Interiors

Subterms

    More stories

    • 138 Shares169 Views

      in Rooms

      Civilian draws on “grandeur” of early cinemas for Sandbox Films offices

      by

      New York studio Civilian has designed the headquarters for a documentary production company in Manhattan’s Flatiron District, which includes an art deco-influenced screening room.

      The offices for award-winning Sandbox Films are located in a landmarked 1920s neo-gothic skyscraper, and provide the company with its first dedicated workspace.
      Civilian’s interiors of the Sandbox Films offices draw upon multiple references, from old movie theatres to colours used by Danish modernist Poul HenningsenSpread across 4,200 square feet (390 square metres) of space, the program includes an open-plan reception area that doubles as an events space, a conference room, private and open offices, and production and editing suites.
      There’s also a 22-seat screening room with a Dolby Atmos sound system, in which the team and their visitors can preview the completed or in-progress cuts.
      In the centre of the reception area is a custom, double-sided sofa upholstered in velvet and boucle fabricsThe non-profit documentary production company makes cinematic science films, many of which have won or received nominations for prestigious awards.

      Among them are Fire of Love, which was nominated for Best Documentary Feature at the 95th Academy Awards in 2022; Emmy-winning Fathom; Sundance winner All Light, Everywhere; and Fireball, co-directed by Werner Herzog.
      Another custom design is the meeting room table, which has ash legs and a white lacquered top”Inspired by [our] clients’ love for the craft of storytelling, the space was informed by the grandeur of the amenity-rich yet intimate early movie houses of Stockholm and Amsterdam, art deco cinemas, the architectural colour gestures of Danish modernist designer Poul Henningsen, and the vanished world of interwar New York conjured by the project’s Broadway address,” said Civilian.
      The reception area revolves around a circular stone-topped bar, which demarcates a staff pantry area by day, and can be used for serving food and drinks for events.
      Vintage pieces sourced for the space include a pair of swivelling Milo Boughman chairs”With an active roster of screenings, events and a residency program for independent filmmakers, the space acts as an office as well as a dynamic center of gravity for New York’s nonfiction film community at large,” the team said.
      A custom double-sided, Pierre Chareau-inspired boucle and velvet sofa sits opposite a pair of refinished Milo Boughman swivel chairs.
      A bar area in reception acts as a pantry by day and is used for hosting events in the eveningMarquee lights are installed in rows along the sides of the existing ceiling beams, with additional sconces mounted on the plastered pantry wall.
      Structural columns have been wrapped in travertine cladding to highlight thresholds between the different spaces.
      Wood panelling and film posters hark back to art deco movie theatresOn either side of the reception, acoustic partitions with glass panels and mint-green frames cordon off the bright conference room and a private office.
      Furnishing the conference room is a custom-designed meeting table that combines a solid ash frame and a high-gloss curved lacquer top, surrounded by vintage Tobia Scarpa Sling Chairs.
      A communal workspace features sit-stand desks, oak dividers and plenty of ledges for plantsFrom reception, a neon-lit burgundy door leads into the screening room, where three tiers of seating face the large screen like in a mini movie theatre.
      The cushioned seats are upholstered in soft powder-blue fabric, which contrasts with walnut wainscoting, and sound-absorbing brown wool wall panels that conceal the equipment.

      Gensler and Civilian transform 1930s Detroit post office into workspace and technology centre

      Each chair has an individual armrest table for placing drinks or writing notes, complete with a small light created in collaboration with Lambert et Fils.
      More private offices, sound-proofed editing suites and an open workspace are accessed via a short L-shaped corridor.
      A 22-seat screening room allows the team and their visitors to preview documentary filmsIn the communal work area, sit-stand desks feature white oak divider panels and are topped with a stone ledge for displaying objects and plants.
      “This project has given us an opportunity to draw from so many inspiring references, from its iconic Broadway location to historic theatre architecture, to create an elevated and layered space that supports the work Sandbox is doing to uplift documentary film talent,” said Civilian co-founder Ksenia Kagner.
      The screening rooms boasts a Dolby Atmos sound system, and includes chairs with individual armrest tables for drinks or note-writing”We also felt it was important to be responsive to the changing priorities of the modern workplace, creating open, multipurpose spaces that nurture interaction and foster a sense of community,” she added.
      Civilian was founded in 2018 by Kagner and Nicko Elliott, and the designers have since completed projects ranging from the transformation of Detroit’s historic Book Depository into a headquarters for tech company Newlab, to the renovation of a historic Bed-Stuy townhouse for themselves.
      The photography is by Chris Mottalini.
      Project credits:
      Client: Sandbox Films (Simons Foundation)Client rep: Cushman and WakefieldCivilian scope: Interior design, creative direction, furniture designArchitect of record: LB ArchitectsMechanical engineer: WB EngineersAV engineer: SpectraAcoustic engineer: WSDGProduction studio consultant: Tom PaulContractor: L&K Partners

      Read more: More

    • 125 Shares159 Views

      in Rooms

      Bacana Studio designs “amphibious” interiors for riverfront restaurant in Lisbon

      by

      Lisbon interior design practice Bacana Studio took cues from Portugal’s coastal traditions for the interiors of a João Luís Carrilho da Graça-designed Anfibio restaurant.

      Located alongside the Tejo river, the restaurant was designed to “merge the duality of the sea and the land,” the interiors studio told Dezeen.
      Striped benches create a corridor from the bar to the terraceNamed Anfibio – Latin for amphibious, meaning suited for both land and water – the restaurant serves both local seafood and “countryside produce”.
      It is located in a glass-walled, pavilion-like structure designed by local architecture studio João Luís Carrilho da Graça alongside the Tejo river and its interiors were informed by its riverfront location drawing on the “dazzling reflections of the sun on the water”.
      The lighting is designed to “allow Anfibio to transform between day and night”Within the 500-square-metre restaurant, which is used as a nightclub in the evenings, wooden flooring was stained with a “watery green” colour and a mirror-like fabric was used on the ceiling to reflect and refract light.

      “The building’s architecture aims to blend in and go unnoticed, striving to merge with the river and reflect the city of Lisbon,” said Bacana Studio founder Ingrid Aparicio.
      The restaurant is located on the Tejo riverAccording to the Bacana Studio, the open plan layout and five-metre-high ceilings posed a lighting and acoustic challenge.
      As a result, the studio focused on “creating visual and functional interest from the ground up” with decorative elements, lighting and architectural features rising up from the floor.
      “It’s the lighting itself that shapes and defines the spaces,” Aparicio explained. “We devised a concept where lighting emanates from the furniture, creating intimate spaces and avoiding the sensation of being in a vast and cold space.”
      Light fittings emerge from the furnitureSmall brass-shaded table lamps and arched brass and glass lamps, which were crafted to resemble the antennas of aquatic creatures, provide ambient lighting for each table and unify the space.
      Visitors are greeted by a curvilinear “snake sofa” that divides the restaurant into two areas – an intimate zone with smaller tables on one side, and a more communal area with a large 10-seater table on the other.
      “The design is meant to encourage you to let loose, which is why the organic shapes in the sofas, tables, and chairs, create an interesting flow to the space,” explained Aparicio.

      Álvaro Siza designs tiled mural for Space Copenhagen’s Porto restaurant interior

      On either end of the intimate zone is a long, 20-seater community table. The studio designed these with an aim to pay homage to the spirit of Lisbon’s traditional fish markets, serving as “a symbolic nod to the shared dining experiences fostered in such lively and communal settings”.
      The wait-staff station and the wood, wicker and brass bar separate the kitchen from the dining area.
      The “snake sofa” divides the spaceTwo long, striped benches, positioned with their backs facing each other, lead out to the terrace, “segmenting the expansive layout of the restaurant into more intimate sections”.
      The terrace, overlooking the port and the city of Lisbon, aims to “evoke the essence of an authentic beach club”.
      Stripes were prominently used on the walls, upholstery, and furnishings, reminiscent of Portuguese fishermen’s cottages and coastal awnings.
      Natural materials such as wood and wicker were prominently usedOther restaurant interiors recently featured on Dezeen include a Mexico City restaurant arranged around an upside-down pyramid bar and a converted Norwegian restaurant covered in restored paintings.
      The photography is by Filipe Neto.

      Read more: More

    • 188 Shares159 Views

      in Rooms

      External Reference uses 3D printing to create organic displays for La Manso store in Barcelona

      by

      3D-printed shelving structures informed by Catalan-modernist buildings were used for shelving in this store designed by External Reference for a Spanish jewellery brand.

      Experimental jewellery designer Adriana Manso asked Carmelo Zappulla’s studio External Reference to develop a suitably unusual interior concept for her first physical store in the city.
      The store is in the Eixample districtThe project involved designing a window display and shelving for the 25-square-metre store, which is located in Barcelona’s Eixample district just a few metres from the house where Manso was born.
      Manso is known for her playful pieces made from recycled plastic, which she wanted to display in a space that evokes the luxury feel of an haute-couture boutique.
      It features a 3D-printed interior informed by architectureExternal Reference sought to combine the contemporary plasticity of La Manso’s jewellery with motifs influenced by Barcelona’s early 20th-century architecture, including the building in which the store is situated.

      “Our design concept revolved around bringing the exterior facade inside, creating a melted and fluid background that would serve as an artistic canvas for showcasing the jewellery,” Zappulla told Dezeen.
      “By blending the expressive elements of Catalan modernism with the organic forms inspired by La Manso design, our goal was to craft a visually captivating environment that elevates the overall shopping experience.”
      External Reference created wavy shapes for the spaceThe designers selected fragments from the decorative facade and abstracted them using a process involving hand drawing and computational design techniques.
      In particular, floral details from the elaborate canopy at the store’s entrance were reinterpreted as large rosettes incorporating futuristic glitches and bas-reliefs.

      Nagami 3D-prints recycled plastic to mimic melting glaciers in Spanish boutique

      The organic shapes form shelving units that range in height from 90 centimetres to 1.7 metres. Jewellery and accessories are displayed on the shelves, as well as on a small table at the centre of the space.
      The furniture was produced using a robotic 3D-printer and is made from biodegradable cellulose coloured using Pure Tech’s water-based CO2-neutralising paint.
      Zappulla and his team refined the digital models to optimise them for printing. This involved splitting them into manageable parts that could be processed by the machine’s robotic arm.
      The aim was to provide a neutral backdropAll of the printed elements are finished in a muted off-white shade that matches the rest of the interior and provides a neutral backdrop for displaying the jewellery.
      Large, mirrored surfaces help to make the interior feel more expansive, while spotlights provide targeted illumination for highlighting the collection.
      In addition to the main furniture, the designers also developed a window display and 3D-printed signage that extend the store’s conceptual design out into the street.
      The La Manso interior has a muted colour paletteLarge-scale 3D-printing technology offers designers possibilities to create unique elements for branded interiors, which makes it increasingly popular for retail spaces.
      Spanish design studio Nagami has created a store for sustainable clothing brand Ecoalf featuring transparent 3D-printed displays that recall melting glaciers, while Dutch architecture practice Studio RAP used the technology to produce a wave-like tiled facade for an Amsterdam boutique.
      The photography is by Anna Mas.

      Read more: More

    • 125 Shares189 Views

      in Rooms

      Florencia Rissotti uses curtains to organise Buenos Aires fabric shop

      by

      Local architect Florencia Rissotti has converted a warehouse into a textile shop in Buenos Aires, using fabric dividers to organise the space.

      To house a retail location for fabric shop Tienda Mayor, Rissotti integrated textiles in several ways, lining the store with samples, draping colourful patches over a staircase and using curtains to conceal and create space.
      Architect Florencia Rissotti has converted a warehouse into a fabric store in Buenos AiresThe interior is divided into two floors, with a mezzanine above used for storage and office space, and the store’s retail space and lounge areas below.
      Cream-coloured curtains hang underneath the mezzanine and above to hide storage areas and create meeting spaces.
      A catalogue of fabric hanging from hooks lines the space”The space was assembled using the raw material of the place: fabric,” said the studio. “A series of curtains divide, set up a meeting room, hide shelves with orders and cover the storage area.”

      Along the length of a wall, large material samples are draped from hooks, which will “mutate” over time as the catalogue changes.
      The space was organized and divided using creme coloured curtainsSimilarly, fabric samples of various sizes were draped over the railings of a staircase that leads to the mezzanine, in part as a permanent installation and to display the shop’s selections.
      “The ladder device was intended as an exhibition element, from which velvet falls and sews the two levels (the totem) together,” said the studio. “This ladder hanger is designed as an internal display window, where the selection/palette can be changed according to the season.”

      La Base Studio wraps glass Buenos Aires house with shading screen

      Various creme tones dominate the space, with colour integrated from fabric samples and bright seating running in a straight line parallel to the fabric samples.
      Alamo wood desks and large coffee tables were crafted for the space.
      A staircase installation displays a rotating selection of textilesOutside, a garden area contains a semi-circle metal bench and simple plantings.
      Florencia Rissotti is a Buenos Aires-based architect who focuses on interiors and residential architecture.
      Elsewhere in Buenos Aires, La Base Studio recently created a delicate wooden privacy screen for a 1970s home renovation and architects Julio Oropel and Jose Luis Zacarias Otiñano created a bio-art installation focused on fungi.
      The photography is by Fernando Schapochnik.

      Read more: More

    • 163 Shares169 Views

      in Rooms

      Martin Brudnizki designs Gilded Age-interiors for The Fifth Avenue Hotel in New York

      by

      Martin Brudnizki Design Studio has designed the interiors for a 1907 Renaissance-style palazzo building in New York, which has been turned into a luxury boutique hotel by architecture studio Perkins Eastman.

      The Fifth Avenue Hotel sits on the site of what was once one of the last mansions of The Gilded Age.
      Throughout the late 19th century, the home of Charlotte Goodridge at 250 Fifth Avenue hosted receptions and musical evenings as part of New York’s social season.
      Classical fixtures contrast a contemporary colour palette in the hotel’s roomsPerkins Eastman added a 24-storey glass tower, designed with PBDW Architects, to the five-storey brick and limestone building.
      This was originally designed by McKim, Mead & White as the Second National Bank in 1907, replacing Goodridge’s 19th century home.

      Drawing on the history of the neighbourhood and heritage of the building, Martin Brudnizki Design Studio (MBDS) aimed to create an aesthetic for the new hotel that would embrace “Bohemian romanticism and the glamour of the gilded age,” while maintaining contemporary styling.
      Martin Brudnizki has employed colour and texture to reflect global travels”One of the biggest challenges was that we were working with both an existing and a new building at the same time, which each presented their own challenges architecturally,” studio founder Martin Brudnizki told Dezeen.
      “We worked with the architects to marry the historic narrative with the contemporary tower addition, which reflects New York today, and the concept of the modern traveller,” he said.
      A corner bedroom features yellow curtainsRooms feature a rich colour palette of garden greens, buttercup yellow and peony pink with gold accents.
      Bold patterns and textures jostle each other in a “harmonious and fun way, juxtaposing modernity with the classic finishings,” the designer said.
      The hotel’s walls host an extensive art collection”The intersection of interiors with architecture is so important. The mansion is a much more classical response to the history and details of the building, whilst the tower enthuses a more modern touch,” Brudnizki explained.
      “Both are unified by the choices of colours and certain furniture, fixtures and equipment that carry between the two sites.”

      Martin Brudnizki draws on “gritty glamour” for colourful Broadwick Soho hotel

      Bedrooms feature a global blend of references, including Pagoda-style table lamps, custom wardrobes informed by traditional Chinese cabinets, antique inlaid side tables, Murano glass chandeliers and star-like ceiling lights.
      The double-height entrance lobby features walls panelled with faceted antique mirrors, marble floors and grand arched windows – which echo throughout the hotel bedrooms as room dividers between sleeping and sitting areas.
      Rooms have been designed to have a residential feel”We loved the idea that all these great characters had once walked along the boulevard of Fifth Avenue and the fabulous parties hosted within the mansions of Fifth Avenue; the people and the conversations that took place,” said Brudnizki.
      “We wanted to create a space that felt as though its interiors had been brought together over time, pulling items from our muse’s travels and adventures from across the globe.”
      Antique glass panelling and modern mirrored artworks fill the double-height lobby”It is a truly eclectic and layered project that is intended to feel as though it has been around since the days of The Gilded Age,” the designer concluded.
      Other boutique hotels recently published on Dezeen include Christian Louboutin’s hotel Vermelho in Portugal and Trunk Hotel Yoyogi Park in Tokyo, by Keiji Ashizawa Design and Norm Architects.
      Photography is by William Abranowicz.

      Read more: More

    • 138 Shares169 Views

      in Rooms

      Rockwell Group creates atmospheric interiors for Perelman Center in New York

      by

      Ribbons of light guide patrons from the lobby to the restaurant inside the Perelman Performing Arts Center at the World Trade Center, where the interiors are designed by New York-based Rockwell Group.

      The studio founded by designer David Rockwell recently completed the public spaces that include the Metropolis restaurant and adjoining lounge areas within the cube-shaped building, which local architecture studio Rex wrapped in thin marble panels.
      The lobby of the PAC NYC venue includes a stage for programmed performancesThe volume holds three flexible and interchangeable theatres that can be infinitely customised for different performance styles, artistic expressions and viewing experiences.
      These are accessed via the elevated lobby level, reached by climbing a grand exterior staircase that draws visitors under the building’s cube form and up through its base.
      A bridge behind the building’s translucent marble facade accommodates seatingThis dramatic entry sequence culminates at a lobby lounge and restaurant that form a new 9,120-square-foot (847 square metres) “community space” for Lower Manhattan, according to Rockwell.

      “The restaurant is intentionally woven throughout the public experience,” he told Dezeen. “There is no hard line between the lobby lounge, restaurant, and terrace, with one space melting into the next.”
      The lobby flows into the Metropolis restaurant, located the other side of angled trussesThe designer’s primary aim was to provide “a celebratory, communal atmosphere; connecting guests, whether you’re the first party there for dinner or the last one there post-show”.
      Rockwell’s combined experience in hospitality and performance design – he has won multiple Tony Awards for his Broadway sets – helped him to craft a seamless experience between these connected functions.
      LED lights within wooden ribbons follow pathways and form “nodes” above gathering areas”Creating a magical journey up into PAC NYC and intertwined with the lobby was a thrilling challenge, especially because the lobby and Metropolis will be host to many free performances on the small stage there,” said the designer.
      This stage will feature a varied program of performers who will entertain diners from a carefully placed vantage point, which allows sightlines from all corners of the lobby and restaurant.

      Lounge seating for up to 30 positioned closest to the stage is intentionally low-slung, so as not to obstruct the views for those further away.
      A bridge that runs along the inner side of the translucent stone facade holds additional seating, overlooking the grand entry staircase through huge panes of glass.
      Jewel-toned fabrics and textured surfaces warm the interiorsThe Metropolis restaurant is helmed by Swedish-Ethiopian chef Marcus Samuelsson, and serves an elevated, eclectic menu billed as “a love letter to New York City” to both performancegoers and the general public.
      Beyond the host stand and the diagonal structural trusses that flank it, the layout is split down the middle, with soft seating arranged on either side of the central axis.
      Rockwell Group designed the restaurant and lobby to act as a “communal space” for Lower Manhattan”The furniture is designed for flexibility and comfort, defined by several smaller areas with lots of seating variety, made up of banquettes and loose furniture and organised around a collection of vintage area rugs,” said Rockwell.
      Glowing bands within sapele wood ribbons trace curved shapes across its ceiling, beckoning guests into the space and also highlighting key areas for gathering such as the bar with chandelier-like “nodes” overhead.

      Rex clads “mystery box” World Trade Center performance arts center in translucent marble

      Jewel-toned upholstery pairs with rich walnut panelling for a warm and inviting feel, and the fabrics and other textured surfaces soften the polished concrete flooring.
      A 70-seat outdoor terrace at the back of the building will also offer al fresco dining during the summer months, visible from the interior through a huge glass wall.
      There’s space for 70 al fresco diners on the outdoor terraceThere’s also a speakeasy-like private dining room for intimate gatherings of up to 16.
      PAC NYC is one of the final pieces in the 16-acre World Trade Center redevelopment masterplan, joining skyscrapers by SOM, RSHP, and SANAA, the transit hub and a church by Santiago Calatrava, and a 9/11 Museum by Snøhetta.
      Rockwell aimed to create “a celebratory, communal atmosphere” both inside and outCelebrating its 40th anniversary next year, Rockwell Group has designed interiors for restaurants all over Manhattan, including Zaytinya, Katsuya, Casa Dani and Wayan.
      The firm also worked on The Shed venue at Hudson Yards, which also hosts performances along with exhibitions and other events within a highly flexible space beneath a giant “telescoping” cover.
      The photography is by Adrian Gaut.

      Read more: More

    • 125 Shares179 Views

      in Rooms

      Pierre Yovanovitch opens design gallery in New York City penthouse

      by

      French designer Pierre Yovanovitch has opened his first US showroom and gallery in Manhattan’s Chelsea neighbourhood, displaying over 80 pieces from his own furniture brand.

      Recognisable designs including the iconic Bear Chair fill the 10,000 square feet (930 square metres) of gallery and office space on the penthouse level of 555 West 25th Street.
      Pierre Yovanovitch chose a penthouse in a pre-war building for his New York galleryThis business expansion offers a permanent base for Yovanovitch and his team in New York, and allows customers and clients from his largest retail market to see the Pierre Yovanovitch Mobilier products first-hand.
      “Having worked on residential projects in the US since the beginning of my practice in 2001 and with two successful furniture collection debuts (2017 and 2019) in New York, the opening of my first gallery space in America and new official New York headquarters, is a long-awaited realization for me,” said Yovanovitch.
      The exposed ceiling beams, whitewashed brick and dark wood floors are all typical of a New York loftInside the pre-war building, the gallery unfolds through a series of partial rooms that flow into one another without doorways or thresholds.

      Throughout, exposed ceiling joists and ductwork are paired with dark wood flooring and whitewashed brick, typical of a New York loft space.
      The gallery is laid out as a series of residential-style vignettes, which flow into one anotherThe largest display area centres around a sculptural fireplace, with a smooth plaster form that curves outward towards the base.
      Furniture is oriented around the hearth, including a gently arced sofa and a chartreuse-toned resin coffee table, accompanied by the fluffy wing-backed Clifford armchair.
      Yovanovitch curated a selection of artworks to accompany his furniture piecesA variety of lounge and dining room vignettes showcase the products in suggested combinations with one another in residential-style layouts.
      Other designs on show include the new Callis Table Lamp, the Roze Dining Table, the Arthur Sofa and the Artemis Rug.
      A variety of signature furniture and lighting designs are on display alongside new piecesAll are made in collaboration with specialist craftspeople and are “created with longevity and exceptional quality in mind” according to the brand.
      “The brand pays homage to Yovanovitch’s Provencal roots, in particular the region’s natural light, rich and varied natural materials and colourways of the surrounding nature, as well as the historic commitment to craft associated with the region,” said a statement from the gallery.

      Pierre Yovanovitch creates set with moving elements for Verdi’s Rigoletto at Basel Opera

      The wide array of furniture and lighting pieces are presented alongside a selection of contemporary art curated by Yovanovitch – including works by Camille Henrot, Wolfgang Tillmans and Alicja Kwade – in an attempt to tie the gallery in with Chelsea’s status as an arts destination.
      “It seems only fitting to open my first gallery location in the epicenter of New York’s art scene,” he said. “Not only is contemporary art central to my design practice, the neighborhood’s architectural history serves as reflection to my approach of revitalising historic spaces to fit a contemporary design aesthetic.”
      All of the Pierre Yovanovitch Mobilier products are “created with longevity and exceptional-quality in mind”The New York gallery opening follows the debut of the brand’s new Paris showroom, which began welcoming visitors to a street-level space in the Marais neighbourhood from October 2023.
      This move from the previous location in the 2nd arrondissement also strategically places Pierre Yovanovitch Mobilier amongst the city’s art galleries.
      A sculptural fireplace anchors the largest area, accompanied by Yovanovitch’s Clifford chairYovanovitch founded his design practice in 2001 after working for fashion house Pierre Cardin. His interior design work has ranged from the salmon-pink and butter-yellow gift shop at Villa Noailles and ski hotel Le Coucou in France, to the high-end Hélène Darroze restaurant at The Connaught in London and ski hotel Le Coucou.
      Earlier this year, the designer created a set with moving elements for Verdi’s Rigoletto at the Basel Opera.
      The photography is by Stephen Kent Johnson.

      Read more: More

    • 125 Shares159 Views

      in Rooms

      Wooden elements “take centre stage” in Japandi-style Studio Frantzén restaurant

      by

      Scandinavian and Japanese influences come together at Studio Frantzén, a restaurant in London’s Harrods department store designed by Joyn Studio.

      Stockholm-based Joyn Studio created the sleek interiors for Studio Frantzén – the latest restaurant opened by chef Björn Frantzén.
      Top: visitors enter via a domed reception area. Above: the bar is characterised by back-lit glass bricksThe two-storey eatery is arranged across a main restaurant and bar on the fifth floor, as well as on an additional mezzanine and rooftop terrace on the sixth floor of Harrods.
      In stark contrast to the department store’s famed Edwardian baroque terracotta facade, Studio Frantzén features a contemporary palette that takes cues from both Scandinavian and Japanese design – a trend known as Japandi.
      Studio Frantzén is located across two levels at HarrodsVisitors enter the restaurant at a domed reception area, which references Scandinavian churches and forest chapels, according to the studio.

      The curved walls were clad with blocky cherry wood while illustrations of Nordic animals by Ragnar Persson decorate the ceiling and a Swedish wooden Dala horse was perched on the welcome desk.
      “Undoubtedly, wood takes centre stage in this restaurant,” Joyn Studio founding partner Ida Wanler told Dezeen.
      The main restaurant is composed of two dining hallsThe reception area gives way to a “glowing” bar composed of stacks of glass bricks bathed in amber light, which is mirrored by a ceiling of gridded copper.
      Informed by traditional Japanese izakaya – a type of casual watering hole serving snacks – the large main restaurant is composed of two dining halls with bespoke geometric terrazzo and marble flooring.
      One features bespoke timber seatingOne hall features an open kitchen and Joyn Studio-designed chunky seating booths and sofas carved out of end-grain wood. This was sourced from a large Hungarian pine tree, cut into cubes and then glued together piece by piece.
      This double-height space is illuminated by a spindly oversized chandelier by Swedish studio Front.
      The other follows the same gridded geometry as the barThe other dining hall, tucked around the corner and connected to a wine cellar, follows the same geometry as the bar.
      Sliding timber doors and a gridded wooden ceiling are interrupted by ultramarine benches in booths and delicate, ribbed paper lampshades.

      Halleroed mixes French and Japandi influences inside L/Uniform’s Paris boutique

      “To create a distinctive Nordic dining experience with Asian influences within a historic London building, we delved into the architectural and design legacy of the early 20th century,” explained Wanler.
      “Inspired by the journeys of our predecessors to the far east, where they assimilated influences and pioneered a style known as Swedish Grace, we embraced the resonances between traditional Japanese and Nordic architecture and craftsmanship,” she continued.
      Mirrored artwork by Caia Leifsdotter was included in the mezzanineOn the upper floor, the mezzanine includes three intimate dining booths accentuated by a burnt orange carpet and a wall-mounted Psychedelic Mirror by designer Caia Leifsdotter.
      Characterised by marble, rattan and wooden accents, the rooftop terrace offers expansive city views.
      The rooftop terrace offers views of London”Aiming to infuse creativity into the traditional luxury context of Harrods, we envisioned a relaxed and comfortable ambiance with sparks of richness created in unexpected ways,” said Wanler.
      In 2022, Joyn Studio was longlisted for the title of emerging interior design studio of the year at the Dezeen Awards.
      Elsewhere at Harrods, fashion house Prada recently opened a green-hued pop-up cafe that referenced one of Milan’s oldest patisseries.
      The photography is by Åsa Liffner.

      Read more: More