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      Casa Yuma hotel built with “vegetal concrete” and pink bricks

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      Architecture studio TAAC and interior designer Sara Skalli have created a seaside hotel in Mexico that uses traditional materials including chukum – a finish made from tree resin and limestone.

      Named Casa Yuma, the 25-room boutique hotel is located on Playa Los Naranjos, a short drive from Puerto Escondido on the Pacific coast of Mexico.
      Casa Yuma sits between a palm grove and the beachSkalli, who co-owns the hotel with friends Camille Lambert and Tim de Belloy, felt it was important for the buildings to utilise materials native to the region.
      She and the project architect, TAAC founder Ricardo de la Concha, devised a materials palette that centres around the use of chukum.
      The hotel offers 25 guest suitesDescribed as a “vegetal concrete”, this water-resistant, plaster-like material is made by combining the resin of indigenous chukum trees with limestone-based stucco.

      The material often has a strong red tone –  as seen in other new Mexico buildings like as the Xique Boutique Hotel and Tulix housing – although the colour here is closer to a pale concrete-like grey.
      Furniture and textiles were sourced from local artisansSkalli said the use of chukum was intended to create “an ambience that is both organic and sustainable”.
      “My main goal was to create an environment where elegance harmoniously blends with the surrounding nature while reflecting the warmth and authenticity of this unique land,” she said.
      The entrance is via a thatched palapa hutThe materials palette also includes “salmon pink” adobe bricks from Puebla, which form decorative screen walls, and locally sourced macuil wood, used to build furniture and joinery.
      “The use of materials of Mexican origin was of vital importance,” added De la Concha.
      Building materials include pink adobe bricksCasa Yuma is situated between the seafront and a vast grove of palm trees. It is formed mainly of single-storey buildings, with zigzagging staircases providing access to rooftop patios.
      The reception is housed inside a palapa – a traditional Mexican hut with a palm leaf roof. From here, guests are led past the bedroom suites to arrive at facilities on the beachfront.
      A beach bar is among the seaside guest facilitiesThese facilities include an open-air restaurant, co-working lounge, beach bar, swimming pool, sunken firepit area and a spa cabin.
      “The layout of the elements is based on a linear axis with a direct path from the entrance to the beach, passing through the rooms to reach a pool facing the sea,” said De la Concha.

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      He said the concept was for “a barefoot hotel” where guests always have the feeling of being on the beach.
      “We want to create a unique atmosphere so that guests feel comfortable in every corner of the hotel and feel like they have found a second home,” added co-owner Tim de Belloy.
      The hotel offers co-working and wellness facilitiesThe interior design follows a similar ethos to the architecture, with craft objects and textiles sourced from local makers. These include handmade wall tiles, minimal nightstands, woven rugs and striped bedspreads.
      “Most of the decorative elements come from incredibly talented local artisans and underscore our commitment to preserving regional culture,” said Skalli.
      “The aim is to offer unique spaces, where each room retains its individuality while inspiring a familiar experience.”
      A sunken firepit lounge sits alongside the swimming poolOther recent Mexican hotels on Dezeen include a hotel by Productora and Esrawe Studio on a hilly site in San Miguel de Allende and a boutique hotel coated in pink chukum and set in an artificial wetland in Puerto Escondido.
      The photography is courtesy of Casa Yuma.

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      Neuhäusl Hunal coverts interwar cinema into “morning to night” dining venue

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      A neutral colour palette unites the restaurant, bar and shop within a former interwar cinema and 19th century stables in Prague, which has been converted by local studio Neuhäusl Hunal.

      Named Alma, after the cinema that used to occupy the site, the 800-square-metre space was renovated by Neuhäusl Hunal.
      Understated lighting accentuates the original features of the cafe spaceThe ground floor was converted into a restaurant alongside a cafe, wine bar, wine shop and garden area, while the basement level contains a bar – which doubles as a nightclub – a function hall, a fermentation room and a room dedicated to wine tasting.
      A colour palette dominated by sober, earthy tones was used to instil a laid-back yet refined atmosphere, which is the hallmark of all of operator Kro’s locations. As well as uniting various functions and purposes, the design scheme ties various architectural styles together, as the site contains a myriad of structures from a range of time periods.
      A wine shop is found on the ground floor”The Alma project is housed in three buildings – the many-times-rebuilt classicistic house and the former stables in the courtyard date back to the 19th century,” Neuhäusl Hunal told Dezeen.

      “The Alma cinema – which houses the restaurant today – was completed in 1924.”
      “There was no significant interior work to react to – except, of course, for the original historic structures and vaults, which we wanted to let shine,” the studio continued.
      The restaurant has both wooden and metallic furnishingsRepeated elements found throughout the interiors include unobtrusive lighting fixtures, which serve to provide task and ambient lighting as well as to highlight the space’s original features, and tiled walls, which gradually darken from a light beige in the cafe to a dark tone in the subterranean bar.
      In contrast with the overall muted interiors, graphic designer Jan Horčík created a bold wayfinding system characterised by chunky uppercase lettering displayed on illuminated light boxes.

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      “The sober interior is complemented by funky lightboxes, which illuminate it with their novel colours, formulations and graphic design,” said the studio.
      “Alma works from morning to night: the day starts in the cafe, lunch and dinner can be sorted out in the restaurant, and then move on to the wine bar for a drink – this naturally corresponds to their designed character, colour, and atmosphere,” it continued.
      “Logically, we treat brand-new constructions and historic ones differently – an interesting problem arises in the transitions between these spaces.”
      The bar has an intimate atmosphere thanks to its vaulted ceilingNeuhäusl Hunal has completed a number of projects in the Prague, including an apartment for a sculptor that doubles as a workshop.
      Other recent adaptive reuse projects published on Dezeen include a guesthouse in Transylvania that used to be a church and a city hall inside a former maritime structure in the Netherlands.
      The photography is by Radek Úlehla.
      Project credits:
      Client: Alma PragueBuilding contractor: AversProject documentation: LZ atelierGraphic design: Jan HorčíkArt blacksmith: Peter Demek (DEMO Works)Lighting supplier: BulbCeramic tiling supplier: KeraservisGastro: Kitchen PlanPlants: Pokojovky

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      Will Gamble Architects modernises London Victorian house with “soft minimalism” interiors

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      UK studio Will Gamble Architects has extended and modernised a Victorian house in south London, using curved shapes and a palette of natural materials to create a calm and minimalist aesthetic.

      The clients – a married couple looking to create their forever home – asked Will Gamble Architects to oversee the transformation of the semi-detached house in Putney into a serene sanctuary.
      Architecture firm Proctor & Shaw initially developed the planning drawings before Gamble’s studio was appointed to develop a cohesive interior design service throughout the home, including technical drawings and revised spatial layouts for the upper floors.
      Will Gamble Architects has extended and modernised a south London Victorian houseTo fufil the clients’ request for increased space, a rear and attic extension was added.
      “We were keen to maximise space and light as much as possible through clever design solutions,” architect Will Gamble told Dezeen.

      “This was particularly relevant over the upper floors where the brief called for four bedrooms and three bathrooms which a conventional layout couldn’t accommodate.”
      Gamble’s “soft minimalism” approach is defined by gentle tonal huesGamble applied an approach he described as “soft minimalism” throughout the interiors, utilising a restrained palette of textural materials to ensure consistency across all floors.
      “Soft minimalism is defined by curved lines, gentle tonal hues, natural materials and carefully curated spaces,” said the architect. “This aesthetic allowed us to deliver a highly bespoke project tailored to our clients’ needs.”
      Muted colours enhancing the “soft minimalism” aesthetic include whites and pinksArched niches, curved walls and a bespoke staircase with semi-circular landings, circular spindles and a turned-oak rail contribute to an aesthetic defined by a gentle geometry.
      Muted colours including warm whites and soft pinks provide a soft and coherent backdrop, while more textured materials including pippy oak and richly veined marble add personality to some of the spaces.

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      The new staircase was illuminated by an oval roof light that continues the theme of gentle, round forms. The roof light casts natural light deep into the floor plan and is openable to allow stack ventilation to naturally cool the interior.
      Bespoke joinery brings functionality and visual interest to rooms including the main bedroom, where a headboard unit made from pippy oak provides additional storage as well as concealing the en-suite shower room.
      Textured materials like pippy oak and richly veined marble add flare to certain spacesThe bespoke bed and headboard with integrated wardrobes are centrally located within the room to maximise the available space. The en suite contains a pair of marble-clad vanities either side of a walk-in shower.
      Pippy oak was used elsewhere in the house for furniture including bedside tables and built-in storage. The wood’s distinctive knots and knot clusters stand out whilst complementing the other natural materials.
      “The ‘cats paw’ pattern of the pippy oak adds a decadence to the otherwise muted material palette,” Gamble added. “We used this unique material in key areas to help establish a hierarchy across the spaces throughout the project.”
      A pippy oak headboard unit in the main bedroom conceals the en-suite shower roomAs part of the renovation project, the building’s historic fabric was thermally upgraded to reduce energy consumption and create a more comfortable environment. A home automation system was also incorporated that minimises visible light switches and contributes to the uncluttered, minimalist interiors.
      According to Gamble, the owners were interested in “achieving a high-quality finish driven by an acute attention to detail”, which led to a highly bespoke project tailored to their exact requirements.
      Will Gamble established his London-based studio in 2018 after working for architectural practices Farrells and Francis Philips Architects. The office specialises in sensitively retrofitting existing buildings through contemporary architectural interventions.
      The studio’s previous projects include a home built within the ruins of a 17-century parchment factory in Northamptonshire and a glass-walled extension to a Georgian house in Leicestershire.

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      Paradis Apartment offers design-led stays in Belgian seaside town

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      The founders of design PR agency Club Paradis have transformed an apartment in Ostend, Belgium, into a design-led vacation home where almost everything is for sale.

      Available for holiday stays, meetings or photoshoots, Paradis Apartment is filled with furniture, accessories and artworks by the likes of Muller Van Severen, Destroyers Builders and Nathalie Du Pasquier.
      Paradis Apartment features a bay window overlooking the Ostend seafrontBusiness and life partners Albane Paret and Micha Pycke bought the apartment for their own holiday home, but soon realised it could double as a show space for contemporary design.
      Following a complete refurbishment, the couple filled the rooms with works by friends and colleagues, including some by designers, brands and galleries represented by Club Paradis.
      The living room features Muller Van Severen’s Pillow Sofa and a carpet by Christoph Hefti”We have always been drawn to beautiful things, craftsmanship and art, but it wasn’t until we bought the flat last summer that an idea grew to do something more than just decorating and renting it out,” Paret told Dezeen.

      “Talking to people in our network, the idea of placing objects and works of art in it, to show them off to best advantage, was born,” he said.
      “We wanted to create an inspiring place where you see beautiful things and feel inspired.”
      Muller Van Severen’s Wire C # 1 wall cabinet will be a permanent fixtureThe couple have a personal connection with Ostend. The seaside town, situated between Bruges and the French border, is where Paret grew up.
      They bought an apartment overlooking the sea, with characterful period details including a grand bay window, herringbone parquet flooring, decorative crown mouldings and a marble fireplace.
      A custom kitchen by Atelier Ternier features an undulating hardwood wall unitThe renovation opened up parts of the apartment that were previously separate, with a grand open-plan room now serving as a living room, dining space and kitchen.
      The space features a custom-designed kitchen by Atelier Ternier, combining a precisely crafted island in brushed stainless steel with an undulating wall unit in lacquered sapele hardwood.
      The apartment contains two bedrooms, including one with a double bedOther standout pieces in this room include Muller Van Severen’s squishy Pillow Sofa and gridded Wire C # 1 wall cabinet, and statement carpets by textile artist Christoph Hefti.
      Paret and Pycke plan to change the furniture over time, swapping some pieces out to make room for new ones.

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      They describe the apartment as “a moving, versatile and evolving project”.
      “It’s not a gallery, nor a showroom or a shop, but a curated space where the works and objects are put to everyday use, away from the sacredness of the museum and the white cube,” said Paret.
      A quilted silk blanket by Rooms Studio adorns one wallAlthough many of the works are by Belgian designers and studios, there are a few additions from further afield.
      These include a quilted silk blanket by Georgian design duo Rooms Studio, which is presented as an artwork, plus accessories and textiles from Danish brands Hay and Tekla.
      The second bedroom features bunk bedsBelgian design gallery Maniera, a Club Paradis client, is one of the main contributors. Other partners include up-and-coming studio Coseincorso and Ghent-based Lerry Ceramics.
      “It’s a very personal project,” said Paret. “We chose objects and furniture from artists, designers, craftspeople and galleries that we know, which is why a lot of pieces are from Belgian designers.”
      “Every choice we made was based on a feeling, an attraction to a certain object or designer.”
      Danish brands Hay and Tekla provided accessories and textilesThe apartment sleeps five across two bedrooms, including a main room with a double bed and a second room featuring bunk beds.
      Paret and Pycke plan to use the space throughout the year, depending on when it is booked out.
      The apartment is the vacation home of Albane Paret and Micha PyckeThroughout the house, styled shelves feature books and magazines from their personal collection.
      “If we come for a weekend, it has to be well thought out for us too,” Paret added.
      The photography is by Frederik Vercruysse.

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      Jakob Sprenger embellishes Aesop store with salvaged plaster medallions

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      Austrian architect Jakob Sprenger has installed 1920s plaster medallions above a large sculptural sink as the centre of skincare brand Aesop’s store in Paris.

      Located within a residential neighbourhood in the district of Ternes in Paris’ 17th arrondissement, Sprenger designed the store to “create a feeling of simple domesticity”.
      The space was designed around four 19th-century painted gypsum ceiling medallions that the team found during the initial stages of the project.
      The flooring was made from reclaimed French tomette tilesThe baroque-style medallions were originally made in 1923 for the now-demolished Hotel de la Guilonniere in central Paris.
      They were placed directly above a sculptural sink that sits at the centre of the triangular store.

      “At first, we weren’t sure how to incorporate them, but their artistic quality and provenance immediately caught my attention,” Sprenger told Dezeen.
      The medallions were attached to the ceiling and one of the wallsAs is typical of most Aesop stores, the sink can be used by customers to trial and test the brand’s products.
      Above the sink, a large elliptical cut-out in the ceiling was designed as a frame for both the sink and the medallions above.
      “The triangular floorplan with a wide south-facing facade has a rather unusual geometry but allows for an impactful arrangement of functions and exciting perspectives,” explained Sprenger.

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      The design team organised the space into two “differently proportioned” sections, with the primary sales area at the front of the store and the billing and checkout nook at the back.
      Sprenger explained that the two sections were “flanked by softly rounded geometries, harmonising the visual tension of the triangular room with narrow corners”.
      Millwork and accent walls across the store were painted in burgundy-red lacquerBurgundy-toned window bays were created at either end of the space, where there is seating for customers.
      Adjacent to one of the windows is a fragrance armoire, where customers can test the brand’s perfume range.
      The checkout nook has a curved counterThe billing and checkout nook was created as an intimate space painted in burgundy red lacquer, featuring visible brush strokes.
      Candles and incense are displayed on recessed shelves on one side of the nook.
      Recessed shelves display the brand’s candles and incense rangeAccording to Sprenger, the main design challenge was amending the facade, which was added in the 1990s.
      The design team aimed to create an “inviting ambience” by adding textile awnings and lacquered paneling above a plinth clad in lutecian sandstone.
      An alabaster-coloured Aesop street sign contrasts the dark background of the facade.
      The facade features a plinth of lutecian sandstoneSprenger previously designed Aesop stores in Rome and Salzburg.
      “Our mission is to create lasting values that resonate meaningfully with their surroundings,” he explained.
      “We approach every project as a unique entity embedded in its historical, architectural and cultural context,” Sprenger said.
      Aesop stores recently featured on Dezeen include an outpost in Seoul informed by traditional Korean pavilions and another covered in mint green materials in Los Angeles.
      The photography is by Ludovic Balay.

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      Archmongers celebrates “raw beauty of brutalist concrete” in Trellick Tower apartment refresh

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      Newly exposed concrete walls are paired with a matching terrazzo in this sensitive home renovation by London studio Archmongers in North Kensington’s Trellick Tower.

      Led by architects Margaret Bursa and Johan Hybschmann, Archmongers reworked a duplex apartment on the 23rd and 24th floors of the listed 31-storey tower block.
      Archmongers has renovated a Trellick Tower apartmentThe design stays true to the original layout and materials palette but some small adjustments help to emphasise the building’s brutalist character.
      Bursa and Hybschmann chose to expose the coarse concrete aggregate walls, while new fixtures and surfaces are made from industrial-style materials in complementary tones.
      Materials were chosen complement the newly exposed concreteThe effect is most striking in the kitchen, where the speckled brown and cream terrazzo sits alongside brushed stainless steel counters, white cabinets and matt-black linoleum flooring.

      Archmongers designed the home for a client who divides their time between London, Italy and Switzerland.
      “Our client was looking for a refurbishment which was true to the simplicity and modesty of the original fit-out,” Bursa told Dezeen.
      Matt-black linoleum provides flooringThe aim, she said, was to embrace “the raw beauty of brutalist concrete” and emphasise “the use of honest materials in every intricate detail”.
      “The contemporary update is drawn from the original architecture,” she said.

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      “We exposed the in-situ cast concrete walls in the living spaces and on the stairs, adding material richness to the interiors and linking to the course aggregate concrete of the exterior facade.”
      Completed in 1972, Trellick Tower was designed by Hungarian-British architect Ernö Goldfinger and famously features a separate staircase tower connected to the apartment floors by enclosed bridges.
      A secondary doorway was replaced with an internal window to create extra storageArchmongers made few changes to the apartment layout, which they described as “very efficiently designed”.
      The largest intervention closed up a secondary doorway that previously led through to the kitchen, instead creating an internal window above additional storage and counter space.
      The same material palette features in the living roomAn adjustment was also made on the upper level, where some of the space from the cloakroom was reallocated to make room for an extra shower.
      In bathrooms on both floors, tap and shower fittings sourced from Italian manufacturer Fantini Balocchi provide flashes of bright red and yellow that reference the coloured tiles found throughout Trellick Tower.
      Bathrooms feature white tiles with putty-coloured grout and brown terrazzo”The communal hallways of Trellick Tower each have a different tiled colour theme, which inspired our use of colour,” Bursa explained.
      Warm tones emanate from other surfaces in these rooms, including a terrazzo with the tone of walnut wood and white tiles outlined by putty-coloured grout.
      Tap and shower fittings provide flashes of bright red and yellowThe Trellick apartment is the latest in a series of mid-century renovations that Archmongers has completed and not the first to feature in a famous estate.
      Past projects include reworks of a duplex in the 1950s-built Golden Lane Estate and an apartment in the Barbican, as well as a revamp of a 1960s terrace.
      A new hand-carved walnut handrail was added to the staircaseHere, the building’s Grade II* listing meant that Archmongers was required to retain the original metal lightswitches, even though they couldn’t be certified after the electrics were rewired.
      “There are now two sets of light switches; one new and one original but no longer working,” Bursa said.
      Other sensitive additions include a new hand-carved walnut handrail for the staircase, which runs parallel to the modernist-style metal and timber balustrade.
      The duplex is located on the 23rd and 24th floors of Trellick Tower”Preserving the architectural integrity of the building was paramount,” Bursa added.
      “The Trellick Tower project serves as both an homage to the building’s historical significance and a timeless update that elevates its legacy to new heights.”
      The photography is by French + Tye.

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      JEB Group unveils partitions “optimised for acoustics”

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      Promotion: acoustic partition brand JEB Group has enclosed a wood-lined meeting room with a sliding partition system, forming the centrepiece of an office in Hong Kong.

      Named “Summit Partition Systems”, the set up features a slim frame with a curved design, intended to integrate with the overall interior design. The project also uses the company’s Summit sliding door with a lightweight design and pared back extrusions.
      JEB specialises in acoustic partitions and furniture for commercial interiors, where clients want to reduce noise and minimise disruption.
      JEB Group supplied and installed single glazed partitions with a matching sliding door in this Hong Kong officeJEB said its Summit sliding doors are hung and constructed using a specially designed technique using gaskets to minimise sound when opening and closing.
      The company said it is also able to achieve smooth access through a custom made track at the base and heavy rollers capable of bearing loads up to 300kg.

      The partitions systems were customised by JEB with curved glass and matt black finishes for a financial planning company’s Hong Kong office.
      Designed to “optimise acoustics and seamlessly blend charm and functionality”, Summit partitions provide a private space suitable for meetings, according to the company.
      The meeting room has single glazed glass partitions and doors”One of the standout features of this workspace is our Summit partitions systems and matching sliding doors,” said the brand.
      “These partitions are a perfect example of how thoughtful design can enhance the modern office environment. They offer a sleek and stylish appearance with a slim frame that complements the overall interior design,” the company continued.
      The switchable “smart glass” can be left transparent for visibility or “misted” when privacy is needed”Their acoustic capabilities ensure that the workspace remains peaceful and free from distractions, creating an environment conducive to productivity,” added JEB Group.
      Summit partitions system and matching sliding doors, like all JEB acoustic partitions, undergo ISO certified and third party laboratory testing, and can achieve an STC rating of up to 37 with their double glazing solutions, the company said.
      “What’s more, the elegant curved feature of these doors adds a touch of sophistication to the space.”
      The curved glass was specified by the client for a contemporary lookAccording to the company, the Summit partition system is lightweight, ensuring “smooth and effortless operation”.
      The switchable single glazed glass panes can be left transparent for visibility between meeting spaces or “misted” to maximise privacy when needed.
      In addition to the Summit sliding doors, JEB Group curated a selection of modern and ergonomic furniture for the client.
      “By prioritising comfort and functionality, these carefully chosen pieces added the perfect finishing touch to our client’s commercial space, catering to the modern needs of businesses in workstations and breakout areas,” said JEB Group.
      The room is designed to be a private, near silent spaceJEB said it is committed to promoting sustainability practices striving to “repurpose unwanted furniture and relocate partitions to new sites” where possible.
      The company aims to provide an array of design services: acoustic partitions, office furniture, bespoke facades and circular office fit-out solutions.
      Other projects by JEB Group featured on Dezeen include glazed acoustic partitions and furniture created for UOW College Hong Kong.
      To find out more about JEB Group, visit jebgroup.com.
      The photography is courtesy of JEB Group.
      Partnership content
      This article was written by Dezeen for JEB Group as part of a partnership. Find out more about Dezeen partnership content here.

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

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

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

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

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

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