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    Frederik Molenschot presents debut solo sculpture show at Carpenters Workshop Gallery

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    Sculptures crafted from recycled BMW airbags and oak railway sleepers feature in artist Frederik Molenschot’s Atlas 2000 exhibition, which is on display at Carpenters Workshop Gallery in Paris.

    Marking the Dutch artist’s first solo exhibition, Atlas 2000 features hand-sculpted works that are directly influenced by natural landscapes, Molenschot said.
    The show’s title refers to the visual diary the artist has created since his studies at Design Academy Eindhoven in 2000.
    Buoy Airbag is a sculpture made from recycled BMW airbagsSpread across the minimalist ground floor at the Paris branch of Carpenters Workshop Gallery, the sculptures were crafted from various materials and range from functional to abstract.
    Buoy Airbag is an amorphous, pale blue-hued hanging sculpture created from recycled airbags sourced from BMW vehicles.

    Frederik Molenschot’s debut solo show is on display at Carpenters Workshop Gallery”The piece delves into the intricate connection between cargo transport and climate change, with recycled airbags symbolising a melting arctic ice rock floating in the sea,” the artist told Dezeen.
    “I want to explore how luxury materials are used and how they become what they are,” he added. “[So] I processed the used airbags in a ‘couture’ way, to get a very high-quality finish.”
    Gingerblimp is a bronze LED light sculptureMolenschot also designed Gingerblimp, a bulbous bronze LED light sculpture characterised by a silver patina and a gold-brushed interior.
    The artist explained that the sculpture is a playful take on ginger root from the natural world and also nods to the manmade blimps that form part of New York City’s annual Thanksgiving Day Parade.
    Recycled oak railway sleepers were salvaged to create furnitureRecycled oak railway sleepers were salvaged to create a chunky dining table and chair, which were named Bridge Beat to “pay homage to the captivating structure of bridges”.
    Also part of this series is a black bronze desk and chairs formed from gridded lines arranged in triangular formations.

    Carpenters Workshop Gallery presents design exhibition on heritage, place and identity

    “Each material was selected purposefully, offering unique properties and textures that complement the conceptual aspects of the artworks,” explained Molenschot.
    “Every piece is hand-sculpted in our studio.”
    Molenschot also created oversized clothingAccording to Molenschot, the pieces’ forms vary as much as their material palettes. In one corner of the gallery, a bobbly bronze glove was positioned underneath a branch-shaped textured lamp while oversized clothing also features in the exhibition.
    “This solo show holds a special place in my heart, as it represents my entire artistic journey since my time at the Academy,” reflected Molenschot.
    “It’s an invitation to explore my vision of our world. My ‘atlas’ is a compendium of research, pictures, designs, and sketches that have shaped me as an artist.”
    The exhibition runs until mid-SeptemberKnown for his large-scale bronze sculptures, Molenschot has been represented by Carpenters Workshop Gallery since 2008. The galley, which also has locations in London and the US, previously exhibited an all-denim furniture show by designer Harry Nuriev.
    The late fashion designer Karl Lagerfeld also debuted his first sculpture exhibition at the Paris branch.
    Atlas 2000 is on display at Carpenters Workshop Gallery from 1 June to 16 September 2023. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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      Blobby sculpture functions as cash desk inside Rains’ Aarhus boutique

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      Rainwear brand Rains has juxtaposed minimalist restraint with free-form contemporary artworks inside its revamped flagship store in Aarhus, Denmark.

      The brand’s first-ever store, originally opened in 2016, was updated with the introduction of industrial touches such as graffiti and stainless steel hardware alongside custom works by local artists.
      “We want to tickle the customers’ curiosity,” Rains’ in-house design team told Dezeen.
      A blobby sculpture envelops the cash desk of this Rains storeAt the centre of the store, Danish artist Jacob Egebjerg played with the convention of the cash desk by creating a vast sculptural element to envelop this functional area.
      Carved from polystyrene foam, the sculpture resembles a cascade of liquid caught mid-splash, which tumbles from the recessed, illuminated ceiling down to the concrete floor in a nod to the brand’s waterproof rainwear.

      The sculpture was created by Danish artist Jacob Egebjerg”The store was the first Rains store ever and we really wanted to manifest that with an extraordinary installation,” the design team explained. “Egeberg was tasked with creating a work of art with an integrated desk that would attract the attention of passers-by.”
      “It brings a contrast to the clean shapes and surfaces of our point of sale,” the team added. “Our products are very clean, so to add contrasts to our stores, we use shapes and surfaces to create this duality.”
      It was carved from polystyrene foamAllowing Egebjerg’s sculpture to take centre stage, the rest of the store is an exercise in cool, restrained minimalism.
      Display cases are formed from industrial materials such as stainless steel and glass, chosen for its transparent qualities.
      “Your eye can see the full room and isn’t blocked by a non-see-through material,” the team explained. “The products are just floating in the room.”

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      Echoing the qualities of the glass and steel, the Rains team used large-format concrete tiles for the floor, creating a “modern, refined but still simple base for the sculpture”.
      Downstairs, in a rare concession to softness, the design team opted for a custom black carpet with a distressed patina effect – another nod to the industrial.
      “The carpet was chosen to give the white room a contrast and some more depth, while also providing some great acoustic benefits,” the design team explained. “The raw ‘scratchy’ print has been chosen to match the raw expression in the walls and ceiling.”
      Graffiti by Peter Birk covers the staircaseOn this level, a futuristic black display plinth was carved from the same polystyrene foam as the sculpture on the ground floor.
      Against a palette of greys and whites, colour leaps out in the form of another site-specific artwork: a graffiti-inspired piece that decorates the staircase, designed by Rains and realised by local artist Peter Birk.
      “When we work with external artists, we also let them express themselves so their personal style shines through,” the brand explained.
      Another styrofoam sculpture forms a display stand in the basementOther sculptural shop interiors featured on Dezeen include a swimwear pop-up by SKIMS with a three-tiered diving board at its heart and an “otherworldly” moss-covered installation at a luxury bag store in Putrajaya, Malaysia.
      The photography is by Rains.

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      Dog-friendly London club refurbished with giant 3D dachshund relief and Hockney artworks

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      Dog-friendly private members’ club George in London has been refurbished by restaurateur Richard Caring with David Hockney murals and Mayfair’s largest dining terrace.

      The revamped club was designed to be dog-friendly throughout as well as displaying a large collection of dog-related artwork.
      British painter Hockney created a mural for the dining room that sits alongside other original works of his, while London sculptor Jill Berelowitz has crafted a giant sculptural relief of a dachshund on the stairs descending to The Hound Club in the basement.
      A bespoke David Hockney artwork fills a mirrored wall panel at the George clubGeorge was designed to be “a home away from home” for its members and their pets, Caring told Dezeen.
      It was painted navy blue and features expansive navy awnings over an outdoor dining terrace that is the now the largest in Mayfair, providing space for guests and their pets.

      London sculptor Jill Berelowitz crafted a giant sculptural relief of a dachshundNamed after the club founder Mark Birley’s own dachsund, the George has been refurbished as “an oasis for both members and their four-legged friends –  continuing its legacy as London’s most dog friendly club”.
      Served from the revamped open kitchen, which has been clad in copper panels, a menu of snacks has been curated just for the canine guests, which includes “dog caviar”.
      The richly decorated interiors were painted a dark navy and furnished with bespoke furniture made in-house by The Birley Clubs’ design team.
      Paintings hang in mirror-tiled panels of the dining room, under a mirrored ceiling recessA circular bar, embellished with ornate metal work, separates the two dining rooms. Metal latticework cornicing echoes the level of decoration and detail throughout the scheme.
      Artworks hang in mirror-tiled wall panels, below similarly mirror-tiled ceiling recesses.
      A private dining room seats 16 and showcase works from Hockney’s iPad series, such as his 2011 work The Arrival of Spring in Woldgate.
      The main bar of George features high stools and intricate metal latticeworkBerelowitz’s dachschund sculpture dominates the main stairwell. The work was cast in bronze and patinated to match the club’s interior palette. The sculpture measures five by three metre and weighs 1.5 tons.
      The navy ground floor area leads to a burgundy red basement that houses The Hound Bar. An Art Deco theme dictated the use of antique brass and fluted mahogany panels for the bar.
      More mirrored glass has been used on columns and doorways almost to the effect of a hall of mirrors, creating an after-dark, subterranean feeling.
      The Hound Bar is a dark and dramatic subterranean space in the basementHighly polished mahogany was used to clad the vaulted ceilings and the same fluted panels from the bar were repeated in niches and around seating areas.
      Caring, who designed the interiors of George with his team, previously commissioned Martin Brudnizki Design Studio to renovate his other London club, Annabel’s, in 2018.

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      He also worked with Martin Brudnizki Design Studio on the launch of Bacchanalia London, which features monumental sculptures by Damien Hirst.
      Other restaurant interiors recently featured on Dezeen include nearby 20 Berkeley, also in Mayfair, where Pirajean Lees has created an Arts and Crafts-style interior, and an intimate cocktail lounge in Austin, USA, by Kelly Wearstler.
      The photography is by Ryan Wicks and Milo Brown.

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      Chatsworth House exhibition is a “collision of past and present”

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      An exhibition at Chatsworth House including designers including Michael Anastassiades, Faye Toogood and Formafantasma, features in this video produced by Dezeen for the stately home.

      Called Mirror Mirror: Reflections on Design at Chatsworth, the exhibition brings together a collection of furniture and objects displayed throughout and responding to Chatsworth House and its gardens.
      In total, 16 international designers and artists created pieces that respond to the interiors of the building.
      The exhibition introduces new art pieces and objects into the house and gardenSome responded by sourcing materials from the property itself, while others focussed on themes and ideas taken from decorations within the interiors.
      “The designers of the exhibition have responded to Chatsworth in all sorts of fascinating ways,” said co-curator of the exhibition Glenn Adamson.

      “Throughout you really see this kind of conversation between the present and the past.”
      Jay Sae Jung Oh designed a throne using musical instrumentsThe exhibition continues Chatsworth House’s 500-year-long history of working with leading artists and designers and collecting an extensive collection of art and objects.
      “An artist’s new work can create a new way of looking at these spaces,” said Chatsworth House Trust director Jane Marriott.
      “It can capture their imaginations and hopefully inspire them to explore Chatsworth in a different light.”
      Toogood’s monolithic furniture creates a pensive space within the exhibitionBritish designer Toogood took over Chatsworth’s chapel and adjoining Oak Room. As a nod to the historical use of the space as a place of worship and gathering, she created an installation of monolithic furniture made from bronze and stone.
      The sculptural forms were designed to evoke ecclesiastical structures and to reflect the local landscape.
      “These objects give a sense of meditative calm, a sense of massiveness or monumentality that feels appropriate to the space,” Adamson said.
      Dutch designer Joris Laarman designed a series of benches for the exhibitionTwo stone benches by Dutch designer Joris Laarman made from locally sourced gritstone , which was the material used to build the house itself, were placed in Chatsworth House’s gardens.
      The surfaces of the benches were carved with undulating patterns in which moss and lichen have been planted and will continue to grow over time.
      Other objects in the exhibition include a throne-like seat wrapped in leather made from musical instruments by Jay Sae Jung Oh, a fibrous cabinet designed by Fernando Laposse, and sinuous steam-wood sculptures by Irish furniture maker Joseph Walsh.
      Laposse’s fluffy cabinet is made from agave plant fibresAnother section of the exhibition, which occupy Chatsworth’s Sculpture Gallery built in the early 19th century, features pieces by British designer Samuel Ross.
      Ross’s pieces were designed to echo the surrounding sculptures, mimicking their form to invite viewers to imagine the body that would recline on them. The designer has used a material palette of stone and marble to further reflect the sculptures within the gallery.
      Chatsworth’s collection contains art and design pieces spanning 4,000 years”It’s a kind of collision of past and present, of the artisanal with the technological, the classical with the industrial,” Adamson said.
      “It’s a great example of how the show in general tries to talk across generations, across centuries.”
      Mirror Mirror: Reflections on Design at Chatsworth is on display at Chatsworth House in Derbyshire until 1 October 2023. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.
      Photography is courtesy of the Chatsworth House Trust.
      Partnership content
      This video was produced by Dezeen for Chatsworth House as part of a partnership. Find out more about Dezeen’s partnership content here.

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      Biophilic design informs “otherworldly” moss-covered installation at luxury bag store

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      Creative studio Spacemen looked to biophilic design principles to construct a tree-like installation covered in moss, which forms the centrepiece of a flagship outlet for luxury leather brand Braun Büffel in Malaysia.

      Described by Shanghai-based Spacemen as a store that straddles an art gallery and a laboratory, the studio wanted to create an interior that would attract a younger audience and serve as “an abstract oasis” in Putrajaya’s IOI Mall.
      Spacemen designed the store interior for bag brand Braun BüffelCentral to this design is an oversized, organic-shaped sculpture clad in preserved flat moss, ball moss and lichen that is suspended from an illuminated disc in the middle of the shop.
      A rounded table clad in the same plants was positioned directly below to complete the installation. It also doubles as a plinth for Braun Büffel leather bags, which are displayed sparsely across the store like museum artefacts.
      It is characterised by a central moss-covered sculptureThe sculpture takes cues from biophilic design – a concept that encourages a closer connection between humans and nature when creating interior spaces.

      “The form was designed to seem as though it is sprouting from the ground towards the ceiling – towards the sun – hence why we integrated the membrane lighting ceiling above it, just like how it would grow out of a beaker in a mad scientist’s lab towards natural light,” explained Spacemen founder Edward Tan.
      “We envisioned an otherworldly concept akin to something out of a Hollywood sci-fi movie,” he told Dezeen.
      A green onyx feature wall was placed at the back of the storeTan said that Spacemen adopted a “maximal minimalism” approach when creating the store interiors, in an attempt to challenge the neutral shapes and colours often associated with luxury.
      Throughout the shop, lime plaster walls and bright white terrazzo floors are interrupted by various ornate display units and shelves magnified by floor-to-ceiling mirrors.

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      This cabinetry is made from decadent slabs of swirly orange onyx and jade marble, some of which are topped with glass vitrines that reveal small leather goods.
      Spacemen placed a green onyx feature wall at the back of the store, which sits behind furniture including a bespoke curved bench created from the same material as well as a custom oak armchair.
      Bespoke seating creates a waiting area for customersExplaining the decision to incorporate biophilic design into the Braun Büffel outlet, Tan said, “I think with the pandemic, people have taken to appreciating nature a lot more than before.”
      “This is especially true for people living in big cities where they live in apartments and are confined to office cubicles all the time, and do not have access to nature and greenery as much as they should.”
      “Therefore it has become a new form of luxury to be able to afford lush greenery and gardens indoors,” he concluded.
      Green and orange hues add colourful accents to the spaceOther retailers featuring similar designs include a store in Seattle for beauty brand Glossier with a mossy mushroom-covered mound and a Celine boutique in Paris that is characterised by large expanses of brass and marble.
      The photography is by David Yeow Photography.
      Project credits:
      Interior design: SpacemenMoss artist: Ohsum Mossum

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      Design Brut: Philia & Kids showcases sculptural furniture designed by “rather wise” children

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      Designers Antoine Behaghel and Alexis Foiny have created sculptural olive wood furniture based solely on drawings by children for a Galerie Philia exhibition.

      Design Brut: Philia & Kids is the inaugural programme of a non-profit initiative conceived by international art gallery Galerie Philia that aims to engage children in design.
      Design Brut: Philia & Kids was an exhibition on display in ParisThe project’s first edition invited 19 kids from a primary school in the Breil-sur-Roya village in France to design sculptural furniture that was exhibited at Espace Meyer Zafra in Paris from November until last week.
      Informed by the late French painter Jean Dubuffet, the initiative is named after art brut – or “raw art” – Dubuffet’s name for art created outside of academic limitations, such as art made by children.
      The furniture was constructed using children’s drawingsParticipants aged six to seven took part in a workshop over five months, where they were asked to draw their own interpretations of sculptural design under the supervision of BehaghelFoiny Studio founders Antoine Behaghel and Alexis Foiny and their teacher Virgile Ganne.

      The drawings range from a crocodile-like bench to colourful dining chairs and spikier, more abstract forms.
      “Several shepherds’ children drew hooves on the legs of the furniture, or horns on the backs of the chairs,” noticed Behaghel and Foiny.
      “Others, living near olive groves and the surrounding forest, drew leaves and branches on their furniture,” they told Dezeen.
      Nineteen children took part in the projectThe designers explained that they encouraged the kids to “assert their own creativity” as well as observe their classmates’ drawings and borrow forms from each other to make the design experience collaborative.
      “Against all odds, we realised that, when faced with furniture design, the children’s first intentions were rather wise, and copied the shapes of furniture they saw every day,” they said.
      Antoine Behaghel and Alexis Foiny constructed the furniture from olive woodAfter this, Behaghel and Foiny sorted the drawings into different furniture typologies including tables, chairs, stools, coat racks and pedestal tables, as well as categorising the creations by “spirits and styles”.
      The pair then worked with a cabinetmaker in Breil-sur-Roya to bring the drawings to life by making physical furniture out of local olive wood.
      “In some places, we shrank or enlarged the silhouettes drawn by the children, to better distribute the weight,” noted the designers.

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      During this process, the children were taken on a tour of a local sawmill and shown every stage of the production process in order to familiarise them with carpentry.
      Behaghel and Foiny explained that olive wood was chosen for its cultural significance to Breil-sur-Roya, which is known as the “pays des oliviers” (olive tree country).
      The designers painted the material in various colourful shades that aimed to subtly tint, rather than conceal, its veiny surface.
      “It seemed to us very relevant to associate the intervention of very young children wiht a thousand-year-old wood!” noted the designers.
      The pieces range from recognisable silhouettes to more abstract formsThe pair hopes that the workshop will have taught the children about the importance of furniture design while showcasing their personal creativity without limitations.
      “In the end, the children’s drawings showed a real spontaneity,” reflected Behaghel and Foiny.
      “They are both free from technical reflexes and therefore led us to take risks and at the same time detached from the aesthetic automatisms that we impose on ourselves more or less consciously as professional designers,” they added.
      “They led us to extract ourselves from standardisation of tastes and beauty, to play more with imbalances and proportions.”
      Subtle colour was used to brighten each wooden pieceThis is not the first time that children have tried their hand at chair design. Third and fourth graders at a school in New York have designed a number of seating collections under the supervision of art instructor Bruce Edelstein, including chairs with horns and other wooden seats.
      The photography is by Maison Mouton Noir. 
      Design Brut: Philia & Kids was on display at Espace Meyer Zafra from 10 November to 8 December 2022. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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      Monumental Damien Hirst sculptures feature inside Bacchanalia London restaurant

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      Interior architect Martin Brudnizki Design Studio has created a classical Greek and Roman mythology-informed restaurant complete with sculptures by British artist Damien Hirst in Mayfair, London.

      Named Bacchanalia London, the restaurant is located on a corner site of 1 Mount Street in Mayfair that was previously a Porsche showroom.
      Sculptures more than 2,000 years old sit on the bar at Bacchanalia LondonOpened 1 December, the restaurant has an opulent interior designed by Martin Brudnizki Design Studio that makes use of mosaics, classical details, hand-painted ceiling murals and Greek and Roman artworks more than 2,000 years old.
      The main dining room features five monumental statues designed by British artist Hirst that depict a winged lion, a unicorn ridden by a pair of winged lovers, another unicorn, Medusa and Bacchus.

      Dezeen filmed an exclusive first-look video tour of the restaurant.
      The walls of the main space were covered in floor-to-ceiling murals painted by artist Gary Myatt that interpret French artist Thomas Couture’s 1847 painting Romans in their Decadence.
      However, in Myatt’s murals the classically dressed figures can be seen using laptops and holding iPhones.
      Gary Myatt’s mural depicts classical figures using modern technologyThroughout the restaurant period and modern Greek and Roman art was showcased. Many pieces are over 2,000 years old. Over 300 books of 24-carat gold leaf were used across the interiors of the project.
      Over 400,000 tiles were used in the ladies restroom to conjure orchard greenery inspired by the Garden of Hesperides, where according to Greek mythology golden apples grow.
      The men’s restrooms – with high-gloss black toilets – are supposed to represent Hades’ underworld.

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      Informed by the Roman festival of Bacchus’ drunken celebrations, Bacchanalia London is the latest restaurant from restauranteur Richard Caring.
      At the launch event in November, Caring heralded it as a place for “the drinking of wine in excess and the co-mingling of the sexes thereafter”, adding that “Bacchanalia London could help with the former but guests would have to work out the latter for themselves”.
      Martin Brudnizki Design Studio previously renovated Caring’s other London club, Annabel’s, in 2018. Hélène Darroze at The Connaught is another Mayfair restaurant that has been recently revamped. To mark its 10-year anniversary in 2019, French designer Pierre Yovanovitch overhauled the dining space in the luxury hotel.
      The photography is by Johnny Stephens Photography.

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      Studio Terpeluk renovates Albert Lanier-designed Noe Valley home

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      San Francisco-based Studio Terpeluk has renovated and expanded Redwood House in Noe Valley with redwood interiors and terraces.

      The three-storey Redwood House was originally designed by American architect Albert Lanier – husband to sculptor Ruth Asawa – in a hilly  San Francisco neighbourhood characterised by Victorian and Edwardian houses.
      Studio Terpeluk renovated an interior in Noe ValleyStudio Terpeluk was selected to expand the 1976 house from 2,260 square feet (210 square metres) to 3,218 square feet (299 square metres) with a new guest room suite, home office, wet bar and media room.
      The renovation “surgically modified the house in an architecturally non-aggressive manner,” the studio said.
      Western red cedar was used for the walls and ceilingWrapped with irregular western red cedar planks, the narrow house cascades down the hillside with exterior courtyards that mitigate the grade change.

      One enters the house through an intimate courtyard off the street into an open-plan upper level with a sloping ceiling and dark-knotted Douglas fir flooring made from local reclaimed pier pilings.
      Many of the walls and ceilings were updated with vintage rough-sawn redwood veneered plywood maintained from the original build.
      “Redwood surfaces and structural elements complete the warm interior landscape: from the sloping roof beams to partition walls and built-in shelves,” the studio said.
      The renovation expanded the homeTo the left of the entrance is the kitchen with custom-gloss cabinets and a Carrara marble backsplash. It opens to a dining room that features a Saarinen table and Hans Wegner wishbone chairs.
      To the right is the library where sunlight from the large window brightens the dark panelling and sculptural furniture.
      Bright panelling contrasts the rich wood tonesThe living room is oriented around a pink sculpture by American artist Wanxin Zhang.
      Padded seating wraps the corner under a large window looking out to the San Francisco skyline.
      The living room has wrap-around seating and views of San FranciscoThe house is centred around a staircase illuminated by a skylight.
      “The sculptural blackened steel stair with vintage rough-sawn redwood plywood walls anchors the house, weaving together the three floors and their diverse spatial character,” the studio continued.
      The home is oriented around a central staircaseThe middle level features guest suites with direct access to the entry courtyard.
      The primary suite is softened by light pink terrazzo tile and a micro mosaic of Indian red recycled plastic tiles.
      The home’s colour complements the art collection of the owners”Color was a recurring theme in the exquisite and eclectic art collection of the owners,” studio founder Brett Terpeluk said.
      “This went perfectly hand in hand with my interest in mid-century Italian design and its bold use of color.”
      A series of terraces connect the home with the sloping site”We collaborated with our friend and designer Beatrice Santiccioli to enrich the project with a dedicated and bespoke color language,” he continued.
      At the lowest level, a media room, home office and kitchenette open to an abundantly landscaped garden.

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      The outdoor areas were designed by Terpeluk’s wife and longtime consultant, Italian landscape designer Monica Viarengo.
      The terraces shift from curated gardens to wild vegetation as one moves through the property, while the plantings reference California coastal landscapes with yellow roses, espaliered fruit trees and a variety of thymes.
      A guest suite connects to the central courtyardStudio Terpeluk was founded in 2008 by Brett Terpeluk, after he finished a tenure working with Italian architect Renzo Piano.
      Other Noe Valley renovations include the Gable House by Edmonds + Lee, a renovated Victorian townhouse by Fougeron Architecture and an industrial home for a tech entrepreneur by Levy Art and Architecture and Síol Studios.
      Photography is by Joe Fletcher.
      Project credits
      Project team: Brett Terpeluk, Huy NguyenLandscape design: Monica ViarengoColor consultant: Beatrice SanticcioliContractor: Saturn ConstructionStructural engineering: Strandberg EngineeringFurniture: Santiccioli ArredamentiOrama sliding window systems: CooritaliaWindows: BonelliWood reclaimed wood flooring: ArboricaMetal fabrication: Upper Story DesignDrapery/upholstery: Malatesta & CoArt: Catharine Clark Gallery

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      Enter Projects Asia enlivens Belgian office with “fluid” rattan sculptures

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      A rattan sculpture winds its way across the ceilings of this office and factory building in Waregem, Belgium, which has been overhauled by Thai architecture studio Enter Projects Asia.

      Named A Factory Facelift, the installation was commissioned by the owners of an ice-making factory to bring “balance and calm” to the interior of their small concrete office block in West Flanders.
      Enter Projects Asia has overhauled an office interior in BelgiumEnter Projects Asia’s (EPA) design includes sculptures, planters, light fittings and seating across two storeys, which are constructed from rattan – a flexible plant with a woody stem.
      Beginning with an eight-metre-high sculpture in the glazed lobby, many of these elements take the form of curved sections that are suspended from the ceilings by metal wires and appear to flow through the building.
      Curved rattan sculptures have been introduced into different rooms”[We] were given what felt like a ‘wellness’ brief for the space, inviting nature and creativity into an industrial setting,” said EPA.

      “The site was an ice-making factory, so the design was to be fluid and liquid, like the properties of pure spring water crystallising, incorporating raw and sustainable materials wherever possible,” it continued.
      Some elements are suspended from the ceilingsBeneath the ceiling sculptures and continuing the same design language, EPA has also designed rattan seating areas that help to divide the office spaces.
      Planters have been built into these curved seating structures, complemented by trailing plants that hang from the rattan ceiling sculptures.

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      The project was commissioned early on during the Covid-19 pandemic, meaning the relationship between the studio and the client was entirely remote.
      This led to the rattan works being digitally designed and then split into segments that could be built and transported as efficiently as possible to the site, and assembled “like a 3D jigsaw”.
      There is also rattan furniture including office chairsEPA believes that it is important to give the craft of working with rattan new applications, as many rattan factories became threatened with closure during the pandemic.
      “As a byproduct of this project, rattan factories were able to stay afloat during the darkest days,” said EPA Director Patrick Keane.
      “This project became a lifeline for many craftsmen who otherwise would have been without work. Maintaining these factories ensure local, sustainable arts & crafts production could continue,” he added.
      Some seating incoporates plantersEPA has made extensive use of rattan in its previous projects, including another large-scale rattan sculpture for the interiors of the Spice & Barley restaurant in Bangkok.
      Elsewhere in Thailand’s capital, it used the material to create a series of rattan pods with dynamic forms for the yoga brand Vikasa.
      The photography is by Edmund Sumner.

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