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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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      NeueHouse opens third members' club in Los Angeles

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      Workspace brand NeueHouse has opened a work and social space in Venice Beach, Los Angeles, which is revealed in this video created for the brand by Dezeen.

      The club is the third community and co-working space that the brand has opened in Los Angeles, California, with other locations in Hollywood and in Downtown’s historic Bradbury Building.

      Workspace brand @NeueHouse has opened a work and social space in Venice Beach, Los Angeles. pic.twitter.com/IzJQMvbV0g
      — Dezeen (@dezeen) January 31, 2023

      NeueHouse Venice Beach is located at 73 Market Street, in an area of Los Angeles known for its arts scene in the 70s and 80s.
      The interiors of the club were designed by Canadian studio DesignAgency, who were strongly informed by southern California’s history as a centre of modernism.
      The agency chose to use light, organic materials to reflect the Californian climate. Spaces are designed to be open-plan, in order to foster a feeling of informality and comfort.
      Spaces were designed to reflect the oceanfront locationThe building includes private and public workspaces, as well as a podcast recording studio, wellness room and social spaces.
      As with Neuehouse’s other venues, the club will host a regular cultural programme including exhibitions, screenings and events.
      The clubhouse is home to a collection of artwork curated by Caroline Brennan of design studio Silent Volume and Pamela Auchincloss of curatorial agency Eleven+. The collection combines the work of established artists with emerging talent from southern California.
      The clubhouse contains co-working spaces and creative production facilitiesThe Venice Beach club also houses Reunion, the first in-house restaurant and bar in a Neuehouse location. The restaurant is situated on a private rooftop space with indoor and outdoor seating.

      NeueHouse opens Los Angeles co-working space inside landmarked Bradbury Building

      “Our latest House is a response to a historic demand from the local Venice creative community,” said chief marketing officer Jon Goss.
      “We want to reimagine and pay homage to the block’s historic past, while offering a warm, design-first experience”.
      You can apply for membership at NeueHouse Venice Beach at its website.
      Last year, Dezeen and NeueHouse teamed up to host a series of events, including a panel discussion on Afrofuturism in art and design and a live talk on the metaverse featuring Liam Young, Refik Anadol and Space Popular.
      Partnership content
      This article was written as part of a partnership with NeueHouse. Find out more about our partnership content here.

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      Design Museum's Objects of Desire exhibition explores “what surrealism is and why it matters now”

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      Curator Kathryn Johnson explains the story behind surrealism and its impact on design in this video Dezeen produced for the Design Museum about its latest exhibition.

      Titled Objects of Desire: Surrealism and Design 1924 – Today, the exhibition features almost 350 surrealist objects spanning fashion, furniture and film.
      The exhibition, which was curated by Johnson, explores the conception of the surrealist movement in the 1920s and the impact it has had on the design world ever since.
      The exhibition features nearly 350 pieces of art, design, photography, fashion and filmIt features some of the most recognised surrealist paintings and sculptures, including pieces by Salvador Dalí, Man Ray and Leonora Carrington, as well as work from contemporary artists and designers such as Dior and Björk.
      “Surrealism was born out of the horrors of the first world war, in a period of conflict and uncertainty, and it was a creative response to that chaos,” Johnson said in the video.

      “It saw in the fracturing of the world an opportunity to shake things up, to do things differently, to think differently, and to acknowledge the subconscious and its importance for our everyday lives.”
      The exhibition explores the beginnings of the surrealist movement in the 1920sThe exhibition explores surrealism’s impact on contemporary design, with nearly a third of the objects on show dating from the past 50 years.
      “We want to start a conversation about what surrealism is and why it matters now,” Johnson said.
      The name of the exhibition references the importance of the concept of desire within the movement. In the video, Johnson explained that the surrealist movement began with poetry, with French poet and author André Breton penning the first surrealist manifesto.
      Breton described desire as “being the sole motivating force in the world” and “the only master humans should recognise.”
      The exhibition’s name refers to the importance of the concept of desire within the movementThe exhibition is segmented into four themes. It begins with an introduction to surrealism from the 1920s and explores the influence of the movement on everyday objects, as well as its pivotal role in the evolution of design throughout the twentieth century.
      Another part of the exhibition explores surrealism and interior design, since early protagonists of the movement were interested in capturing the aura or mystery of everyday household objects.
      Objects on display include Marcel Duchamp’s Porte-Bouteilles, a sculpture made from bottle racks, and Man Ray’s Cadeau/Audace, a traditional flat iron with a single row of 14 nails.
      Early surrealists were interested in capturing the mystery of ordinary household objectsThe exhibition moves along to the 1940s, where designers started using surrealist art for ideas to create surprising and humorous objects. Items borne from this include Sella by Achille and Pier Giacomo Castiglioni and Jasper Morrison’s Handlebar Table.
      A key section of the exhibition includes a spotlight on surrealism’s significance in the UK, documenting the partnership between Salvador Dalí and the British poet and art patron Edward James, whose collaboration resulted in some of the most notable works of surrealism such as the Mae West Lips sofas and the Lobster Telephone.
      The exhibition features a number of pieces by Dalí including the Lobster TelephoneAnother section of the exhibition examines surrealism and the body in relation to the human form, sexuality and desire.
      Included in this section are Sarah Lucas’ Cigarette Tits, in which the language of tabloids is used to expose stereotypes of female sexuality, and Najla el Zein’s Hay, which highlights the sensory pleasures provided by everyday materials.
      Photographs, vintage magazine covers and fashion items are on display to show the impact of surrealism on the fashion industry starting from the 1930s.
      The exhibition features fashion and objects exploring the human form, sexuality and desireAccording to Johnson, “surrealism attracted more women than any other movement since romanticism.” As a result, she wanted to ensure there was a wide representation of female artists and designers in the exhibition.
      “I think that was partly because of concerns about the body, about sexuality, and how the domestic were key themes of surrealism from the beginning,” she said.
      “But those themes were approached in a very original and critical way by the women associated with the movement – some of whom would not have considered themselves surrealists but were in dialogue with those ideas.”
      Surrealism attracted more women than any other movement since romanticism, according to JohnsonThe final section of the exhibition looks at the surrealist preoccupation with challenging the creative process itself and how this resulted in original works of art and design.
      According to Johnson, contemporary designers are still using ideas from early surrealism, such as welcoming chance into the creative process, or using techniques like automatism.
      “The surrealists try to write and draw without thinking, and we see in the exhibitions and studies where they are drawing in an automatic way. But now, of course, contemporary designers have other tools to use to try and bypass the known and the conventional,” Johnson said.
      The exhibition is on show at the Design Museum until 19 February 2023An example of this in the exhibition is Sketch Chair by design studio Front, which was produced using motion capture technology to translate the movement of drawing in mid-air into a 3D-printed form.
      “The surrealists knew that changing the mind would change the material world and we’re now at this frightening but thrilling juncture where we’re creating a computerised intelligence that can be creative,” Johnson said.
      Objects of Desire: Surrealism and Design 1924 – Today opened at the Design Museum on 14 October 2022 and is on show until 19 February 2o23.
      Tickets are available at designmuseum.org/surrealism.
      Partnership content
      This video was produced by Dezeen for Design Museum as part of a partnership. Find out more about Dezeen’s partnership content here.

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      Shaw Contract announces the winners of its 2022 Design Awards

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      The winners of the Shaw Contract’s 2022 Design Awards, which include an orthopedic hospital in USA and a workplace in a restored building in Brazil, are revealed in this captioned video produced by Dezeen for the brand.

      Flooring company Shaw Contract recognised five winners in the 17th edition of its Design Awards, which celebrates impactful living, working, learning and healing spaces around the world.
      Each of the winners was awarded a $2,000 charitable donation in the name of their studio to an organisation of their choice.
      HGA’s design of the Crystal Clinic Orthopaedic Centre was noted in the awards.”The Shaw Contract Design Awards program is our chance to recognise the spaces that inspire new ways of living, working, learning, and healing through the design lens,” said Shaw Contract.
      “The awards place a spotlight on a diverse range of talents from across the globe, celebrating design in action and purposefully rewarding the innovative and truly inspiring work being done by the architecture and design community.”

      In total, five winners were chosen from 37 finalists, narrowed down from almost 600 project submissions from 37 countries by a panel of design professionals.
      The Hilton Singapore Orchard hotel was awarded in the hospitality categoryThe winners included architecture firm HGA , which won an award for its Crystal Clinic Orthopaedic Centre in Akron, USA.
      Three workplace design projects were also recognised. These were the mining IGO offices in Perth, Australia, designed by Rezen + Templewel, the headquarters of Sede Insole Energia in Recife, Brazil, designed by Mobio Arquitetura and the EY Melbourn workplace in Australia by Gensler.
      EY Melbourn was recognised for workplace designThe final winner was the Hilton Singapore Orchard hotel in Singapore, designed by Avalon Collective, which won an award in the hospitality category.
      Read more about all of the winners on Shaw Contract’s Design Awards website.
      Partnership content
      This video was created by Dezeen for Shaw Contract as part of a partnership. Find out more about Dezeen partnership content here.

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      Rise Design Studio opts to “reuse and recycle” for Carousel restaurant interior

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      London restaurant Carousel has moved to a new venue but taken many of its old fixtures and fittings with it, thanks to an environmentally conscious approach from Rise Design Studio.

      Founded seven years ago by brothers Ollie and Ed Templeton, the restaurant has moved into three converted Georgian townhouses in Fitzrovia, with dining rooms on two floors.
      Rise Design Studio designed the original Carousel restaurant in Marylebone, so the architects decided to be as resourceful as possible when repeating the formula in a new location.
      Carousel occupies three converted Georgian townhouses in FitzroviaSeveral design elements from the original restaurant have been repurposed in the new location.
      These include the tall metal-clad entrance door, which can now be found at the entrance to one of the dining rooms, and a copper light window that is now installed internally rather than externally. A set of Spanish wall tiles were also carefully removed and now serve as floor tiles.

      These are combined with new colours and textures, from materials such as painted brickwork and terrazzo-style tiles.
      A guest kitchen and dining room is lit from above by a large skylight”Carousel 2.0 was an opportunity to create new spaces which didn’t exist in the original Carousel,” said Rise Design Studio director Imran Jahn. “But we also did not want to lose the feel of the original.”
      “We wanted to re-use and recycle,” he told Dezeen. “We wanted previous customers and returning guest chefs to be reminded of Carousel 1.0, so we proposed to retain finishes, fixtures and fittings and use them again here.”
      Wall tiles from the previous Carousel venue have been reused here as floor tilesThe new property gives the restaurant enough space for several dining rooms and kitchens plus, for the first time, a wine bar.
      On the ground floor, the bar sits in between an all-day dining room and a space for Carousel’s ever-changing roster of guest chefs. The former faces the street, while the latter is lit from above through a lightwell.
      The all-day dining room features painted brickwork and terrazzo-style tilesThere’s also a separate diner-style restaurant space intended for new dining concept launches, which is currently occupied by Goila Butter Chicken.
      Upstairs, a subdividing lounge/events space leads through to a private dining room.
      A wine and cocktail bar is sandwiched between the two ground-floor spaces”Ed and Ollie had scoped out a draft layout of the various zones they wanted to create before we were introduced to the project,” said Jahn. “They needed our design expertise in interiors to help bring it all together.”
      A consistent element throughout the interior is the use of industrial-style Crittall screens and doors, which are infilled with fluted glass.
      Concrete counters feature slatted wooden frontsSeveral rooms feature walls finished with a type of Nordic plaster that comes in different colours and creates a smooth, durable and multi-tonal surface. The guest kitchen is a mid-grey shade, while the private dining room is soft green.
      Other details include concrete counters with wooden slatted fronts, exposed steel structural beams and formica tables.
      An events space leads through to a private dining room”The overall tone of the proposals brings together the distinct spaces but allows them to sit happily in their individuality,” said Jahn.
      “The use of Crittall screens throughout and reeded glazing provides for continuity but also an air of mystery for the viewer wanting to find out more about the partially hidden spaces within.”
      A special type of plaster gives a multi-tonal quality to the wallsThe new Carousel location welcomed its first diners in November 2021. The all-day menu, prepared by Ollie, includes a range of small plates including beef tartare toast, confit pumpkin with burrata and sage, and grilled mackerel flatbread.
      “We’ve been dreaming about this move for a long time,” said Ed. “We loved being a part of the Marylebone community, but we genuinely couldn’t have imagined a more exciting neighbourhood, or a more fitting home, to be moving into.”
      Carousel offers an all-day menu and also hosts a roster of guest chefs”You’ll find all the best bits of the old Carousel in the new space, with some fun additions like the neighbourhood wine bar, where you’ll finally be able to experience the kind of food that Ollie likes to cook, in an easygoing all-day setting,” he added.
      Other recent restaurant openings in London include Kol, a Marylebone eatery with a Mexican menu, and Maido, a sushi restaurant in St John’s Wood.
      Photography is by Joe Okpako. Video is by Henry Woide.

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