main railway station and the other illustrating how it could be transformed into a shady green oasis.
      “In the studio’s proposal, rainwater and wastewater are recycled to be reused for non-drinking water use inside the building, as well as for irrigating the landscape and recharging the Hamburg aquifer.
      “The mural expands to show how Hamburg is threatened by drought and increased risk of flooding that could also affect the river Elbe watershed. It invites us to think about the importance of these common water flows linking countries and cities.”
      The top image is by Henning Rogge and the image of the Newlands municipal swimming pool in Cape Town is by Bloomberg via Getty Images.
      Water Pressure is on show at MK&G Hamburg from 15 March to 13 October 2024. See Dezeen Events Guide for all the latest architecture and design events taking place around the world.

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      Studio Aisslinger transforms historic Berlin art squat into Fotografiska Berlin

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      A former department store that became a famous artists’ squat is now home to Fotografiska Berlin, a photography museum featuring interior design by German designer Werner Aisslinger.

      Once the second-largest shopping arcade in Berlin, the building is best known as the Kunsthaus Tacheles, home of the Tacheles artist collective, who occupied it from 1990 to 2012.
      Fotografiska Berlin is located in the former Kunsthaus Tacheles. Photo is by Patricia ParinejadAisslinger’s Berlin-based office, Studio Aisslinger, has transformed the former artist spaces into a new location for Fotografiska, which also has venues in New York, Shanghai, Stockholm and Tallinn.
      This follows a major renovation overseen by architects Herzog and de Meuron, which included a pyramid-shaped roof extension and the addition of apartments and office spaces.
      The venue combines exhibition galleries with hospitality spaces. Photo is by Patricia ParinejadAs a for-profit organisation, Fotografiska’s model is different from other museums and galleries in that it blends exhibition space with hospitality.

      Fotografiska Berlin stays open until 11pm, allowing visitors to combine an exhibition visit with dining or drinks.
      The design responds to this with spaces designed in the spirit of a members’ club. There are seven floors, including a restaurant, two bars, a cafe, a bakery, a shop and a ballroom.
      Historic graffiti is preserved throughout the interior. Photo is by Nicoló Lanfranchi”It’s a complex cosmos that reminds one of a large hotel, only with exhibitions rather than overnight stays,” explained Aisslinger.
      “A house like this doesn’t live from ticket sales alone. If you wanted that, you would have to calculate with state aid,” he continued.
      “But that’s not what’s supposed to happen here. That’s why the many catering and event areas play a very important role.”
      A ground-floor cafe and bar features velvet seating booths. Photo is by Patricia ParinejadAisslinger said the aim was to create interiors that weave together the building’s different layers of history.
      Located on the corner of Oranienburger Strasse and Friedrichstrasse, the building was first inaugurated in 1909 as the Friedrichstrasse Passage.

      Roman and Williams creates “romantic” Veronika restaurant inside New York’s Fotografiska museum

      It was repurposed many times over the following decades – during the Nazi regime the building served as the headquarters for the party’s German Labour Front and its SS corps – and was due to be torn down before the Tacheles group moved in.
      As the Kunsthaus Tacheles, the building became a symbol of the post-reunification era, filled with large-scale graffiti works that are now protected by preservation orders.
      The department store’s original floor tiles are retained in the museum shop. Photo is by Patricia Parinejad”We tried to let the historic substance shine through a new use,” said Aisslinger.
      “It was important to give the substance room to breathe. But that doesn’t mean that we frame the old walls and graffiti-like pictures and illuminate them with spotlights. It was more a question of proceeding carefully.”
      Studio Aisslinger’s design aims to balance old and new. Photo is by Nicoló LanfranchiMany spaces are characterised by a careful balance between raw, industrial materials and more comfortable, luxurious elements, including decorative lamps and heavy, patterned fabrics.
      The Verōnika restaurant on the fourth floor is a key example of this.
      Verōnika is a restaurant organised around a central bar. Photo is by Nicoló LanfranchiThe space incorporates one of the building’s best-known artworks – depicting former German chancellor Angela Merkel with a mohawk hairstyle – in a private dining room featuring solid wood furniture and velvet upholstery.
      The ground floor has more of a casual, public feel. The cafe bar has fluted tiles and curving leather and velvet banquettes, while the shop features both original floor tiles and steel and wood shelving systems.
      Industrial materials are paired with soft lighting and patterned fabrics. Photo is by Patricia ParinejadThe level of intervention varies throughout, depending on the nature of each space.
      A light touch was adopted for the grand double-height ballroom, known as the Golden Hall, which was used as a theatre venue by the Tacheles.
      A different approach was required for Bar Clara, which is located under the new pyramid-shaped roof. Offering a panoramic view of the city skyline, it combines mirrored walls with shades of smoky grey, light blue and purple.
      The ballroom space was previously used as a theatre. Photo is by Nicoló LanfranchiFotografiska Berlin opened in September, although some of the bar and restaurant spaces came later.
      Some critics have questioned whether a private museum is an appropriate use of a building that had become synonymous with Berlin’s underground creative scene after the fall of the Berlin Wall.
      Aisslinger, whose previous projects in the city include the 25hours Bikini Berlin Hotel, believes the new model brings back the social spirit that came to define the Kunsthaus Tacheles.
      Bar Clara is a rooftop space offering panoramic views. Photo is by Nicoló Lanfranchi”The Tacheles was always an event space as well,” he said. “It was always a bit more. In this respect, one can say that this social aspect already existed in the house and that it is being brought back to life right now.”
      “We want to look ahead to the future whilst embracing the past, and to do so in a casual way,” he added. “That is very Berlin.”
      Main image is by Nicoló Lanfranchi.

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