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      Space tourism informs design of Ichi Station sushi restaurant in Milan

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      Valencian design studio Masquespacio has completed a dine-in restaurant for takeaway sushi chain Ichi Station in Milan, with interiors designed to resemble a futuristic spaceship.

      Set in a historic building in the Brera district, the chain’s latest outpost builds on the same travel and transport concept established across its other outlets – including eight in Milan and another in Turin.
      Masquespacio has designed Ichi Station’s Brera outpostBut Masquespacio wanted to take this idea to the next level for the new restaurant by drawing on the visual language of sci-fi and space tourism.
      “We proposed approaching the travel concept as a trip to the future,” said Masquespacio co-founder Christophe Penasse.
      “When you enter Ichi, it’s like entering a capsule-like spaceship travelling through light, where you will disconnect from reality in order to get in touch with the food.”

      Customers can pick up orders at the takeaway counterMasquespacio completely redeveloped the layout of the 80-square-metre site – previously another restaurant – creating a central dining area along with a tunnel where diners can observe some of the sushi-making process.
      A pick-up bar close to the entrance was added to separate the circulation routes of take-away customers and diners.
      The dining area is housed in a cylindrical tunnelThe tunnel motif was developed as a way to express the idea of travel and make a reference to Japan without falling into cliches.
      “Some elements were incorporated to remind the customer of Japan, like the huge lighting circles, although we tried to avoid making typical references to Japan such as using wooden structures,” Penasse explained.

      Masquespacio designs “metaverse world” for Mango Teen store

      The tunnel motif also informed the circular and cylindrical details that pop up throughout the space across seat backs, bar stools and decorative elements such as the circular feature light in the main dining area.
      “The shapes and forms give the project the futuristic look that it needed,” the designer said.
      Diners can also watch sushi being prepared at the counterMasquespacio opted for a simple and restrained material palette that includes glass and micro-cement, which was used along with fully integrated tables and seating to create a seamless look reminiscent of a spaceship.
      The restaurant’s custom-made furniture brings in another reference to transport design tropes. “You can recognise it as a reinterpretation of the seating in a station and especially on a train,” Penasse explained.
      LED light panels are integrated into the walls, ceilings and table topsThe interior is finished in neutral shades of beige and off-white but is cast in different vivid colours thanks to the LED lighting system that is integrated into the walls, ceilings and even the table tops.
      The lights alternate between shades of blue, green, purple and peach at variable speeds and, according to Penasse, create a veritable “explosion of colour”.
      The toilets are finished in contrasting navy blueAlthough based in Spain, Masquespacio has completed a number of projects in Italy in recent years.
      Among them are two colour-block restaurants for fast-food chain Bun – a blue-and-green interior in Turin and a green-and-purple version in Milan.
      The photography is by Luis Beltran.

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      JUJU Studio creates “poetic and romantic” flagship for Miss Circle in New York

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      Pools of red carpet spill across the floor of this women’s fashion boutique designed by JUJU Studio in New York City.

      For fashion brand Miss Circle, New York-based JUJU Studio created the interiors of its 2,600-square-foot (242-square-metre) store on West Broadway in SoHo.
      The Miss Circle flagship in occupies a long, narrow space designed by JUJU StudioThe space has a long, narrow footprint, so studio founder Jing Ju devised a variety of display techniques for the brand’s womenswear garments.
      “Unlike typical fashion retail spaces, the Sensorial Flagship Store is inviting and relatable, encouraging customers to engage with the brand in a fully stimulating way,” said the studio.
      At the front of the store, a sliding counter can be used for multiple purposesThe majority of surfaces are finished in beige plaster, providing a neutral backdrop for more dramatic moments.

      These include areas where red carpet appears from the walls in fluid forms and spreads across the floor to look like pools of liquid.
      Red carpet extends from the floor to the ceiling beside the entrance”The smooth yet durable surfaces add texture and visual interest to the space, while the beige hue creates a sense of lightness and spaciousness,” the studio said.
      “This helps to create an accommodating atmosphere in the closed retail environment, where customers are likely to take their time browsing through the store’s selection of clothing and accessories.”
      Matching the carpet is a curvaceous red sofaAt the front of the store, the same also extends up the wall behind a curvaceous sofa of the same colour and seeps onto the ceiling.
      A sliding counter can be used for checking in guests during events, or for displaying accessories at other times.
      Garments are displayed in niches formed by arched colonnades on either side of the store”The sleek and minimalistic design of the counter complements the overall aesthetic of the store and demonstrates a thoughtful and efficient use of space,” said the studio.
      Along both sides of the store are arched colonnades, with cove-lit niches that each display a selection of clothing designs.

      Fabric arches divide Jonathan Simkhai store in SoHo by Aruliden

      More outfits are presented on chrome railings and mannequins in the centre of this double-height space, above which a long skylight is positioned.
      Towards the back of the boutique is a carpeted staircase that leads up to a mezzanine level, where the fitting rooms are located.
      Fitting rooms and a lounge area for customers is located upstairsRed satin furniture, designed by Thehighkey, forms a seating area for customers to relax beneath another skylight, while plenty of mirrors are provided for those trying on garments.
      “The warm lighting adds to the overall golden atmosphere, and the use of red provides a poetic and romantic sensation, making for a truly captivating experience,” the studio said.
      The Miss Circle store is on West Broadway in SoHoSoHo is renowned as a shopping destination for both fashion and furniture, and new stores are always appearing in the neighbourhood.
      Recent openings include a Khaite flagship with a tree planted in the centre, an outpost for Road to Awe that includes red fitting rooms and a lofty Moroso showroom.
      The photography is by David Luo and Justin Missner.

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      Eight cave-like interiors that celebrate curved forms

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      A spa with a spherical swimming pool and holiday homes with sloping plaster walls feature in our latest lookbook, which showcases eight cavernous Greek interiors.

      Cave-like interior designs are becoming increasingly popular, as seen in the Gilder Center by Studio Gang – a recently completed museum extension in New York with a large grotto-like atrium.
      In Greece, which is known for its caves, there is a wide variety of cave-like architecture either built from existing geological structures or designed to mimic these natural dugouts. Thick, curved walls are often chosen to protect interior spaces from the country’s Mediterranean climate.
      As the weather becomes warmer in the northern hemisphere, here are eight cave-like interiors from Greece that are defined by their curved shapes.
      This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring homes with striking bookshelves, outdoor showers and offbeat bakeries.

      Photo is by Yiorgos KordakisSummer houses, Santorini, by Kapsimalis Architects
      Local studio Kapsimalis Architects converted two underground caves at an old property in Santorini into summer houses with bright white facades.
      Inside, the homes are characterised by smoothed-out interiors finished with earthy-hued plaster, while arched doorways and niches nod to the property’s history.
      Find out more about these summer houses ›
      Image is courtesy of Greg Haji JoannidesSterna Nisyros Residences, Nisyros, by Greg Haji Joannides
      Designer Greg Haji Joannides renovated the interior of an earthquake-damaged house on the island of Nisyros using historic photographs as a guide.
      On the ground floor, wide brick archways create an open-plan layout that allows the space to double as an exhibition site for artists in residence.
      “The inspiration behind this design was to keep as much as possible of the original way the Nisyrians would build houses,” Joannides told Dezeen. “They would use the ground floor as a storage or working space.”
      Find out more about this island house ›
      Photo is by Spyros Hound PhotographyWooden Cave, Trikala Korinthias, by Tenon Architecture
      Wooden Cave is a timber-clad suite that forms part of Hyades Mountain Resort – a hotel in the mountainous village of Trikala Korinthias.
      Tenon Architecture split the suite into two sections that intend to mirror the appearance and experience of entering a cave. The front half features ashy black tiles arranged in a linear formation, while the rear half is made from almost 1,000 pieces of curved hand-cut spruce.
      “This division intends to create a clear distinction between the hard, ‘protective’ shell and the curved, ‘inviting’ interior, reminiscent of the form of a cave,” explained the architecture studio.
      Find out more about Wooden Cave ›
      Photo is by Giorgos SfakianakisSaint Hotel, Santorini, by Kapsimalis Architects
      Kapsimalis Architects converted a cluster of former homes, barns and cellars in Santorini into the Saint Hotel – the volumes of which are arranged in a stepped formation down a sea-facing cliffside.
      Inside, smooth cavernous walls were finished in white plaster that creates a subtle backdrop for minimal fittings and amorphous furniture.
      Find out more about Saint Hotel ›
      Photo is by Sylvia DiamantopoulosRetreat in Tinos Island by Ioannis Exarchou
      Retreat in Tinos Island is a 100-year-old stable that was transformed into a cosy holiday home for two by architect Ioannis Exarchou.
      Exarchou set large stones and thick tree branches into the dwelling’s ceiling, clad the walls in smooth white plaster and covered the floors in coloured concrete.
      “My main objective was to retain and preserve the cavernous unique feeling of the space,” the architect told Dezeen.
      Find out more about Retreat in Tinos Island ›
      Photo is by Yiorgos KordakisHoliday home, Santorini, by Kapsimalis Architects
      The cave-like subterranean spaces and vaulted rooms within this Santorini holiday home were renovated by Kapsimalis Architects to retain the building’s existing architecture.
      The studio worked to simplify the complex interior layout, which features a labyrinthine arrangement of spaces that are brightened by all-white plaster walls.
      Find out more about this holiday home ›
      Image is courtesy of DecaArchitectureEuphoria Spa, Mystras, by DecaArchitecture
      Carved into the base of a mountain in Mystras, Euphoria Spa is made up of differently scaled elliptical spaces that are connected by a web of catacomb-style passages.
      One of these areas contains an indoor spherical pool that is characterised by a dark central structure that can be accessed via curved archways.
      “Floating in the centre of this dark orb there is a sense of being suspended in the void of a platonic volume, but also a sense of womb-like calmness,” said DecaArchitecture.
      Find out more about Euphoria Spa
      Photo is by Julia KlimiHoliday apartments, Santorini, by Kapsimalis Architects
      Arched niches and grey cement plaster floors create neutral living spaces within these four holiday apartments, which were built near Santorini’s highest point.
      The complex’s terraces and retaining walls were formed from rocks excavated from the site to create a continuity between the architecture and the surrounding mountains.
      Find out more about these apartments ›
      This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring homes with striking bookshelves, outdoor showers and offbeat bakeries. 

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      Daytrip creates calm broken-plan interior for Edwardian home in west London

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      Warm, tactile materials and rich colours are balanced with a newfound sense of openness in this early 20th-century house that architecture studio Daytrip has renovated and extended in London.

      Queen’s Park House is a double-fronted Edwardian property – set in the titular west London neighbourhood – which Daytrip has taken from a series of run-down and characterless bedsits to a calm, contemporary home for a TV producer and his family.
      An understated foyer leads into Queen’s Park HouseAs the house had lost many of its Edwardian features, the studio devised contemporary takes on these details.
      Among them are the cherry wood “portals” by London carpenter Studio Manolo, which have replaced the architraves that once surrounded doors throughout the house.
      Daytrip extended the home with a bold new double-height volume to the rear, accommodating a hybrid kitchen-dining-living space and an open gallery housing a small study. In addition, the studio created a new principal bedroom suite at loft level.

      Steps lead down into the bespoke kitchen designed by Edward CollinsonDaytrip’s approach to the layout focused on maximising the feeling of space by opening up the connection points between previously discrete rooms.
      Stepping away from the traditional idea of a central corridor, the studio shifted the main route through the house to take in each room in turn.
      The spaces are differentiated by a drop in levels, as part of the semi-open broken-plan layout devised by Daytrip.
      A clerestory window provides views out from the living roomWhile these spaces retain their own individual functions and character, there is now a closer relationship between the individual rooms.
      “Traditional homes are full of dead ends where rooms feel secluded and separated,” Daytrip told Dezeen. “We wanted to create more connections.
      “It felt appropriate for a modern family lifestyle to create an easy and accessible route, from arrival down through the social spaces.”
      The living area also opens out onto a small gardenThe “arrival room” with its central table by local furniture maker Edward Collinson was designed to create a sense of calm to reframe the family’s mindset as they return home.
      On a practical level, this room also provides storage for all of the family’s coats, shoes and bags, concealed behind panelling that’s an inverted version of the typical period panelling found in Edwardian homes.
      Throughout the house, cherry timber was used in combination with the darker tones of the fumed oak floors.
      A gallery-level study sits above the kitchen”We enjoy the smoky effect of the fumed oak and used the warmer tones of the cherry as a counterpoint to that,” the practice said. “We like to use timber to create a tonal background, as it brings more depth to a room than paint alone.”
      From the foyer, steps descend into a more intimate snug, which is lined with umber-toned textured wallpaper and cherry timber shelving. This creates a darker, more cosy atmosphere that contrasts with the previous space.
      More steps link the snug to the newly extended kitchen, dining and living room.

      Daytrip transforms east London terrace house into understated apartments

      Here, floor-to-ceiling glass doors open the space up to the minimalist courtyard garden beyond – designed by regular Daytrip collaborator Tyler Gold Finch Gardens.
      Above this area, a clerestory window creates a dual-aspect outlook and frames views of the surrounding tree canopy.
      The kitchen, also made by Edward Collinson, features cherry wood panelling and Fior Di Pesco marble splashbacks, while the island is topped with a solid piece of lava stone in a glazed finish.
      The study is furnished with an Ekstrem chair by Terje Ekstrøm”We build palettes that reflect the mood and character of the property, often introducing both harmony and contrast,” Daytrip said.
      A poured concrete floor that was polished to a soft sheen continues out into the garden, creating a sense of seamlessness between the two spaces.
      Above the kitchen floats an open gallery, decorated in shades of russet with a rust-coloured carpet by Swedish brand Kasthall.
      Bathrooms provide an unexpected splash of colourFor the home’s colour palette, Daytrip referenced its red brick front and the greenery of the nearby park with an earthy mix of rusty-reddish tones, balanced by shades of bronze and bright mossy green.
      Beyond the study, the first floor is family-focused with children’s bedrooms and bathrooms, while the principal bedroom suite resides at the top of the house, benefitting from views of the London skyline.
      The bedroom was designed as a comfortable retreat, enveloped by tactile grasscloth wallpaper, in a warm amber tone. There’s an emphasis on softness here, with an off-white pure wool carpet as well as floor-to-ceiling diaphanous linen curtains.
      The principal bedroom was designed as a calming retreatLondon design consultancy Monument Store was chosen to furnish and style the house.
      “We liked Monument Store’s contrast of abstract and brutalist sculptural objét alongside post-modernist pieces such as the cult iconic Ekstrem chair in the gallery space, or the Tito Agnoli cane chairs in the kitchen-lounge,” Daytrip said.
      Linen curtains hide views of the London skylineThe studio has completed a number of London home extensions in recent years.
      Among them are two properties in east London’s Clapton – a townhouse with a newly excavated basement level and a Victorian terrace, which is now home to three separate apartments.
      The photography is by Pierce Scourfield.

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      Sophía Betancur references nearby church for Pizzeria Della Madonna

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      A neighbouring church informed the layout and design of this pizzeria in Mexico City, in which architect Sophía Betancur placed the oven in full view.

      The Pizzeria Della Madonna is located next to the Parroquia de la Sagrada Familia, a church in the city’s Roma Norte neighbourhood built in 1910.
      A halo-like stainless steel frame is one of the many religious references at Pizzeria Della Madonna”The temple reflects a mixture of neo-Romanesque, neo-Gothic, and eclectic styles,” said Betancur, who is based in Mexico City. “The semicircular arches, Corinthian columns and wooden benches arranged throughout the nave are elements reinterpreted in the spatial proposal of the project.”
      Inside the 98-square-metre, L-shaped space, the pizza oven is placed in the crossing — directly visible from the restaurant’s glass doors.
      The distressed plaster walls of the restaurant are reminiscent of an old Italian churchIts sculptural rounded form is framed by a halo-like stainless steel structure suspended from the ceiling, providing a shelf on which hot pizzas can be placed.

      Curved lines following the oven’s shape are traced across the floor, as well as on the ceiling in the form of track lighting that extends through the space.
      The dining area is laid out like a nave, with seating on either side of a central pathwayThroughout the restaurant, distressed plaster walls create the effect of eating in an old Italian church.
      “The rustic finish on the walls reveals multiple layers of paint that reflect almost a century of history of the house, which in the past housed homes and different commercial and retail projects,” the architect said.
      The open kitchen features ceramic and terracotta tilesThe dining space at the front of the restaurant is laid out like a nave, with wooden bench seating and tables on each side and a path up the middle.
      “The concept is complemented by historical, pictorial research and the symbology of the Virgin Mary and Marian architecture in Europe, from which forms, colors, materials and spatial qualities are taken up,” said Betancur.

      Studio Wok designs cavernous pizza restaurant to recall rocky coves of Sardinia

      “In this way, the proposal turns out to be a tribute to Mexican neo-colonial style and Italian religious architecture and iconography.”
      Further seating is located in the perpendicular branch, or transcept, of the “L”, where a mirrored wall at the end makes the space appear larger.
      In a “transcept”, further seating is reflected in a mirrored wallIn the kitchen area, ceramic tiles cover the wall surfaces, while terracotta tiles of a similar size and shape the front of the service counter.
      “The blend of the open kitchen and bar with the dining room translates into a balanced combination of practical and utilitarian materials typical of industrial kitchens and warm materials that provide elegance and comfort,” Betancur said.
      The restaurant is located in Mexico City’s lively Roma Norte neighbourhoodServing one of the world’s most popular foods, pizza restaurants take many forms and styles across the globe, but many feature some reference to its home country.
      In New York, Büro Koray Duman drew on Neopolitan culture for the interiors of Simo, while at Dough Pizza in Perth, Ohlo Studio used materials that evoke the “rustic sophistication” of Italy.
      The photography is by Arturo Arrieta.
      Project credits:
      Architecture: Sofía BetancurDesign team: Cesar Ávila G y Sergio Bau.Engineers: Leonel NavaVisual identity: Faena StudioConstruction: Factor EficienciaWoodwork: Taller Nacional y Solana EstudioLighting: Martín Leal

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    • 113 Shares119 Views

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      Sofía Betancur references nearby church for Pizzeria Della Madonna

      by

      A neighbouring church informed the layout and design of this pizzeria in Mexico City, in which architect Sofía Betancur placed the oven in full view.

      The Pizzeria Della Madonna is located next to the Parroquia de la Sagrada Familia, a church in the city’s Roma Norte neighbourhood built in 1910.
      A halo-like stainless steel frame is one of the many religious references at Pizzeria Della Madonna”The temple reflects a mixture of neo-Romanesque, neo-Gothic, and eclectic styles,” said Betancur, who is based in Mexico City. “The semicircular arches, Corinthian columns and wooden benches arranged throughout the nave are elements reinterpreted in the spatial proposal of the project.”
      Inside the 98-square-metre, L-shaped space, the pizza oven is placed in the crossing — directly visible from the restaurant’s glass doors.
      The distressed plaster walls of the restaurant are reminiscent of an old Italian churchIts sculptural rounded form is framed by a halo-like stainless steel structure suspended from the ceiling, providing a shelf on which hot pizzas can be placed.

      Curved lines following the oven’s shape are traced across the floor, as well as on the ceiling in the form of track lighting that extends through the space.
      The dining area is laid out like a nave, with seating on either side of a central pathwayThroughout the restaurant, distressed plaster walls create the effect of eating in an old Italian church.
      “The rustic finish on the walls reveals multiple layers of paint that reflect almost a century of history of the house, which in the past housed homes and different commercial and retail projects,” the architect said.
      The open kitchen features ceramic and terracotta tilesThe dining space at the front of the restaurant is laid out like a nave, with wooden bench seating and tables on each side and a path up the middle.
      “The concept is complemented by historical, pictorial research and the symbology of the Virgin Mary and Marian architecture in Europe, from which forms, colors, materials and spatial qualities are taken up,” said Betancur.

      Studio Wok designs cavernous pizza restaurant to recall rocky coves of Sardinia

      “In this way, the proposal turns out to be a tribute to Mexican neo-colonial style and Italian religious architecture and iconography.”
      Further seating is located in the perpendicular branch, or transcept, of the “L”, where a mirrored wall at the end makes the space appear larger.
      In a “transcept”, further seating is reflected in a mirrored wallIn the kitchen area, ceramic tiles cover the wall surfaces, while terracotta tiles of a similar size and shape the front of the service counter.
      “The blend of the open kitchen and bar with the dining room translates into a balanced combination of practical and utilitarian materials typical of industrial kitchens and warm materials that provide elegance and comfort,” Betancur said.
      The restaurant is located in Mexico City’s lively Roma Norte neighbourhoodServing one of the world’s most popular foods, pizza restaurants take many forms and styles across the globe, but many feature some reference to its home country.
      In New York, Büro Koray Duman drew on Neopolitan culture for the interiors of Simo, while at Dough Pizza in Perth, Ohlo Studio used materials that evoke the “rustic sophistication” of Italy.
      The photography is by Arturo Arrieta.
      Project credits:
      Architecture: Sofía BetancurDesign team: Cesar Ávila G y Sergio Bau.Engineers: Leonel NavaVisual identity: Faena StudioConstruction: Factor EficienciaWoodwork: Taller Nacional y Solana EstudioLighting: Martín Leal

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      Markus Benesch designs Alpine home for fabled “tuntschi” doll

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      A vengeful doll from an Alpine folk tale was the imagined occupant of this colourful cabin-style home created by German designer Markus Benesch at Milan design week.

      The maximalist Alpine Rising installation featured decorative Alpine-style furniture and multi-coloured wall coverings, all filled with references to life in the mountains.
      Benesch developed the design after becoming fascinated by the fabled character of the “tuntschi” doll.
      The exhibition featured Alpine-style furniture and multi-coloured wall coveringsAccording to the story, the tuntschi is fashioned out of wood, straw and cloth by herdsmen who spend the summer tending cattle on the mountain and crave female company.
      The doll comes to life, yet the herdsmen continue to objectify her. So when the time comes for them to return home, she takes murderous revenge on one of them.

      This got Benesch thinking about what happens after the story finishes.
      Stui dining chairs and Hockerl stools both combine ash wood with colourful resin”I wondered, what is this doll doing when she is alone in the wintertime?” he told Dezeen. “I thought, maybe she has the time of her life.”
      One of the starting points for the design was to think about the types of pastimes that the doll might enjoy.
      The Tuntschis Chapel cabinet is based on traditional Alpine architectureOne idea was that she might ski. This resulted in swirling motifs – reminiscent of snow tracks – that appeared throughout, plus a pair of bespoke skis.
      Benesch also thought the doll might take up pottery, which led him to the work of Austrian ceramicist Florian Tanzer, founder of Vienna-based studio Luma Launisch.

      Six interior designers style rooms at Artemest’s L’Appartamento in Milan

      Tanzer’s rough and enigmatic ceramics often depict unusual characters.
      For Alpine Rising, he created vases and vessels that integrate the face of the tuntschi. Some pieces had more than one face, in reference to her two-faced nature.
      The wallpaper combines images of wooden shingles with different colours and tonesBenesch and his small-production furniture, textile and wallpaper company Curious Boy created a completely custom interior for the tuntschi’s Alpine cabin.
      Divided into rooms, it was filled with farmhouse-style furniture pieces that combined traditional Alpine woodcraft with colourful motifs typical of Benesch’s designs.
      Benesch creates these patterns by inlaying wood with pigmented resin.
      The zigzag-patterned Hochzeitsschrank wardrobe was crafted from pineIn ash wood, designs on show included the cabin-style Tuntschis cabinet, the elaborate Himmibed and the playful Stui dining chairs.
      Walnut was used for the amorphous Splügen lamp, while the zigzag-patterned Hochzeitsschrank wardrobe was crafted from pine.
      Florian Tanzer created ceramics that refer to the two-faced nature of the dollFor the wallpaper and textiles, Benesch created repeating patterns using images of wooden shingles that typically clad Alpine chalets, then overlaid them with various colours and tones.
      Underlying the entire design was an idea about getting away from today’s digital world and the harmful effects it can have on mental health, and instead celebrating “an analogue lifestyle”.
      Benesch also produced hand-carved ash and walnut spoonsThis idea was emphasised by hand-carved ash and walnut spoons and a pack of custom-designed playing cards.
      “We want to disconnect from the crazy of our today’s world and reconnect more with ourselves in nature,” added Benesch.
      The exhibition formed part of the 5Vie district during Milan design week, where other exhibitions included Artemest’s L’Appartamento, a 1930s apartment redesigned by six different studios.
      Following Milan design week, we collected ten standout installations and projects on show during the week.
      Alpine Rising was on show from 15 to 21 April 2023 as part of Milan design week. See Dezeen Events Guide for more architecture and design events around the world.
      Exhibition and furniture photography is courtesy of Markus Benesch Creates. Ceramic photography is by Gregor Hofbauer.

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      Farrell Centre opens with exhibition showcasing mycelium and fake fur

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      An architecture centre founded by British architect Terry Farrell has opened in Newcastle, England, with an exhibition exploring building materials of the future and “urban rooms” for local residents.

      The Farrell Centre is an exhibition gallery, research centre and community space that aims to provoke conversation about architecture and planning, both in the city and at a global scale.
      The project was instigated by Farrell, who donated his architectural archive and put £1 million towards the build.
      The Farrell Centre occupies a former department store building in NewcastleThe inaugural exhibition, More with Less: Reimagining Architecture for a Changing World, looks at how buildings might adapt to the climate crisis.
      Fake fur, mycelium and wool insulation feature in a series of installations designed to challenge traditional methods of producing architecture.

      Elsewhere, three urban rooms host workshops and other events where locals can learn about the past and future of Newcastle and voice their opinions on development plans.
      The ground floor is designed to encourage people in, with glazed facades on two sides”The centre is here to bring about a better, more inclusive and more sustainable built environment,” said Farrell Centre director and Dezeen columnist Owen Hopkins during a tour of the building.
      “The belief that underpins everything we do is that we need to engage people with architecture and planning, and the transformative roles that they can have,” he told Dezeen.
      “Architecture and planning are often seen as something that’s imposed from above. We need to shift that perception.”
      Seating bleachers create an informal space for talks and presentationsForming part of Newcastle University, the Farrell Centre occupies a four-storey former department store building in the heart of the city.
      Local studios Space Architects and Elliott Architects oversaw a renovation that aims to make the building feel as open and welcoming as possible.
      The exhibition More with Less includes an installation by HBBE made from mycelium, sawdust and woolThe ground floor has the feel of a public thoroughfare, thanks to glazed facades on two sides, while bleacher-style steps create a sunken seating area for talks and presentations.
      A colourful new staircase leads up to the exhibition galleries on the first floor and the urban rooms on the second floor, while the uppermost level houses the staff offices.
      McCloy + Muchemwa’s installation is a table filled with plantsAccording to Hopkins, the launch exhibition sets the tone for the type of content that visitors can expect from the Farrell Centre.
      The show features installations by four UK architecture studios, each exploring a different proposition for future buildings.
      “We wanted to create something that expands people’s understanding of what architecture is, beyond building an expensive house on Grand Designs,” Hopkins said, referencing the popular television show.
      Dress for the Weather has created a mini maze of insulationNewcastle University’s Hub for Biotechnology in the Built Environment (HBBE) has created Living Room, a cave-like structure made by cultivating a mixture of mycelium and sawdust over a giant wool blanket.
      Next, a mini maze created by Glasgow studio Dress for the Weather aims to showcase the thermal and experiential qualities of building insulation, with varieties made from low-grade wool and plastic bottles.
      Office S&M’s installations include a silhouette of the head of Michelangelo’s David made from pink fur and a chaise longue covered in expanding foamLondon-based Office S&M proposes low-tech but fun solutions for making buildings more comfortable.
      These are represented by a silhouette of the head of Michelangelo’s David made from pink fur, a metallic space blanket, a chaise longue topped covered in expanding foam and a dichroic-film window covering that casts colourful reflections onto the floor.

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      “This whole room is about actually doing really simple mundane stuff, but in a way that is joyful and tells a story,” said Hopkins.
      In the final room, an installation by London-based McCloy + Muchemwa brings nature indoors with a boardroom table covered in plants.
      The urban rooms host events where people can learn about the development of the cityOn the floor above, the three urban rooms have been fitted out by Mat Barnes of architecture studio CAN with custom elements that make playful references to building sites.
      They are filled with historic maps, interactive models, informal furniture, display stands made from scaffolding poles, and architecture toys that include building-shaped soft play and Lego.
      In one of the rooms, planning proposals are displayed on stands made from scaffolding polesThe idea of setting up an urban room in Newcastle was the starting point for the creation of the Farrell Centre.
      A decade ago, Farrell was commissioned by the UK government to produce a report on the state of the UK’s architecture and planning system.
      One of the key recommendations in the Farrell Review, published in 2014, was to create an urban room in every major city, giving local people of all ages and backgrounds a place to engage with how the city is planned and developed.
      One urban room contains a model of a Terry Farrell-designed masterplan for NewcastleAs Farrell grew up in the Newcastle area and studied architecture at the university, he became keen to make this concept a reality in this city.
      Although the Farrell Centre is named in his honour, Hopkins said that Farrell is happy for the facility to forge its own path in terms of programme and approach.
      “He established the idea and vision for the centre, but he is happy for us to build out that vision in the way that we think is best,” added Hopkins.
      The Farrell Centre forms part of Newcastle UniversityThe director is optimistic about the centre’s potential to engage with the community.
      “Newcastle is a city like no other,” he said. “The civic pride here is off the scale. People have such a deep-rooted love of where they live.”
      “It’s amazing to be able to tap into that as a way of creating a better built environment.”
      More with Less: Reimagining Architecture for a Changing World is on show at the Farrell Centre from 22 April to 10 September 2023. See Dezeen Events Guide for more architecture and design events around the world.

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