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    Jan Hendzel tracks down “super special” London timbers to overhaul Town Hall Hotel suites

    Reclaimed architectural timber and wood from a felled street tree form the furnishings of two hotel suites that designer Jan Hendzel has revamped for London’s Town Hall Hotel in time for London Design Festival.

    Suites 109 and 111 are set on the first floor of the Town Hall Hotel, which is housed in a converted Grade II-listed town hall in Bethnal Green dating back to 1910.
    Each of the apartment-style suites features a living room with a kitchen alongside a bedroom and en-suite, which Hendzel has outfitted with bespoke furnishings. Like all of the furniture maker’s pieces, these are crafted exclusively from British timbers.
    Jan Hendzel has overhauled suites 109 (top) and 111 (above) of the Town Hall HotelBut for his first interiors project, Hendzel took an even more hyper-local approach with the aim of finding all of the necessary products inside the M25 – the motorway that encircles the British capital.
    “We started out with the idea that we could source everything within London,” he told Dezeen during a tour of the suites.

    “Some timbers have come from Denmark Hill, some are reclaimed from Shoreditch. And we used Pickleson Paint, which is a company just around the corner, literally two minutes from here.”
    The living area of suite 111 features green upholstery by Yarn CollectiveThe reclaimed timber came in the form of pinewood roof joists and columns, which Hendzel found at an architectural salvage yard.
    These had to be scanned with a metal detector to remove any nails or screws so they could be machined into side tables and tactile wire-brushed domes used to decorate the suites’ coffee tables.
    Rippled wooden fronts finish the kitchen in both suitesIn Suite 111, both the dining table and the rippled kitchen fronts are made from one of the many plane trees that line the capital’s streets, giving them the nickname London plane.
    “This London plane is super special because it has come from a tree that was taken up outside Denmark Hill train station in Camberwell,” Hendzel explained. “We couldn’t find timber from Bethnal Green but it’s the closest we could get.”
    The dining table in suite 111 is made from London planeFor other pieces, materials had to be sourced from further afield – although all are either made in the UK or by UK-based brands.
    Hendzel used British ash and elm to craft mirrors and benches with intricate hand-carved grooves for the suites, while the patterned rugs in the living areas come from West London studio A Rum Fellow via Nepal.
    “People in the UK don’t make rugs, so you have to go further afield,” Hendzel said. “Same with the upholstery fabrics. You could get them here but if they are quadruple your budget, it’s inaccessible.”

    Jan Hendzel explores potential of British hardwood in Bowater furniture collection

    Hendzel’s aim for the interior scheme was to create a calm, pared-back version of a hotel room, stripping away all of the “extra stuff” and instead creating interest through rich textural contrasts.
    This is especially evident in the bespoke furniture pieces, which will now become part of his studio’s permanent collection.
    Among them is the Wharf coffee table with its reclaimed wooden domes, worked with a wire brush to expose the intricate graining of the old-growth timber and offset against a naturally rippled tabletop.
    “It’s a genetic defect of the timber, but it makes it extra special and catches your eye,” Hendzel said.
    Grooves were hand-carved into the surfaces of mirrors and benches featured throughout the suitesThe coffee table, much like the nearby Peng dining chair, is finished with faceted knife-drawn edges reminiscent of traditional stone carving techniques. But while the table has a matt finish, the chair is finished with beeswax so its facets will reflect the light.
    Unexpected details such as loose-tongue joints, typically used to make tables, distinguish the Mowlavi sofa and armchair, while circular dowels draw attention to the wedge joint holding together their frames.
    Reclaimed architectural timber was used to bedside tables in room 109Alongside the bespoke pieces, Hendzel incorporated existing furniture pieces such as the dresser from his Bowater collection, presented at LDF in 2020. Its distinctive undulating exterior was also translated into headboards for the bedrooms and cabinet fronts for the kitchens.
    These are paired with crinoid marble worktops from the Mandale quarry in Derby, with roughly-hewn edges offset against a perfectly smooth surface that reveals the fossils calcified within.
    “It’s a kajillion years old and it’s got all these creatures from many moons ago that have fallen into the mud and died,” Hendzel said. “But then, when they get polished up, they look kind of like Ren and Stimpy.”
    A rippled headboard features in both suitesGoing forwards, the Town Hall Hotel plans to recruit other local designers to overhaul its remaining 94 rooms.
    Other installations on show as part of LDF this year include a collection of rotating public seating made from blocks of granite by designer Sabine Marcelis and an exhibition featuring “sympathetic repairs” of sentimental objects as the V&A museum.
    The photography is by Fergus Coyle.
    London Design Festival 2022 takes place from 17-25 September 2022. See our London Design Festival 2022 guide on Dezeen Events Guide for information about the many other exhibitions, installations and talks taking place throughout the week.

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    Chzon studio designs airport departure hall to reference Parisian life

    French design agency Chzon studio has added archways and fountains that reference iconic Parisian monuments to a departure lounge at the Charles de Gaulle Airport in Paris.

    Chzon studio redesigned the boarding gate area in Terminal 2G with the aim of creating a dynamic representation of Paris’ design and history in a typically utilitarian area of the airport.
    The vast space is punctuated by white columns and sculptural installationsThe 1,300-square-meter space is populated by rounded seating in dark blue and green upholstery, which takes aesthetic cues from the 1960s and 1970s, arranged in benches, booths and pairs.
    To zone the space and instill privacy, the studio added partitions and expressive white sculptures by artist studio Les Simonnets, which double as alternative bench seating.
    References to Paris are made at varying scales throughout the spaceThe studio made reference to iconic Parisian monuments by installing archways that nod to the Arc de Triomphe, as well as a fountain that is reminiscent of the water feature in the Jardin du Luxembourg and surrounded by green metal chairs similar to those found in Paris’ parks.

    Rows of wooden tables have been inlaid with chess boards in another reference to the parks of Paris. Passengers can use these as workspaces, to eat at, or to play games on while waiting for flights.
    The miniature fountain is a focal point within the terminalAs well as designing some of the lighting for the interior in-house, the studio also sourced and installed antique lighting and other decorative objects from the city’s St Ouen flea market, including giant wall lights and aluminium sunshades.
    To keep the space relevant to its function, Chzon also made references to aeroplane design by employing metallic details, patterned finishes and reclining plane-style seats designed by Italian architect and furniture designer Osvaldo Borsani.

    Marcel Wanders draws on Dutch history for overhaul of Schiphol airport lounge

    “[The design] dramatises the boarding lounge while keeping the passenger informed,” Dorothée Meilichzon, founder of Chzon studio, said of the interior design.
    “The departure lounge becomes a smooth transition between the Paris that we are leaving and the plane that is going to take off.”
    The mural is applied to perforated sheets and wraps around the walls above the windowsThe space also features a mural inspired by the work of French painter Sonia Delaunay that sits above the windows, which overlook the runways and allow views of planes taking off and landing.
    This fresco also references symbols used in airport signage and carries similar rounded motifs to the ones present in the retro-style seating and lighting.
    Rounded elements in furniture, lighting and decor reference the design of the 1960s and 1970sCharles de Gaulle Airport, also known as Roissy Airport, is the French capital’s principle airport.
    Other airport-related projects published on Dezeen include the cosy remodelling of an airport in Colorado, USA by Gensler and an airport that contains the world’s tallest indoor waterfall by Safdie architects.
    Images are courtesy of Chzon studio

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    University of the Arts London spotlights six interior and spatial design projects

    Dezeen School Shows: an app that makes use of disused car parks and a community cafe feature in Dezeen’s latest school show by students at the University of the Arts London.

    Also included is a museum that examines the role of female workers in the industrial revolution and a scheme that aims to integrate the physical and digital worlds to connect people to their surroundings.

    Institution: University of the Arts LondonSchool: Camberwell College of ArtsCourse: BA Interior and Spatial Design
    School statement:
    “Camberwell College of Arts is a renowned art and design college. We give students the space to explore their creativity. Staff will support and challenge you to rethink current practices. Our facilities embrace both traditional craftsmanship and digital technology.

    “Our design and fine art courses will make you think about your social responsibility, as well as develop your critical and making skills.
    “View our recent graduate’s work online at the Graduate Showcase website.
    “Join our online and on-site open days to learn more about Camberwell College of Arts and our courses. Click here for more information.
    “For the following projects, Camberwell’s BA Interior and Spatial Design students collaborated with students at IED Kunsthal, a design university located in Bilbao, Spain.
    “Students focused on the regeneration of Zorrotzaurre, a post-industrial area of Bilbao built on an artificial island.
    “The project’s aim was to design proposals for a former biscuit factory site, which required remote online working with students at IED Kunsthal as they researched and explored the area together.
    “Each student created a map of the urban landscape through a variety of media including textiles, projection and interaction.
    “Some Camberwell students also visited the site in Bilbao, where they exhibited their urban fabric mappings of the current condition of Zorrotzaurre and design proposals for the future of the island.
    “They also took part in a show at the university, as well as delivered presentations and workshops as part of the DRS2022.”

    Community and the Vernacular: Physical and Virtual by Lea Fakhouri
    “Community and the Vernacular is an expansion of my thesis around the idea that people in today’s society are considered inert consumers that only use the spaces that they inhabit, and are not actually part of the process of designing them.
    “My project explores the merging of the physical and digital world to help revitalise the connection between people and space.
    “The physical world houses six separate pavilions suspended across the site of the Artiach Cookie Factory in Bilbao, Spain.
    “The virtual world houses the united pavilions suspended together to represent the capabilities of the community to inform and transform its topography.”
    Student: Lea FakhouriCourse: BA Interior and Spatial Design

    Mobile Community Repair Cafes by Mia Bizard
    “Using my research on themes exploring accessibility, connection and communities, this project continues my investigation into the architecture of connection – connecting people, city, and environment.
    “Proposing a series of workshops and gallery spaces that essentially become repair cafes, all connected with foldable canopies, this project promotes the reduction of waste and sustainable, social community-focused lifestyles.
    “The idea is to bridge and connect these places – located around the island of Zorrotzaurre in Bilbao, Spain – as well as the local community through this fragmented series of spaces.
    “It aims to empower residents to take an active part in shaping their communities, as well as building on the legacy of the site by adding a participatory and engaging design that will help promote and attract people to the area.”
    Student: Mia BizardCourse: BA Interior and Spatial Design

    Zorrotzaurre’s Art District by Maya Mammoud
    “The project offers a unique experience to its visitors by taking them through a ‘designed walk’ across three spaces: a gallery, an auditorium and a multi-purpose social space.
    “The project is aimed at the local community and those with a common interest in Bilbao’s growing art scene.
    “The spatial layout explores the act of observing, using thresholds and viewports to make visitors see, experience and question their surroundings.
    “The aim of using viewports as a tool for observing fragments of other spaces, allowing sudden interactions to happen between visitors.
    “It also forms a deeper understanding of visitor experiences and how it is influenced by the creation of space.”
    Student: Maya MammoudCourse: BA Interior and Spatial Design

    Time Traveller by Qiao Wang
    “I created a temporary exhibition to promote local cultural heritage in Zorrotzaurre, Bilbao, Spain.
    “This solar-powered installation is based on the simplified shape of Zorrotzaurre, which is intended to provide visitors with a quick tour of the island.
    “To arouse the interest of visitors, they will feel as if they are exploring the maze while walking inside the installation, just like they are discovering and seeking knowledge in an unfamiliar city.
    “This project promotes the industrial heritage culture of the region to visitors from all over the world while boosting the local tourism economy and providing educational cultural dissemination.
    “In the installation, I used the pulley structure of the factory and woven fabric, which was inspired by my map. All materials used are sustainable.”
    Student: Qiao WangCourse: BA Interior and Spatial Design

    Fabric-Women-Museum by Shiyuan Liu
    “Fabric-Women-Museum aims to spatialise the inequalities suffered by women in the workplace during the industrial revolution.
    “The project is based on research into the history of Artiach during the industrial revolution when approximately 80 per cent of the workers were women.
    “Although Artiach offered work opportunities for women, their working conditions and treatment were poor.
    “The design translates the inequality of women in the workplace into four thematic rooms: control, inconvenience, isolation and vulnerability.
    “The interactive exhibition helps visitors understand the conditions suffered by women workers in workspaces during the industrial revolution.”
    Student: Shiyuan LiuCourse: BA Interior and Spatial Design

    (Junk)scape – Rethinking and Recycling Non-Places by Kiwi Chan
    “This project represents creative ways to transform car parks from non-place, anonymous spaces to ones with urban character.
    “The (Junk)scape app is a system and service that proposes efficient uses for ‘wasted’ spaces and energy around ‘non-places’ i.e. car parks.
    “This app rethinks and recycles underutilised parking lots by using a renting and scheduling system.
    “My primary design proposal for my rented ‘non- place’ explores ‘placeless’ people, in hopes to provide support for the local homeless community and raise awareness around this ‘invisible class’ through film.
    “This proposal also aims to incorporate responsible involvement with Bizitegi, a non-profit organisation that contributed to the construction of services for individuals from the worlds of exclusion and mental illness in Bilbao.”
    Student:Kiwi ChanCourse: BA Interior and Spatial Design
    Partnership content
    This school show is a partnership between Dezeen and the University of the Arts London. Find out more about Dezeen partnership content here.

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    Neri&Hu creates “nomadic” office interiors for Shanghai media company

    Chinese architecture studio Neri&Hu has designed a flexible office space in Shanghai for the changing needs of media company Red+Plus Studio’s employees.

    The Shanghai-based studio stripped back the 529-square-metre space, located on the second floor of a factory building within a former industrial campus, by removing numerous layers of previous renovations.
    The concrete structure is exposed in the office’s central spaceThe concrete structure of the building was left exposed throughout with a number of columns breaking up a large multi-use space at the centre of the office.
    Large steps within this space can be used as seating for presentations with a hidden projector placed in the roof.
    The existing skylights were used to light the desksTwo stainless-steel structures enclose meeting rooms alongside this main space, while private offices are arranged alongside it.

    A room with stainless-steel desks, which is lit by six pre-existing skylights in the sloping roof, stretches along one edge of the room.
    “With the strength of the building’s original character revealed, any additions to the space were carefully applied in layers that allow what is behind to coexist, inhabiting the liminal space between past and present,” explained the studio.
    A hidden projector can be lowered to create a screening roomThe studio used “nomad” as the design concept, based on the client’s request for flexible working spaces.
    Spaces were designed so that they can serve multiple functions, with several sliding doors created to provide flexibility and allow the company to alter the workspace dependent on future needs.

    Neri&Hu embody ethos of “reflective nostalgia” with own architecture studio in Shanghai

    “Much like the itinerant populations that move between cities to offer specialized services, the people working for and with this agency needed their spaces to transform according to various scenarios,” said the studio.
    Stainless steel and frosted glass were widely used throughout the space to contrast the concrete structure and reflect the changing usage. Galvanized steel and mesh were selected as they will change colour over time.
    Various office rooms are placed at the edge of the main spaceNeri&Hu’s other recent projects include a courtyard house in Singapore and a guesthouse wrapped in metal mesh in Shenzhen.
    The photography is by Zhu Runzi.
    Project credits:
    Partners-in-charge: Lyndon Neri, Rossana HuAssociate: Siyu ChenDesign team: Jerry Guo, Kenneth Qiao, Jinghan Li, Ath Supornchai, Kany Liu, Greg WuFF&E design and procurement: Design RepublicContractor: Shanghai Idea Mechanics Interior Designers Contractors

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    Vermilion Zhou Design Group opts for rich hues in revamp of Haidilao hotpot restaurant

    Shades of blue and green feature throughout this hotpot restaurant in Shenzhen, which has been updated by Chinese studio Vermilion Zhou Design Group.

    Haidilao, which was established in 1994, is the biggest hotpot restaurant chain in China, with overseas branches in cities such as London, New York and Sydney.
    When its Shenzhen location was in need of a revamp, Vermilion Zhou Design Group was brought in to lead on the design.
    Sky-blue seating lies at the centre of the restaurantFrom the outset, the Shanghai-based studio knew it wanted to avoid the red and black colour scheme that has previously been used in Haidilao restaurants.
    The space has instead been decked out in shades of blue and green that are meant to nod to the chain’s use of natural, fresh ingredients.

    At the periphery of the floor plan are jade-green dining cabinsAt the heart of the restaurant is a bank of sky-blue dining chairs accompanied by tables with flecked, terrazzo-style countertops.
    Bands of shiny brass panelling have been suspended from the ceiling overhead, inset with LED ticker boards that project interactive messages to diners.
    A large LED screen has also been integrated into Haidilao’s facade; it displays moving silhouettes of different people, hinting at the buzzing activity of the restaurant’s interior.
    Tables have terrazzo-style countertopsAround the periphery of the main dining room is a sequence of high-backed, jade-green booths that form intimate “cabins” where small groups can enjoy their meals.
    There are also a number of cosy nooks designed to accommodate solo diners.
    Jade-coloured fixtures and furnishings also appear in the private dining roomTowards the rear of Haidilao there is a drinks counter and a private dining room that can be hired out for special occasions. Tall pivoting doors help close the space off from the rest of the floor plan.
    In keeping with the rest of the restaurant, it features jade-coloured walls and brass-edged furnishings.
    In the bathrooms, terrazzo washbasins meet scalloped wallsVermilion Zhou Design Group has created a small manicure bar within the restaurant’s entryway – not only is it meant to lure in more passersby, but it also gives prospective diners a fun way to kill time while waiting for a table.
    The bar has been rendered blush-pink, boldly deviating from the restaurant’s colour scheme, and has a scallop feature wall.
    Scalloped surfaces go on to appear in the customer bathrooms, which have been finished with oblong mirrors and terrazzo-like washbasins.
    A pink nail manicure bar has been created in Haidilao’s entrywayThere are a number of visually striking hotpot restaurants across China.
    Examples include Jin Sheng Long in Qinhuangdao, where diners sit among thick stucco partitions, and Xinhua Nufang in Chengdu, which perches on the edge of a lotus pond.
    The photography is by Vincent Wu.
    Project credits:
    Creative director: Kuang Ming (Ray) ChouConcept design: Ting Ho, Ming ShiInterior design: Garvin Hong, Xudong Wang, Yuqin Chou, Dandan Guo, Jing Wu, Zihao Yao, Yuxuan Li, Changsong LiLighting design: Vera Chu, Chia Huang LiaoFF&E design: Ping Xue, Ruiping HeVideo: Ming Shi

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    Johnston Marklee installs villas inside industrial LA building for Holly Hunt Showroom

    Architecture studio Johnston Marklee has installed a pair of villas inside an industrial building in Hollywood to create display spaces for design brand Holly Hunt.

    The LA-based studio collaborated with Holly Hunt’s executive creative director Jo Annah Kornak to create the showroom on North Highland Avenue.
    A vaulted villa is one of two volumes installed inside Holly Hunt’s LA showroomLed by Johnston Marklee partner Sharon Johnston, the project involved the overhaul of a two-storey, 1940s building into a flagship location for the brand to showcase its furniture and home products.
    Holly Hunt’s design aesthetic and the city’s “characteristic industrial grit” were combined through the use of rich finishes and raw surfaces.
    Furniture from the brand’s Vladimir Kagan and Holly Hunt Studio collections are displayed in the north villaTwo villas were created inside the showroom to present the designs in residential-scale spaces, surrounded by a “promenade” that shows off the building’s tall ceilings and exposed concrete beams.

    “The raw concrete shell frames an interior street,” said Johnston.
    “A double-height promenade space around the villas, together with the villa interiors, creates an atmosphere and experiential narrative for the display of elegant domestic furniture for house and garden.”
    The second villa includes interior vignettes on the lower levelThe villa to the north features a vaulted ceiling and wall niches and is used to display the brand’s Vladimir Kagan and Holly Hunt Studio collections.
    At the other end of the building, a two-level structure is arranged around a large circular atrium at the centre.
    A circular atrium is located at the centre of the second villaThe lower floor comprises a series of interior vignettes, while rooms upstairs house a library of textiles, leather, trim and rugs, along with wallcoverings from a variety of affiliate brands.
    “The visitors’ journey through the spaces reflects a spatial dialogue between exterior and interior, linked through richly finished in-between spaces,” Johnston said.
    A taller space named the promenade surrounds the building’s interiorLight-grey oak flooring runs through both villas, while terrazzo, concrete walls and hand-troweled plaster are all executed in a matte finish in the promenade.
    Bronze details also feature throughout the showroom, including the entry vestibules, stairwell and lighting gallery.

    Knoll opens LA store based on Moroccan castle by Johnston Marklee

    Although most of the interior is decorated in neutral tones, a 24-foot (7.3-metre), mustard-coloured sofa follows a curved corner of the building.
    “We approached the interior architecture in the same way that we would design a new product, being very thoughtful with our use of scale, proportion and materials,” said Kornak.
    The concrete of the 1940s industrial building is left exposed”We were very intentional about incorporating elements that celebrate LA’s signature urban aesthetic, like the original exposed concrete walls, beams, and other details throughout the space,” she added.
    Holly Hunt was set up in 1983 by its eponymous founder in Chicago.
    The brand previously operated two spaces within LA’s Pacific Design Center, but has scaled down to just the sixth-floor showroom now that the North Highland Avenue flagship has opened.
    Matte finishes and bronze details are used throughout the showroomJohnston and partner Mark Lee established their studio in 1998, and have since completed many private residential projects in Southern California – including the Vault House and Knoll’s West Hollywood showroom – as well as around the world.
    Lee is also chair of the Department of Architecture at Harvard Graduate School of Design.
    The photography is by The Ingalls.

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    Hariri Pontarini rethinks cold medical interiors at Barlo MS Centre

    Canadian architecture studio Hariri Pontarini has completed a clinic in Toronto for multiple sclerosis patients that features warm wood tones and spaces designed to feel like “first-class airplane lounges”.

    The Barlo MS Centre is Canada’s largest clinic dedicated to those with MS, a complex autoimmune disease that affects the central nervous system.
    The BARLO MS Centre was designed with atypical colours, materials, textures and lightingNamed after its two biggest donors, the Barford and Love families, the centre occupies the top two floors of a new 17-storey tower at St Michael’s Hospital in Downtown Toronto.
    The 30,000-square-foot (2,790-square-metre) facility was designed by local studio Hariri Pontarini Architects, which aimed to rethink sterile-looking healthcare spaces and focus on patient wellbeing through the use of atypical colours, materials, textures and lighting.
    The clinic’s two storeys are connected by a staircase that rises through an atrium”Canadians are particularly prone to MS for reasons that are unclear,” said the studio.

    “This hospital’s mission is nothing less than to transform MS care and become the world’s leading MS centre through research and clinical treatment.”
    Circular consultation rooms are partially clad in walnutTaking cues from the hospitality industry, the team aimed to create a “comfortable and welcoming environment” by filling the spaces with daylight and offering views of the skyline.
    The two floors are connected by a double-height atrium, topped with an oculus that allows more natural light in from above.
    The wavy panels conceal the rooms from the main circulation corridorA staircase rises up through the atrium, curving towards the top with a glass balustrade to follow the shape of the opening.
    Downstairs, the atrium connects to a lounge at the corner of the building and a reception area anchored by a curved white counter.
    Infusion pods are given privacy by pale wood screensA wide corridor leads past a series of cylindrical consultation rooms that are partially glazed, but screened where they face the circulation area by wavy walnut panels.
    On the other side of the floor plan, smaller and more open consultation booths named infusion pods are still offered privacy with curved pale wood screens.
    Different varieties of wood give the interiors a warm tone”The infusion pods where patients may sit for up to eight hours are modelled to resemble a first-class airplane lounge and provide complete control over their environment,” the Hariri Pontarini team said.
    Various light-toned woods are used for wall panels and balustrades, as well as thin slats that extend across the ceilings.
    The atrium connects to a lounge and waiting areaAll spaces were designed with durability and accessibility in mind, considering that some MS patients have vision and cognitive loss, fatigue and impaired coordination.
    Bronze-coloured handrails were installed along the majority of walls and partitions, while anti-slip porcelain tiles cover the floors to aid patient mobility.

    UUfie completes light-filled Ontario medical clinic with translucent polycarbonate walls

    The centre also includes a gym, a mock apartment adapted for MS patients, and rooms for meetings, research and administration.
    Together, it provides patients with a space to see a dedicated healthcare team in one location and clinicians the state-of-the-art resources to offer the best possible treatment.
    An oculus above the atrium brings daylight into the centre of the buildingHariri Pontarini Architects was founded by Siamak Hariri and David Pontarini in 1994.
    One of the studio’s most recognisable buildings is the Bahá’í temple in Chile, featuring torqued wings made of steel and glass, while its work closer to home includes the glass-wrapped Tom Patterson Theatre in Stratford, Ontario.
    Handrails are provided throughout the clinic to aid patient mobilityThe Bar MS Centre is one of five projects shortlisted in the Leisure and Wellness Interior category of the Dezeen Awards 2022, along with a Shenzhen cinema and a spa in the Maldives.
    See the full Interiors shortlist and vote now for your favourites.
    The photography is by A-Frame.

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    Ten beautiful brutalist interiors with a surprisingly welcoming feel

    For our latest lookbook, we’ve collected 10 brutalist interiors from the UK to Brazil and Indonesia that show how textiles, plants and colours can be used to soften monolithic concrete spaces and create a cosy atmosphere.

    Brutalism as an architectural style often makes use of concrete to create large, sculptural buildings. These interiors in brutalist buildings feature plenty of concrete and hard angles but still manage to feel both warm and welcoming.
    Colourful tiling, wooden details and tactile textiles as well as an abundance of green plants were used to create inviting living rooms, bathrooms and even workspaces in these brutalist buildings, which include the Barbican in London and Riverside Tower in Antwerp.
    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring granite kitchens, terrazzo eateries and atriums that brighten up residential spaces.
    Photo is by Tommaso RivaA Brutalist Tropical Home, Indonesia, by Patisandhika and Dan Mitchell

    Designer Dan Mitchell worked with architecture studio Patisandhika to create this brutalist home in Bali, which features a double-height living room filled with books, records and green plants.
    The house has a split-level design that was modelled on modernist architect Ray Kappe’s Kappe Residence. Inside, colourful objects, textiles and furniture draw on the work of Clifford Still, Ellsworth Kelly and the Bauhaus movement to make the house feel homely.
    Find out more about A Brutalist Tropical Home ›
    Photo is by Niveditaa GuptaHouse of Concrete Experiments, India, by Samira Rathod
    As the name suggests, House of Concrete Experiments features sculptural concrete walls. Warm wood detailing offsets the grey hues, while the concrete floor has been inlaid with black stones to create an interesting pattern.
    Large windows and geometric skylights help make the room feel bright and inviting.
    Find out more about House of Concrete Experiments ›
    Photo is by Olmo PeetersRiverside Tower Apartment, Belgium, by Studio Okami Architecten
    Studio Okami Architecten stripped the walls of this flat in Antwerp’s Riverside Tower to let its original structure take centre stage.
    Colourful details such as a turquoise table and baby-blue spiral staircase and a playful, sculptural lamp make the home feel contemporary, while plenty of green plants give more life to the otherwise grey interior.
    Find out more about Riverside Tower Apartment ›
    Photo is by PhotographixBeton Brut, India, by The Grid Architects
    Designed as a “neo-brutalist” house, Beton Brut in India has a number of dramatic features, including a skylit atrium that extends through the home.
    The Grid Architects described the home as “typified by bare concrete, geometric shapes, a monochrome palette and a monolithic appearance”. Wooden flooring and furniture and plenty of textiles soften the house’s brutalist interior and potentially stern appearance.
    Find out more about Beton Brut ›
    Photo is by Anton GorlenkoBarbican flat, UK, by Takero Shimakazi Architects
    This flat in the Shakespeare Tower of London’s brutalist Barbican estate was overhauled by Takero Shimakazi Architects in a nod to the client’s strong ties to Japan.
    Details such as gridded timber panels and timber joinery were added throughout the flat, which also features Japan-informed details including an area lined with tatami mats.
    Find out more about the Barbican flat ›
    Photo is by Joana FrançaConcrete home, Brazil, by Debaixo do Bloco Arquitetura
    Debaixo do Bloco’s design for this sculptural house in Brazil is divided into three sections to provide a clear distinction between the various programmes.
    Inside, the interior has a mid-century modern feel, with gleaming wood parquet flooring and a glass PH table lamp by Danish designer Louis Poulsen decorating a side table.
    Find out more about the concrete home ›
    Photo is by Lorenzo ZandriSmithson Tower office, UK, by ConForm
    The brutalist Smithson Tower in Mayfair is the location for this “homely” office designed by ConForm Architects. The studio split the space into eight zones defined by the strong structural grid of the existing building, and added low-level joinery.
    The result is a design that softens the stark office spaces and makes the rooms feel more intimate.
    Find out more about the Smithson Tower office ›
    Photo is courtesy of The StandardThe Standard London, UK, by Shawn Hausman
    Designer Shawn Hausman created the colour-drenched interior of hotel The Standard in London, which is located in a brutalist building, to contrast “the greyness of London”.
    “I would say with this property we were a bit more colourful than usual, and I think part of that is acting in contrast to the brutalist building that the hotel’s in,” explained Hausman.
    In the bathrooms, stripy pink-and-black tiled walls and pops of pale mint green give the room a fun, playful feel.
    Find out more about The Standard London ›
    Photo is by Casey DunnPreston Hollow, US, by Specht Architects
    The long corrugated concrete volumes of Preston Hollow in Dallas were designed to reference brutalist Texan architecture from the 1950s and 60s, but the house was built to wrap around courtyards, creating a lively, open impression.
    Inside the low-slung buildings, mid-century modern-style furniture nods to the home’s architectural references but the interior is brought up-to-date with the addition of modern art.
    Find out more about Preston Hollow ›
    Photo is by Gilbert McCarragherBarbican apartment, UK, by John Pawson
    British architect John Pawson created this flat in London’s Barbican building using his signature minimalist aesthetic.
    The flat, which overlooks central London and has a small concrete balcony, has been kept almost empty with just a smattering of furnishings and pale wooden surfaces. Three artworks, a Buddha sculpture and a grandfather clock are the only decorative elements in the space.
    Find out more about the Barbican apartment ›
    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring granite kitchens, terrazzo eateries and atriums that brighten up residential spaces.

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