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      Neri&Hu creates “wooden hut” and “cave-dwelling” interiors for Shanghai stores

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      Chinese studio Neri&Hu has completed two retail spaces for Shanghai fashion company Jisifang, using wood and concrete to evoke “a more primitive state of being”.

      The two adjacent stores are located at Panlong Tiandi development in Shanghai. One was designed for Jisifang Boutique and the other for its sister brand Woven Moonlight, also owned by Jisifang.
      Neri&Hu has designed two adjacent stores in ShanghaiAccording to the Shanghai-based studio, each store was tailored to its distinct brand identities and varying spatial requirements.
      A wooden house was inserted into the 110-square-metre Jisifang Boutique, the sloping roof of which takes advantage of the full height space to create a “spacious sanctuary”, the studio said.
      A wooden house structure was inserted into Jisifang Boutique”The design concept is inspired by French architecture theorist Marc-Antoine Laugier’s Primitive Hut, said to be the fundamental prototype of all architecture,” explained Neri&Hu.

      “Stripped of decoration and style, the primitive hut establishes a relationship between humans and the natural world, providing both shelter and a connection to nature,” it added.
      White oak furniture creates a warm interiorA long table and benches made of white oak are placed at the centre of the space, with fashion garments displayed at the lower end of both sides of the roof.
      Handmade ceramic floor tiles with muted colours were used throughout the space, referencing the warm and natural textures of the linen products that the brand is known for.
      Glass bricks with rustic metal lining are featured on the facadeThe facade features glass bricks lined with rustic metal elements, inviting natural light and framing views of the bustling retail street outside into the shop.
      In contrast, Neri&Hu created a cave-like shelter made of concrete for the 200-square-metre Woven Moonlight.

      Neri&Hu divides Shanghai fashion boutique with fabrics and marble screens

      Concrete walls enclose the main display area, which features carved-out display niches. These have been lined with translucent linen curtains and fitted with custom-built walnut cabinetry, contrasting the roughness of the concrete.
      A double-pitch sloped ceiling was clad with the same concrete as the walls. Skylights on the ceiling, as well as full-height glass windows on one side, fill the space with plenty of natural light.
      Linen and walnut wood contrast the concrete in Woven Moonlight”In the case of both the wooden hut and the cave-dwelling, we are exploring the original space of our humanity, harkening a return to a more primitive state of being,” said Neri&Hu.
      “We hope that when people touch the linen fabric of Jisifang, their mood and spirit may transcend the urban environment, back to nature,” it continued.
      The Wooven Moonlight store features a double-pitch sloped ceiling clad with concreteNeri&Hu was founded by architects Lyndon Neri and Rosanna Hu in 2004 in Shanghai.
      The studio also recently completed a simplicity contemporary art gallery, and a fashion boutique with fabrics and marble screens, both in Shanghai.
      The photography is by Pedro Pegenaute.
      Project credits:
      Partners-in-charge: Lyndon Neri, Rossana HuAssociate-in-charge: Siyu ChenDesign team: Greg Wu, Jinghan Li, Nicolas Fardet, Saint Xu, Shuan Wu, Yinan Zhu, Yoki YuFF&E design and procurement: Design RepublicLighting Consultant: DLX Lighting DesignContractor: Nantong Huaqiang Construction

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      EBBA references modernist architecture at WatchHouse coffee shop

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      Architecture studio EBBA has completed a store for coffee brand WatchHouse that draws on modernist design to provide a calming environment in the heart of the City of London.

      Situated in the 30 Fenchurch Street building of the Square Mile financial district, the store was designed by EBBA for coffee company WatchHouse, which has several cafes around London and also sells its own roasts.
      The store interior references modernist architectureHaving previously completed several other stores for the brand, EBBA was tasked with transforming an empty unit in the landmark office development into an inviting space aimed at attracting visitors from the adjacent lobby.
      “This store offered the opportunity to think carefully about how to make a high quality and calming retail environment that also caters to the flexible operation of the visitors and the building in which it sits,” EBBA founder Benni Allan told Dezeen.
      The space aims to offer a calming environmentThe project brief called for a space focused on retail that also integrates a bar for serving customers. The interior has a more open and relaxed feel than the brand’s other locations, which operate more like typical coffee shops.

      With ample comfortable seating available in the adjacent atrium, EBBA chose to incorporate different settings where customers can rest while waiting for their coffee.
      Furniture including lounge chairs arranged around a coffee table and bar stools at the counter allow the space to be used in a variety of ways.
      Wooden seating is provided in an adjacent atriumElements of the shop’s design are informed by European modernist architecture. In particular, Allan drew on the large lobbies of banks and civic buildings such as libraries, which he said seem to “carry a particular feeling of calmness”.
      Referencing the work of architect Ludwig Mies van der Rohe, EBBA used grid patterns and clean lines to bring order to the interior, while sculptural objects help to partition the space.
      “The overall concept was to create the sense of a box within a box,” Allan added. “The reference to Miesian buildings can be understood in wanting to establish a clear logic to the space through its grid and making objects that help to demarcate space.”

      Bottega Veneta creative director Matthieu Blazy combines glass bricks and walnut for first store

      EBBA designed and built all of the furniture for the store, including the eight-metre-long stainless steel counter that forms the centrepiece of the space. This monolithic element is used for coffeemaking as well as providing a communal workspace.
      The large coffee table made from blocks of solid oak is intended to resemble stacked timber. Its construction echoes the grid of slatted timber panels cladding the ceiling.
      EBBA chose a material palette that reflects WatchHouse’s goal to create places people want to spend time in. Warm and natural tones and textures offer a respite from the busy urban setting.
      An eight-metre stainless steel counter centres the space”We opted for warm oak panelling, which gracefully cocoons the space, and a unique Ceppo stone floor, which enhances the store’s gridded pattern whilst complementing the feeling of civic grandeur,” said the architects.
      The rear wall is lined with full-height cabinets that conceal the necessary utility spaces, adding to the store’s sense of cohesion and simplicity.
      Minimalist shelving used to display WatchHouse’s simply packaged produce blend in with the relaxed setting.
      All of the furniture was designed and built by EBBAEBBA has worked with WatchHouse on several of its venues, including another site within the 30 Fenchurch Street building that also looks to balance contemporary aesthetics with nods to the City of London’s heritage.
      The studio, founded in 2017 by Spanish architect Benni Allan, has completed a number of projects in London including a temporary education centre built using only reusable components and a residential extension that combines brutalist-style materials with details inspired by a Roman villa.
      The photography is courtesy of EBBA. 

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      Partisans sculpts limestone facade for Rolex boutique in Toronto

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      Toronto architecture studio Partisans has used parametric modelling to create an undulating stone storefront for luxury watch brand Rolex.

      Partisans’ latest application of its digital modelling and fabrication technique resulted in a sculptural facade that wraps the ground floor of a high-rise on Bloor Street in Downtown Toronto.
      The flowing lines of the Rolex store’s limestone facade emanate from the building’s existing architectural featuresThe studio worked with Italian architect Arturo Tedeschi on the project, which is intended to give the store presence and allow it to stand out from others in the busy shopping district, as well as reflect the high-precision of Rolex timepieces.
      Limestone panels affixed to the building’s exterior are shaped to echo the forms and textures of the brand’s watches.
      The stone panels are shaped to curve around windows and emulate the brand’s watch designsThe material was chosen for its luxurious appearance and longevity, according to Partisans founder Josephson, who said: “Stone is future heritage, it’s having a renaissance.”

      The panels continue the geometry of the existing building features, such as the rigid vertical mullions, but flow into softer shapes that curve around large windows and over the entrance awning.
      More stone appears in the boutique’s interior. Photo by Robert Lowdon Photography”Each stone bay was cut according to measurements found through 3D scans of the existing building,” said Partisans designer Ian Pica-Limbaseanu.
      Niches are integrated into the stonework to house cove lighting that washes over the curvaceous forms at night, yet the junctions between the stone and the glass were trickiest to detail, according to Pica-Limbaseanu.
      Dark green seating matches a glass artwork, while walnut panelling and furniture contrast the paler stone. Photo by Robert Lowdon Photography”The window detailing, specifically, had a tall order of requirements to satisfy,” he said.
      “Not only did it need to meet the exterior stonework at exact locations accurate to within a quarter of an inch, but it also needed to allow for easy maintenance and proper energy performance for what was otherwise an utterly unprecedented look to glazing on Bloor Street.”

      Partisans creates pixelated brick facade for Toronto house

      Tedeschi applied his computational design skills to create an algorithm for the parametric compositions etched into the limestone across the east facade.
      These forms follow the geometries of engravings seen on watch-face dials while also responding to the unique qualities of the structure’s elevation.
      Niches in the limestone facade house cove lights that wash over the facade at nightThe store interiors feature plenty more stone, whose creamy tone is contrasted with dark walnut panelling and furniture.
      Dark green seating matches a glass wall artwork that bears the Rolex logo, which separates the main shop floor with a more intimate lounge area tucked behind.
      The facade was designed to reflect the high-precision of Rolex timepieces and to stand out on Toronto’s high-end Bloor StreetPartisans has previously used parametric design tools to create a rolling, pixellated brick facade for a single-family home, and a high-rise informed by architectural “revision clouds” – both in Toronto.
      The firm was founded by Josephson in 2012, and has since completed a pool house in Ontario with an undulating timber roof and a lakeside sauna designed as a cavernous wooden grotto.
      The photography is by Doublespace Photography, unless stated otherwise.

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      Tutto Bene references Streamline Moderne in tiny New York eyewear store

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      Curved metallic surfaces influenced by early 20th century American industrial design form displays at this compact store in New York City, designed by London studio Tutto Bene for eyewear brand Cubitts.

      Tutto Bene was briefed to create an elegant and meticulously crafted space for Cubitts’ first store outside of the UK that evokes the past century of New York’s history.
      Cubitts has opened a store in New York CityThe store at 103 Mercer Street has a total floor area of just 25 square metres, which the designers claimed makes it possibly the smallest retail site in all of SoHo.
      Felizia Berchtold and Oskar Kohnen of Tutto Bene told Dezeen that they set out to create an experiential and intriguing interior with “the ornate precision of a jewellery box”.
      The interior was designed by London studio Tutto Bene”Within the retail landscape of SoHo there is a pop-up feeling and one sees a lot of set-design quality fit-outs,” the designers said.

      “We wanted to counterbalance this trend by creating a space made to last for a decade and to communicate the value that is put into the product inside it.”
      Charlotte Perriand’s LC8 stool is among the vintage furnishingsThe functional and precisely detailed design of Cubitts’ spectacles provided the main inspiration for the store, which also references the streamlined forms of Streamline Moderne – an aerodynamic offshoot of art deco that emerged in the 1930s.
      “We took that engineering aspect of spectacle-making and interpreted it in kinetic elements throughout the store, like the rotary mirrors and the sculptural steel curve, reflecting hues of light like the sparkling towers we know New York for,” the duo said.
      The dominant colour is a brick-red hue borrowed from New York’s streetscapeAn S-shaped metal display at the centre of the space helps to define the flow of movement whilst echoing the smooth silhouettes of the brand’s eyewear.
      Walls clad in black ebonised ash create a dark backdrop, against which soft lighting and pops of colour create a theatrical effect reminiscent of the paintings of American artist Edward Hopper.

      Oskar Kohnen fills “well-curated” London office with mid-century modern furniture

      “Areas of glamorous darkness are peppered with light,” said Tutto Bene. “Shimmering reflections, reminiscent of city lights, emphasise the store’s meticulous detailing and represent the care and attention put into the products it encloses.”
      The main colour used is a brick-red hue borrowed from the New York streetscape, which according to the studio adds “some playfulness and art deco glamour, contrasting the muted black with dramatic warmth and texture”.
      Tutto Bene also created custom hand-shaped mirrors for the storeThe geometric forms used throughout the store recall the works of artist Donald Judd, who once lived and worked across the street. The artistic tributes continue in the restroom, which is papered with aluminium foil as an homage to Andy Warhol’s Silver Factory.
      Carefully chosen vintage pieces including wall lights from Austrian brand Kalmar, Charlotte Perriand’s LC8 stool and an Opalino vase by Tommaso Buzzi complement the store’s colour and material palette.
      The bathroom was papered with aluminium foil Tutto Bene also created bespoke mirrors, which customers can use when trying out different frames. The marble objects were hand-crafted at a stone workshop in Florence, Italy.
      “In the pared-back store, these hand-carved glove-like marble sculptures draw attention through their surrealist appearance,” the designers added.
      “When you pick them up, they lie heavy in the hand. The weight sharpens one’s consciousness and gives the gesture of looking in the mirror a considered quality.”
      The wallpaper is an homage to Andy Warhol’s Silver FactoryTo celebrate the store’s launch, Cubitts released a collection of seven frames inspired by New York landmarks including the Flatiron Building and Radio City Music Hall.
      The opening follows a series of new Cubitts stores in the UK including one in a former jellied-eel restaurant and another in a 19th-century London townhouse.

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      Pixelated furniture appears throughout Lunet eyewear store in Bucharest

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      Romanian practice Bogdan Ciocodeica Studio played with the idea of “blurry vision” in this eyewear store in Bucharest, where pixelated furnishings sit against translucent latex curtains.

      This is the third space that Bogdan Ciocodeica Studio has designed for Lunet, having worked on the eyewear brand’s inaugural Bucharest store and another branch in the city of Cluj-Napoca.
      Lunet has opened its second store in the Romanian capitalThe interiors of the two other locations play with colour and metallics, but the firm wanted this store to look like “a playful and pixelated environment”.
      “All the shapes and volumes are stylised and synthesised to their essence, stripped of unnecessary information so that they become almost low-resolution images, containing only the vital information,” Bogdan Ciocodeica Studio explained.
      Cutouts around the shelves are meant to make them look pixelatedGlasses are displayed on tall wooden shelving units that were installed at intervals around the store’s periphery, with square cutouts designed to mimic the blocky form of pixels.

      Translucent latex curtains were hung between the shelves. “[They] give depth and texture to the otherwise straight walls, granting it almost a blurry vision-like effect,” added the studio.
      Similar pixel-style cutouts can be seen on the store’s chairs, rug and service deskMore glasses are showcased on freestanding L-shaped partitions, each incorporating a full-length mirror and set on wheels so they can be easily moved around.
      A seating area at the heart of the store is furnished with two wide-set wooden chairs, their armrests featuring the same pixelated edging as the shelves.
      Underneath the chairs is a large burnt-orange rug with pixel-shaped openings that offer fun peeks at the store’s gridded tile flooring.
      Gridded tile flooring runs throughout the spacePixel-style cutouts were also made in the wooden service desk, which sits directly beneath a lightbox displaying Lunet’s logo.
      Eye tests are carried out in a secondary room towards the rear of the store. All the walls here were painted brick-red except one, which features a brightly-hued surrealist graphic of a woman wearing sunglasses.
      The eye test room includes a graphic feature wallA number of other architects and designers have incorporated pixels into their projects. Canadian studio Partisans used pale yellow bricks to create an undulating pixelated facade for a home in Toronto.
      And ODA also staggered apartment blocks to form a pixelated residential block in New York.
      The photography is by Vlad Patru.

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      Christian de Portzamparc wraps Dior flagship store with “resin shells” in Geneva

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      Six interweaving “petals” encase the facade of Dior’s store in Geneva, Switzerland, which has been designed by Pritzker Architecture Prize-winner Christian de Portzamparc.

      The Dior store’s expressive facade elements echo those of its Seoul flagship store – also designed by French architect De Portzamparc – that similarly draws on fabrics used for Dior’s creations.
      Six interweaving “petals” wrap around the store’s facade”Between these veils, the glass walls let the sun’s rays penetrate in a captivating interplay of light and shade, a poetic dialogue between the inside and outside,” Dior said.
      “At night, the lighting appears to filter – through the elegant resin shells – transforming the building into a majestic urban lantern.”
      Display cases line the facade at street level. Photo by Serge de PortzamparcThe facade elements rise up from the building’s base widening at their centres before tapering towards the building’s roof.

      Behind them, floor to ceiling openings wrap around the building – revealing the building’s six floors and providing views into the interiors. Additionally, a series of display cases decorate the facade at street level.

      ArandaLasch creates glowing facade with undulating fins for Dior in Qatar

      Inside, the spaces were finished with neutral-toned surfaces and wood panelling, which is set off by the colours and patterns of Dior’s spring-summer 2024 collection.
      Built in display cases fitted with sleek shelves and glass cabinets line the interior spaces and are illuminated by gallery-style lighting fixtures.
      Plush seating decorates the boutique’s interior and is coupled with consoles made by Berlin-based Stefan Leo Atelier and tables by Anglo-Brazilian designer Hamrei.
      Neutral-toned surfaces and wood panelling feature on the interior”The rooms combine airy dimensions with the intimacy of hushed cocoons and reveal artisanal finishes,” said the brand.
      “Adorned in touches of ivory and gold, with hints of white and blue enhanced by the naturalness of the wood.”
      Floor to ceiling openings wrap around the buildingDe Portzamparc was awarded the Pritzker Prize in 1994 and became the first French architect to receive the prestigious architecture award.
      Other recently completed flagship stores include a marble “immersive experience” for APL’s flagship store in New York City and Huawei’s store in Shanghai with a “petal-like” facade.
      Other fashion brand stores that have recently opened include a “sensual” boutique in Milan designed by Vincent Van Duysen for fashion house Ferragamo and a boutique decorated with hand-painted murals by Cúpla for fashion brand Rixo in central London.
      The photography is by Jonathan Taylor unless otherwise stated.

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      Esrawe + Cadena house Mexico City fragrance boutique within radial pavilion

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      This wooden pavilion set among lush gardens forms a retail space in Mexico City for fragrance brand Xinú, designed by its founders Esrawe + Cadena.

      The Xinú Marsella space occupies a former car mechanic’s workshop in the city’s Juarez neighborhood that has been transformed into an oasis of greenery.
      Esrawe + Cadena built the Xinú boutique within an industrial courtyard transformed into a verdant gardenIt was built to provide a multi-sensory experience for customers of perfume and home scent brand Xinú, which designers Héctor Esrawe and Ignacio Cadena founded in 2016.
      Both had a hand in creating the retail space, which is intended to reinvigorate the leftover industrial space and provide an enjoyable spot to visit.
      The single-storey pavilion is built almost entirely from laminated tornillo wood”The design approach started with the idea of gifting a garden to the neighbourhood, ingeniously giving life to a vacant space by harmoniously blending a holistic experience that integrates the seductive power of nature, with design and architecture,” said the design team.

      Visitors approach the space via an unassuming metal gateway on the street, passing through a tunnel with many potted plants on either side before emerging into the courtyard.
      Its radial construction emanates from a central columnA flagstone path guides this journey to and around a circular single-storey pavilion built almost entirely from laminated tornillo wood.
      Its radial construction revolves around a large central pillar, from which structural beams emanate to support tongue-and-groove ceiling panels.
      Vertical louvres around the perimeter support shelves and vitrines displaying various itemsThe pavilion sits on a steel frame atop a system of red grandis wood beams, while a pine lattice above the ceiling supports a plywood board roof.
      Around the perimeter are a series of vertical louvres that provide anchors for shelves and vitrines displaying a variety of items.
      Products on view include Xinú’s fragrances, candles and other olfactory-related piecesGlass panels fill most of the gaps between the louvres, except the two that are left for the wooden doors.
      At night, a ring of track lighting illuminates the displays that range from Xinú perfumes and candles, to olfactory-stimulating natural items, small plants and botanical drawings.
      The boutique is designed to offer Xinú customers a “a powerful authentic brand narrative””This thoughtful arrangement allows the periphery to fully embrace the botanical realm, correlating scents, candles, incense and home products with the vivid tapestry of the landscape,” the team said.
      “Supported by a powerful authentic brand narrative, the pavilion unfolds as a contemplative journey, a multi-sensory approach inviting guests to explore a universe crafted by simplicity and the fragrant symphony of nature as well as Xinú’s unique products and scents.”

      Mexican design and architecture undergoing a “renaissance” says Héctor Esrawe

      Xinú launched during Design Week Mexico in 2016, when the brand’s stacked-hemisphere reusable bottles – also designed by Esrawe Studio and Cadena & Asociados – were unveiled.
      Esrawe is one of Mexico’s most prolific contemporary designers, and in a recent interview with Dezeen, said that Mexican design and architecture is undergoing a “renaissance”.
      The courtyard is accessed from the street via a metal gate and reached by following a flagstone pathHis studio’s recent projects include the Albor Hotel in San Miguel de Allende where planes of green tile are suspended from the lobby ceiling and an apartment in Mexico City anchored by a cruciform cabinet.
      Cadena frequently collaborates on projects with Esrawe, offering art direction, concept design and brand identity.
      Track lighting inside the pavilion and uplights in the plants create an atmospheric setting at nightOther projects the two studios have completed together include Grupo Arca’s showroom and cultural centre in Guadalajara and the Tierra Garat cafe in Polanco, Mexico City.
      The photography is by Alejandro Ramírez.
      Project credits:
      Concept and experience: Esrawe + CadenaArchitecture, interior design, furniture: Esrawe StudioDisplay and artwork design: Cadena ConceptsDesign team: Heisei Carmona, Nuria Martin, Laura Vela, Ángel Durán, Raúl Araiza, Rodrigo Romero, Pablo ÁvilaVisualisations: Yair UgarteScale models: Alejandro Uribe, David DíazWood: MicmacStructure: Sergio LópezInstallations: JLC RemodelacionesLandscaping: Arturo FloresLighting: Lighteam

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      Vitra extends European presence with showroom openings in heritage buildings

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      Promotion: Swiss furniture brand Vitra is expanding its European presence through a programme of showroom openings in renovated, distinctive historic buildings.

      The brand, which is known for high-end office and home furniture by leading designers, has embarked on a programme of showroom expansion and renovation to add to its global presence.
      “All Vitra showrooms reflect an agile and flexible platform to showcase our office and home concepts, including both Vitra and Artek,” said the brand.
      “We are keen to present the collaboration and synergies with our partners in spaces designed for communal work, activities and events.”
      It has recently opened or renovated showrooms in Amsterdam, London, Madrid, Oslo and Stockholm.

      Vitra recently opened a showroom in OsloVitra’s latest showroom opened last month in Oslo. Set within a 1930s metal factory in the resurgent Skøyen district, the understated interior was designed to contrast the industrial structure and set the base for the brand’s curated furniture collections.
      The space contains offices for Vitra local staff and also functions as a place for the brand to host architects and designers.
      It also opened a showroom in renovated building in MadridEarlier this year in Madrid’s bustling Salamanca district, Vitra opened a showroom within a 1920s art nouveau building originally designed by Spanish architect Antonio Palacios as a power supply facility for the city’s metro system.
      The space was renovated by Spanish studio Carlos Manzano Arquitectos to create a bright and open space that showcases many of the building’s original features.
      Topped by a distinctive steel and glass roof, the space combines office space for Vitra’s Madrid staff along with a showroom space, Vitra Colour & Material Library and a Task Chair Lab.
      “One of our main goals was to peel off added elements to reveal the beauty of the spacious interior,” said Till Weber, creative director interiors and scenography.
      “We also tried to maintain as much as possible of the original structure. For example, we tore out an entire kitchen installed by the former tenant to reveal wonderfully preserved brick walls.”
      Its Amsterdam showroom overlooks the city’s portIn Amsterdam, Vitra recently opened another showroom on the dockside in the city’s Houthavens district within an old industrial munitions complex.
      Vitra’s Amsterdam home was designed by London-based interiors studio SevilPeach, which was shortlisted for interior designer of the year at Dezeen Awards 2019.
      Described as “breathtaking” by Vitra chairman Rolf Fehlbaum, the pared-back space features several showrooms, a shop, offices, canteen, a workshop and warehouse spaces.
      Vitra’s London showroom opened in the Tramshed in ShoreditchIn London, Vitra recently opened a showroom in another heritage building – the Grade II-listed Tramshed in Shoreditch.
      Originally built as a power station for the East London Tramway in 1905, the building was renovated to draw attention to its original features including the central roof light.
      Along with the showroom openings, Vitra also recently renovated its Stockholm showroom. The brand also has European showrooms in Brussels, Copenhagen, Frankfurt, Prague and Paris as well as outside Europe in Los Angeles, New York and Tokyo.
      The Herzog & de Meuron-designed VitraHaus is its flagship storeThe target audience for Vitra’s showrooms are B2B professionals, dealers, artists and designers. For its private clients, Vitra caters via its authorised dealer network and its own online shops.
      Additionally, there is the Vitra Campus in Weil Am Rhein in Germany, which contains the Herzog & de Meuron-designed VitraHaus flagship store.
      “The VitraHaus is a unique building that we have been working on for more than a decade,” said Nora Fehlbaum, CEO of Vitra.
      “During this time, we have learned more about the building and about interiors in general: what does the building want? What suits it? What are the recipes for a good room? What is missing from our collection to make an interior even more meaningful or appealing? The interior we have now created reflects our answers to these questions and it is an ongoing project.”
      Vitra creative director interiors and scenography Till Weber said: “In addition to the Vitra Campus, the Vitra brand should also be tangible and visible at a local level.”
      “Depending on the location and surroundings there is a tailored concept, different colour scheme, a different product selection – but the Vitra DNA can always be experienced.”
      Find out more about Vitra’s showrooms on its website.
      Partnership content
      This article was written by Dezeen for Vitra as part of a partnership. Find out more about Dezeen partnership content here.

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