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    Victorian warehouse in London transformed into Greencoat Place office

    British architecture practice Squire and Partners and office design firm Modus Workspace have retained the ornate cast-iron columns and glazed tiles of a 19th-century warehouse in London while turning it into a contemporary workspace.

    Located in London’s Victoria, the Greencoat Place building was originally used as a warehouse, storeroom and food hall for the Army & Navy Stores – a military cooperative turned department store that was acquired by House of Fraser in 1973.
    Greencoat Place is a warehouse-turned-office in LondonNow, the building belongs to serviced office provider Fora and houses a mix of workspaces and amenities including a fitness studio, a colourful terrazzo bar and a vertical farm on the lower-ground level, where fresh produce is grown for workers to take home or eat for lunch.
    Two historic halls sit at the heart of the building – one serving as a flexible communal space for events or casual meetings, while the other is a workspace flooded with natural light from a skylight above.
    The building’s original brickwork was exposed in several placesReferences to the building’s past can be found throughout its interiors. This includes carefully preserved mouldings and glazed tiles, some featuring marine details in a nod to Army & Navy Stores’ history as a military cooperative, which supplied officers and their families with price-controlled goods.

    The building’s cast-iron columns and original steel doors were restored along with the vaulted ceilings on the lower ground level. In places where the original brickwork was exposed, the design team deliberately left layers of paint behind to visualise the renovation process.
    Its decorative glazed tiles were also retainedModus Workspace chose a soft, calm interior palette to contrast with the building’s industrial shell. Lime-washed oak was paired with richly textured fabrics and arch-shaped details, which echo the arches in the original halls.
    Colourful mosaic tiling unearthed in neighbouring residential buildings was reinterpreted in the flooring of the office’s communal spaces, introducing colour and pattern.

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    Open lounge spaces provide a calm environment to relax and collaborate while a series of video call booths are equipped with integrated lighting designed to show people in their best light.
    Video call facilities are also available in every meeting room to cater to hybrid working patterns, while secure cycle storage, changing facilities and showers promote an active commute or lunch break.
    Well-lit booths provide private spaces for video callsIn line with biophilic design principles, the interior combines plenty of planting, daylight and natural materials in a bid to enhance occupants’ wellbeing.
    To make the Victorian building more energy efficient and minimise its operational emissions, the architecture firm installed new glazing, sensor-controlled lighting and a variable refrigerant flow (VRF) system, which only circulates the minimum amount of refrigerants needed during a single heating or cooling period.
    The building’s concrete shell is softened with biophilic design elementsGreencoat Place has been shortlisted in the large workspace interior category of Dezeen Awards 2022.
    Two former industrial buildings are also in the running for the title – Dyson’s global HQ housed in a Singapore power station and a shared workspace, which is set in the generator building that once supplied Bristol’s tram system.
    The photography is by Jack Hobhouse.

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    Nina + Co brings biomaterials into MONC eyewear store in London

    Cornstarch-foam shelves meet mycelium display plinths in this London store that Nina + Co has designed for bioplastic eyewear brand MONC.

    Nestled among a parade of high-end shops in Marylebone, MONC sells glasses made from bio-acetate – an acetate produced completely without fossil fuels – which are packaged using recycled leather cases and compostable cornstarch foam.
    The first MONC eyewear location sits along a row of shops in MaryleboneWhen local studio Nina + Co was brought in to design MONC’s debut store, the team was keen to incorporate biomaterials throughout the interior, while also taking the brand’s short-term lease of the retail unit into account.
    “Circularity was key,” said the studio. “Almost everything we brought into that building was entirely bio-based or recycled.”
    “The furniture is expertly built to last but can be disassembled for re-use, recycling or return to the earth as nourishment.”

    The store features a ceiling installation made from cornstarch foamUpon entering the store, visitors find themselves under an undulating ceiling installation crafted from corrugated panels of cornstarch foam.
    Thicker blocks of the material were used to create rows of squishy-looking shelves, which can be used for packaging or simply dissolved in water when they eventually start to show signs of wear and tear.
    The foam was also used to form small shelvesDisplay plinths made out of mycelium – the vegetative part of a fungus – were dotted across the store to showcase different eyewear models.
    In between the shelves, a couple of long mirrors are balanced on hunks of concrete that were salvaged from roadworks nearby.
    A recycled PET island sits at the centre of the store beside mycelium display plinthsThe craggy concrete was chosen as a subtle nod to the rugged Dolomite mountains, which can be seen from the Italian town where all MONC eyewear is produced.
    Nina + Co worked closely alongside Welsh manufacturers Smile Plastics and London joiner EJ Ryder to design the store’s recycled PET island and bench seat, which are an apricot-orange hue.

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    As both furniture pieces were joined with mechanical bolts rather than glues, they can easily be taken apart, flat packed and transported to a different MONC store for reuse.
    Walls throughout the interior were finished with VOC-free clay paint while the unit’s existing floor was covered with a water-based sealant.
    The plastic was also used to form a bench seat”Previous tenants had ripped up their floor to leave a plywood subfloor, with markings of the adhesive still evident and some paint bucket outlines,” the studio explained.
    “After a test patch, we were convinced that a simple water-based sealant would give it a beautiful depth and sheen with the industrial feel of concrete [while being] kinder to the planet and the budget.”
    Walls were washed with a calming clay paintMONC is one of five projects shortlisted in the small retail interior category of this year’s Dezeen Awards.
    It’s going head-to-head with the Durat showroom by Linda Bergroth, which is decked out in an unusual mix of colours, and Aesop’s Yorkville store by Odami with its oxblood-red balusters.
    The photography is by Handover.

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    MoreySmith turns Bristol power station into flexible workspace

    The Victorian power station that once supplied Bristol’s tram system has been transformed into a shared office space, designed by British interiors studio MoreySmith to celebrate its industrial past.

    The waterside Generator Building originally opened in 1890 to power Bristol Tramways – the electric tram system that serviced the city until it was destroyed in the second world war.
    MoreySmith was commissioned to transform the building into a flexible co-working space set over six floors, which has been shortlisted in the large workspace interior category of Dezeen Awards 2022.
    The Generator Building was renovated by MoreySmithThe new workspace includes dedicated offices, private desks and event spaces, as well as a lounge and cafe that are open to the public to ensure that the building contributes to the wider regeneration of the local neighbourhood.
    MoreySmith worked closely with Historic England to restore the once-derelict Grade II listed building, taking care to preserve original features such as the steelwork and tiled brick facade.

    The studio also retained various graphics such as the stencilling on the building’s glazed tiles and brick walls, which was used to label the four steam engines and generators housed in the power station.
    The interior references the building’s industrial pastOther aspects of the interior scheme were designed to pay homage to the building’s industrial past. This includes the aged copper cladding used on the storage lockers and quiet booths, which references the rusted metal objects found in the building during the renovation.
    A central spiral staircase is complemented with mosaic tiles, mimicking the building’s original flooring, while a bespoke lighting system that recalls industrial power generators illuminates the bar area.
    MoreySmith took care to ensure that natural light filters throughout the building’s various spaces, and that workspaces have views out across the city and waterways below.

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    A double-height breakout space provides additional room for casual meetings. Flooded with natural light from a skylight above, this lofty space highlights the building’s generous proportions.
    Contemporary furnishings and an abundance of green planting were added to contrast with the raw finishes and industrial features.
    The design studio also inserted pod structures on the fifth floor to create mezzanine offices in between the building’s trusses.
    Its floors are connected by a spiral staircase”The Generator Building is a glorious example of what is possible when buildings are sensitively restored in a way that both celebrates their history while bringing new life to an existing structure,” said MoreySmith.
    Other projects shortlisted alongside the Generator Building in the large workspace interiors category of Dezeen Awards 2022 include Dyson’s global HQ inside St James Power Station in Singapore.
    Also in the running is the Midtown Workplace in Brisbane, which features a plant-filled atrium wrapped by a weathered-steel staircase.
    The photography is by Fiona Smallshaw.

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    Tom Dixon furnishes penthouses in Herzog & de Meuron's One Park Drive skyscraper

    British designer Tom Dixon’s Design Research Studio has furnished the interiors for two duplex penthouses that Herzog & de Meuron has created within its cylindrical Canary Wharf skyscraper.

    Architecture studio Herzog & de Meuron designed the seven penthouses in the residential One Park Drive skyscraper, which were the last part of the project to be completed, to contrast the commercial buildings that surround them.
    “We had to think about what it means to live vertically and how to create a strong distinction between something that is commercial and something that is residential,” Herzog & de Meuron’s UK studio director John O’Mara said at the penthouses’ opening.
    The seven penthouses feature wood-clad courtyardsLocated on the 56th and final floor of the 205-metre-tall One Park Drive building, the duplex penthouses feature balconies overlooking Canary Wharf. To give them a more residential feel, Herzog & de Meuron added an unusual detail – hidden internal courtyards.
    The wood-clad courtyards open up towards the sky via D-shaped ceiling cut-outs and function as a “back garden,” the studio said.

    Each of the penthouses, which range from 152 to 362 square metres, also feature a statement spiral staircase made from concrete poured in-situ. The staircases all have different designs.
    Spiral staircases were made from concrete poured in-situDesign Research Studio furnished the interiors for two of the duplex penthouses in One Park Drive using a combination of furniture by Dixon’s studio and handpicked vintage furniture.
    Among the vintage pieces used for the design were chairs by Danish designer Verner Panton and lamps by Finnish architect Alvar Aalto. Dixon also custom-made large artworks for the space.
    The penthouses are on the 56th floorDixon’s studio used the theme of Home of the Collector to imagine what the interiors of the penthouses should feel like.
    “Each room has been meticulously curated – we wanted every single object to feel as if it has been made specifically for this space or that it has been carefully selected for it,” Dixon explained.
    “It should feel personal, convincing, compelling and aspirational – we didn’t want to design a typical luxury apartment,” he added.
    “The beautiful, fluid spaces feature high ceilings and large expanses of wall and windows and the artworks create the sense of a private gallery.”

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    Coming up with a concept for an imaginary homeowner was an enjoyable aspect of the job, Dixon added.
    “It’s actually really good fun to try and invent a personality and try and work out what they would actually do,” he said, explaining that he had envisioned the apartments being filled with art pieces and furniture that had been picked up on travels.
    Bathrooms have sand-coloured Tadelakt wallsThe apartments in One Park Drive are all designed by Herzog & de Meuron with a tactile material palette that helps to draw attention to the interiors.
    Wood was used to create striking details for the interior architecture, including the wardrobe doors with leaf-shaped openings.
    The studio used Tadelakt plaster to create sand-coloured bathrooms with globe-shaped lights and rounded mirrors, while floors are concrete or pale wood.
    The penthouses also have balconies overlooking Wood WharfThe duplex penthouses are the last part of One Park Drive to be completed. The skyscraper, which contains 484 apartments in total, forms part of developer Canary Wharf Group’s plan to add homes to the predominantly commercial Canary Wharf neighbourhood.
    Other recent projects by Tom Dixon include a twentieth-anniversary exhibition that featured mycelium towers and Design Research Studio’s design for restaurant The Manzoni.

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    Crawshaw Architects transforms cow shed into Stanbridge Mill Library

    London studio Crawshaw Architects has transformed a former cow shed in Dorset into a library and office, organised around a wooden, barrel-vaulted arcade that references the client’s collection of books on classical Palladian architecture.

    The Stanbridge Mill Library, which has been shortlisted in the civic and cultural interiors category of Dezeen Awards 2022, occupies one of several outbuildings of a Georgian farmhouse on a grade II-listed farm.
    Crawshaw Architects has overhauled a former cow shed in DorsetThe narrow, gabled brick shed was originally built to house Standbridge Mill Farm’s cows but had stood neglected for over forty years, used as storage for gardening equipment and farm machinery.
    Looking to give the building a new purpose while maintaining its existing character, Crawshaw Architects made only small structural interventions, replacing two of its original roof trusses with portal frames that open up the interior.
    The studio has transformed it into a library and office”While a decisive transformation of the interior was called for, we felt that the original use of the building needed to be part of the story,” explained the studio.

    Stanbridge Mill Library’s focal point is a central “nave”, which is filled with seating areas covered by a wooden barrel vault and slotted between two narrow aisles lined by bookshelves. This plan references classical architectural forms, which are the focus of many of the client’s books.
    The Stanbridge Mill Library is organised around a barrel-vaulted arcadePale, solid oak has been used for the floor, shelving, storage and the central vault, half of which is covered with planks and the other half left open to allow in light from new skylights.
    “The high nave and pair of aisles are in the form of a classical library, but are set out in the register of the original building using the materials and construction techniques of traditional farm carpentry and metalwork,” explained Crawshaw Architects.
    The office occupies the northern end of the building”The vault, columns, shelves, tables and seating are made of the same solid oak planks and sections, deliberately selected to show knots and natural blemishes,” the studio continued.
    Desks are organised to take advantage of light from the windows and are illuminated at night by large pendants suspended from the vault.

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    The office space occupies the northern end of the building underneath an original roof truss, which is separated from the library by an arched glass door and windows that frame views through the nave and aisles.
    To the south of Stanbridge Mill Library, a dog-leg in the plan is occupied by a small kitchen, positioned opposite a bathroom and a small lobby area.
    Pale solid oak has been used throughoutStanbridge Mill Library features in the civic and cultural interior category of Dezeen Awards 2022 alongside the renovation of the Groote Museum in Amsterdam by Merk X.
    Another project on the shortlist is the interior of F51 Skate Park in Folkestone by Hollaway Studio, which won the public vote for the same category.
    The photography is by Ingrid Rasmussen.
    Project credits:
    Architect: Crawshaw ArchitectsDesign team: Pandora Dourmisi, Aidan CrawshawStructural engineer: Hardman Structural EngineersContractor: CanDo Constructions ltd

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    Margate's Fort Road Hotel celebrates British art and seaside history

    Frieze co-founder Matthew Slotover, developer Gabriel Chipperfield and artist Tom Gidley have teamed up with Fleet Architects to turn a partially collapsed building in Kent, England, into a 14-room hotel.

    Located on the Margate seafront, Fort Road Hotel features vintage furniture, nature-informed materials and artworks by the likes of Tracey Emin, Hannah Lees and sculptor Lindsey Mendick.
    A ground-floor restaurant forms the reception of the Fort Road HotelThe building has had the same name since 1820 when it first opened as a boarding house. But it was on the verge of ruin when Slotover, Chipperfield and Gidley bought it at auction four years ago.
    London-based Fleet Architects helped the trio replan the interior, which now contains a ground-floor restaurant, a two-storey basement bar and a roof terrace offering 360-degree views of the town and coastline.
    It features artworks by Tracey Emin and Sophie von HellermannThe owners oversaw the interior design themselves. The ambition, according to Gidley, was to pay tribute to the building’s history while offering a sense of homeliness.

    “We wanted to make it feel somewhere between a house and a hotel,” he told Dezeen.
    The green tiles offer a striking contrast with the terracotta-toned floor tilesGuest rooms can be found on the building’s reconstructed first and second floors, as well as on the newly added third floor.
    The focal point of each room, aside from the bed, is a bespoke gridded vanity unit crafted from wood and inlaid with marble.
    Bedrooms are characterised by custom vanity units in wood and marbleThe aesthetic is softened by the addition of period furniture pieces, curtains in linen or felt, and a selection of vintage artworks.
    “Early on, I proposed the idea that I would simply buy pictures that I liked the look of, in the way that boarding house and small hotel owners have always done,” said Gidley.

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    This concept extends to the hallways, which are decorated with seaside memorabilia, vintage photographs, old postcards and antique maps.
    The scene changes in the downstairs spaces. Here, Gidley and Slotover have used their art-world connections to secure pieces by a range of celebrated contemporary artists.
    Bedrooms overlook the seafront and the neighbouring Turner Contemporary galleryIn the joint restaurant and reception – characterised by a herringbone-pattern floor and a bright green tiled bar – small-scale paintings by various artists hang on soft-green panelled walls.
    A corridor leading down to the basement is brought to life with a mural by London-based painter Sophie Von Hellermann, while a neon piece by Tracey Emin is one of several artworks on show in the two-level basement bar.
    “Everybody has loaned works for a variety of lengths of time, so now and again something will change,” said Gidley.
    Red tiles from Mexico feature in the bathroomsFort Road Hotel is the latest of several buildings to put Margate on the map as a hotspot for contemporary art.
    Since the 2011 opening of the Turner Contemporary gallery – designed by Gabriel Chipperfield’s father David Chipperfield – London-based artists including Emin have increasingly been relocating to the area in search of more affordable studio space.
    Ford Road Hotel’s two-storey basement bar can be accessed from the streetGidley hopes the trio’s sensitive approach to the building’s history means the hotel will be just as valued by locals as by art lovers.
    “I think we’ve created something very attractive that adds to the appeal of the town and reflects its history,” he added.
    The photography is by Ed Reeve.

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    London Fire Brigade “celebrates bravery” with exhibition marking launch of updated typeface

    The London Fire Brigade has unveiled its updated typeface designed by Studio Sutherl& and The Foundry Types at the Running Towards exhibition of graphic artworks informed by the organisation’s design heritage.

    The Running Towards exhibition took place at the Shoreditch Fire Station during the London Design Festival, with visitors entering through the building’s big red shutters into a display of artworks created by UK designers.
    The exhibition took place at Shoreditch Fire StationThe new Fire Brigade Sans typeface, created by Studio Sutherl& and The Foundry Types, was displayed on the exterior of Shoreditch Fire Station.
    Its design was informed by the lettering of old fire engines and on the facade, the typeface was printed in the red, yellow and gold colours synonymous with fire engines.
    Studio Sutherl& designed London Fire Brigade’s new typefaceTo celebrate the typeface, London Fire Brigade collaborated with communications agency KesselsKramer, writer Thomas Sharp, Studio Sutherl& and carpet manufacturer Britons on the exhibition, which saw designers create their own interpretations of the organisation’s design heritage.

    Among the pieces on show were graphic interpretations of the Danger Risk of Fire safety sign, a bespoke carpet with a pattern informed by the universal fire exit sign and firefighting objects and items from Shoreditch Fire Station’s own collection.
    London Fire Brigade’s typeface Fire Brigade Sans was featured on postersKesselsKramer described the showcase as “a celebration of London Fire Brigade’s bravery, aiming to inspire that very same spirit within ourselves.”
    The studio invited 25 London-based designers to recreate the fire safety symbol for their display, titled ​​Warning: Risk of Fire.
    “It felt appropriate that for London Fire Brigade’s inaugural Design Festival exhibition, a piece of graphic design synonymous with the fire service became the focus,” said KesselsKramer.
    Franz Lang’s design tells the story of her grandma’s catPresented on triangular signs, each artwork was designed to tell a story of firefighting bravery. Graphic artist Jimmy Turrell’s interpretation was dedicated to his father who was a firefighter.
    Illustrator Franz Lang’s entry represented the story of her grandma’s cat, who was rescued from a tree by the fire brigade.

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    “This is such an iconic location for an art show,” said Lauren Coutts, art director at KesselsKramer. “To get a rare glimpse into a fire station is very exciting in itself so to then be able to celebrate bravery here, in so many forms, feels very special.”
    Britons created a bespoke wool carpet for The Running Towards exhibition, which features a pattern informed by the universal fire exit symbol.
    Britons designed a carpet to display at The Running Towards exhibitionBurgundy and navy chevrons repeat along the length of the carpet with arrows and stick figures that reference the fire exit sign. According to Britons, the carpet is made from wool to exemplify the material’s naturally fire-retardant properties.
    “As a material, wool contains a higher water and nitrogen content than other man-made fibres making it a naturally fire-retardant material,” said Britons.
    “Another benefit is that it does not emit smoke or fumes, often one of the main causes of serious health issues following a fire.”
    The exhibition showcased graphic posters in a colour palette that references fire enginesOther exhibitions that took place during London Design Festival include a collection of wooden objects made from a dying ash tree and a sculptural stone installation that references Stonehenge.
    The photography is courtesy of the London Fire Brigade.
    The Running Towards took place between 20 and 24 September as part of London Design Festival. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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    Exhibition dedicated to the work of Yinka Ilori opens at London's Design Museum

    Brightly coloured chairs and personal memorabilia feature in the Parables for Happiness exhibition showcasing the works of London-based designer Yinka Ilori at the Design Museum.

    Opened during London Design Festival, the exhibition is the first major display of Ilori’s vast number of vibrant designs, including graphic murals, furniture and public installations.
    Parables of Happiness showcases a wide selection of Ilori’s designsIlori’s designs are exhibited alongside pieces that influenced his work and objects representing his Nigerian heritage, including Nigerian textiles adorned with colourful geometric patterns and a traditional Dùndún drum that visitors can play.
    The show also includes models of some of the 80 sculptural chairs that Ilori has designed.
    Ilori started his career designing chairsOne of Ilori’s chair designs is presented in a line-up of iconic and recognisable chairs with the aim of giving context to his work. Included in the display is the RCP2 chair by Jane Atfield, who was Ilori’s tutor at university.

    “One of the reasons I started designing was because of a brief given by Jane Atfield called Our Chair,” Ilori told Dezeen. “Purely because of her brief is why I started designing chairs when I finished uni.”
    A chair designed by David Adjaye is exhibited alongside Ilori’s workAnother chair on display is the Washington Skeleton Side Chair designed by British-Ghanian architect David Adjaye, who Ilori credits with having “opened doors for designers like me”.
    “Over the years, my work has gained recognition for the strong use of colour, pattern and narrative that comes from my Nigerian heritage,” said Ilori. “However, it has often deviated from design trends and has been misunderstood”
    “This display charts my inspirations and creative journey as I transitioned from furniture design to community-driven public installations,” he continued.
    His work is influenced by Nigerian textilesVisitors to the exhibition can discover Ilori’s architectural projects through photographs, drawings and models including his Colour Palace pavilion, which was erected in Dulwich in 2019.
    Details of Ilori’s Launderette of Dreams – an installation that involved reimagining a launderette in London as a children’s play zone for Lego – are displayed. A lego chair that formed part of the Launderette of Dreams installation is also on display at the show.

    Yinka Ilori builds colourful Lego launderette in east London for kids to play in

    “A fast-rising star of contemporary design, Yinka Ilori’s unique aesthetic – drawing on Nigerian textiles with a nod to postmodernism – employs a mix of visual references that come together to inspire joy,” said the exhibition’s curator Priya Khanchandani.
    “This display is a testament to how cultural fusions, frissons and juxtapositions can be rich fuel for creativity and for generating more inclusive architectures in the city.”
    Chairs and details of the designer’s public installations are included in the exhibitionAs well as showcasing Ilori’s bright, playful designs and examples of his design influences, the exhibition features some of the designer’s personal items.
    Visitors can see his name badge from working at Marks and Spencer and a pair of paint-splattered trousers that Ilori wore while painting a number of his graphic murals.
    Ilori is known for his use of colour and graphic representation”I’m a huge believer in memory making and storytelling – how do we relive or revisit memories?” said Ilori.
    In Parables of Happiness, Ilori hopes to “open up new conversations about design in the UK and internationally, to see how other people view design around the world”.
    “I am truly humbled and honoured to have my work exhibited at such an early stage in my career and hope the display provides inspiration for the next generation who might feel they don’t fit into the status quo,” the designer continued.
    Known for his colourful designs, Ilori has recently completed a pavilion in Berlin with a canopy made up of brightly coloured translucent disks and transformed his London studio and office with bold hues indicative of his signature art style.
    The photography is by Felix Speller.
    Parables for Happiness takes place from 15 September 2022 to 25 June 2023 at the Design Museum in London. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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