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Ten Texture-heavy Restaurant Interiors Filled With Natural Materials

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Rough clay walls, river-stone flooring and a seating topography formed from OSB panels feature in our latest lookbook, which rounds up 10 restaurant interiors that bring in natural elements.

Although defined by a reverence for their local context, the projects included hail from all over the world, ranging from a healthy fast food eatery in Ukraine to a cave-like Japanese BBQ joint and the BIG-designed, three-Michelin-starred Noma in Copenhagen.

This is the latest roundup in our Dezeen Lookbook series providing visual inspiration for the home. Previous articles in the series showcased homely office interiors that are good enough to live in, as well as homes with striking fireplaces, domestic gyms and cross-laminated interiors.

Mimi Kakushi, United Arab Emirates, by Pirajean Lees

Lattice screens, rattan chairs and wooden bead curtains come together to recreate the old-school glamour of Japan’s jazz age in this Dubai sushi restaurant, which is housed inside a former nightclub.

All of the eatery’s electrical and mechanical equipment, as well as the ventilation system, is hidden behind a straw ceiling grid to create a “residential feel” within the commercial space.

Read more about Mimi Kakushi on Dezeen >

Noma 2.0, Denmark, by BIG and Studio David Thulstrup

When it came to designing a new location for Noma – named the world’s best restaurant on five separate occasions – BIG and Studio David Thulstrup drew on a local material palette to mirror the eatery’s foraged, seasonal menu.

River stones were used to form terrazzo flooring while a 200-year-old blackened timber beam was repurposed as a central counter and seaweed sourced from the seas around the Danish capital was turned into lampshades in collaboration with designer Jonas Edvard.

Read more about Noma 2.0 on Dezeen >

28 Posti, Italy, by Cristina Celestino

Pops of powder-blue are applied to shelving, table legs and the gaps between exposed wooden ceiling beams in this Milanese restaurant to keep its neutral-toned interior from looking too beige.

Italian designer Cristina Celestino, who was responsible for renovating the space, preserved a crumbling brick wall at the centre of the space but clad the remaining surfaces, as well as a few cupboard doors, in rustic terracotta tiles.

Read more about 28 Posti on Dezeen >

50% Cloud Artists Lounge, China, by Cheng Chung Design

Cheng Chung Design kept the interior of this restaurant in China’s Kaleidoscope art museum deliberately simplistic in order to keep attention on the building’s cavernous brick walls, which rise up to resemble giant termite mounds when seen from the outside.

Since the shadowplay created by the light and the earthenware bricks should take the main focus, the seating booths are rendered in dark wood and illuminated by simple woven straw shades, with trees interspersed throughout the dining area.

Read more about 50% Cloud Artists Lounge on Dezeen >

De Republiek, Netherlands, by Anne Claus Interiors

To bring a sense of warmth to this beachside restaurant near Amsterdam, local interior designer Anne Claus finished the walls in a bespoke sandy-hued plaster and brought in furnishings with an earthy palette and tactility.

Stacks of paper lanterns are arranged into theatrical hanging sculptures over some of the seating areas, which see cane armchairs are paired with low-slung bench seating, upholstered in taupe, ochre and nutmeg-coloured linen.

Read more about De Republiek on Dezeen >

Opasly Tom, Poland, by Buck Studio

The distinctive marbled texture of burl wood, which is created when a tree’s grain develops in multiple different directions as a result of environmental stressors, forms a defining feature throughout this eatery in Warsaw.

Applied to everything from cabinets to walls, doors and serving trolleys, it balances out the otherwise cool-toned interior, working in tandem with the simple wooden seating and red marble accents.

Read more about Opasly Tom on Dezeen >

Istetyka, Ukraine, by Yakusha Design?

Many of the furniture pieces and objects used to decorate the healthy fast food joint Istetyka in Kyiv were handmade by local artisans, including the dangling macrame lamps designed by Victoriya Yakusha for her brand Faina.

These are offset against bumpy clay walls and textured tables made from a ztista, a sustainable material developed by Yakusha that combines staw, wood chips, recycled paper and clay.

Read more about Istetyka on Dezeen >

Nikunotoriko, Japan, by Ryoji Iedokoro

Undulating panels of oriented strand board (OSB) are staggered on top of each other to create an organic seating topography on the second floor of this Japanese BBQ restaurant in Tokyo’s Roppongi district.

Meanwhile, the ground floor is designed to resemble a natural cave system with craggy, stone-effect walls and translucent herringbone flooring tiles that create the impression of walking on water.

Read more about Nikunotoriko on Dezeen >

Silo, England, by Nina+Co

To match the sustainable ethos of zero-waste restaurant Silo, Nina+Co incorporated natural materials such as cork and ashwood into the interior while mushroom mycelium was used to form a small, informal seating area near the entrance.

Other details include recycled plastic tabletops and wall lights made from glass wine bottles that were melted down after being drunk during the restaurant’s previous dinner services.

Read more about Silo on Dezeen >

Abstinence, France, by Lizee-Hugot

Studio Lizee-Hugot paid homage to the classic Parisian brasserie in its design for Abstinence, incorporating wall-to-wall wood panelling alongside cognac leather seating and enamelled lava stone tabletops.

This is paired with birdseye maple and tubular steel detailing to create the feeling of travelling back in time to the 1970s.

Read more about Abstinence on Dezeen >

This is the latest in our series of lookbooks providing curated visual inspiration from Dezeen’s image archive. For more inspiration see previous lookbooks showcasing homely office interiors, striking fireplaces and domestic gyms.

Article: dezeen.com

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Vives St-Laurent Creates Tactile Montreal Home

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Interior design studio Vives St-Laurent has remodelled a family house in Montreal, Canada, using a grey colour palette, quartzite stone and white-oak furniture to create an interior that highlights the building’s architectural elements.

Vives St-Laurent aimed to retain many of the existing early 20th-century features, including the staircase, original plaster mouldings and fireplace, while making significant changes to improve the two-storey house in Outremont, Montreal.

“We opened the kitchen to have a better view with the other spaces like the living room and the dining room,” co-founder Lysanne St-Laurent told Dezeen.

“This intervention also creates better circulation in the house.”

“We have also changed the entrance to the staircase which was previously in the kitchen area,” she added.

“This allowed us to save more space for cabinets. We have also enlarged the access to the terrace and changed the French windows for a sliding door.”

Vives St-Laurent created a simple interior that could function as a blank canvas for the clients’ accessories, which included artworks and vases.

The studio chose to work with a white and grey colour palette to highlight the home’s original elements, including the staircase, the mouldings and the white fireplace.

To contrast the pale colours, the studio restored the house’s dark-coloured American walnut floor to its original state.

The dark wood of the floor also looks striking against the customised white-oak furniture pieces, which include a dining table and a large bookshelf that adds extra storage to the dining room.

In the kitchen, the studio used quartzite Taj Mahal stone, creating an elegant splashback above workspaces clad in the same material.

“The soft gray kitchen is a bit darker than the wall finish, so it pops,” St-Laurent said. “The gray and green tones of the stone give depth but remain simple.”

Naturehumaine revives 1920s apartment in Montreal with contemporary finishes

“We think the project is simple without being simplistic, because we take time to balance all the details so there is a seamless feel,” she added.

The studio worked with architecture studio Pelletier de Fontenay to remodel the basement part of the house and restore its back facade.

To enhance the visual connection with the yard outside, it added a large sliding door and enlarged the window above the kitchen sink.

“The architect chose an anodized finish for the window so it wouldn’t be drastic like a black framed window would be,” St-Laurent explained.

“The finish changes with natural light and creates a softer setting to capture the nature of the backyard.”

Other recent Montreal interior projects on Dezeen include a 1920s apartment with contemporary finishes and a historic house with Japandi elements.

The photography is by Alex Lesage.

Project credits:

Designer: Vives St-Laurent
Project manager: Laurence Ouimet-Vives
Collaborators: Antares / Pelletier de Fontenay
Suppliers: Ramacieri Soligo, Strong as wood, Alumilex et Gepetto

Source: dezeen.com

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“Any Period of Sobriety Is Generally Followed by Heady Abandonment”

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Sustainability will be the focus of the year ahead, but coronavirus lockdowns will make way for “unbridled frivolity” in interior design, says Michelle Ogundehin in her trends report for 2022.

2021 was thus not a year for trends. It was a year of uncomfortable truths. At the end of my last trends report, I proposed 2021 as “the year for the interiors equivalent of speaking your own truth” understanding “that the best homes are about the feeling they give you not the stuff they contain, the ‘right’ colours or ‘hot’ looks.”

The most poignant of these was that we are all products of our environment. And we were making a right mess of ours. Not just on the wider climate scale, but also domestically. I’d even written a book drawing a direct line between our homes and our health: Happy Inside: How to Harness the Power of Home for Health and Happiness. It was published as the first waves of Covid hit UK shores, but conceived way before the word pandemic had entered the popular lexicon.

Its message was simple: what surrounds you affects you. And while many of us know this intuitively, for the scientifically inclined, there’s a Stanford University study that proves environment is more important than genetics in determining the strength of your immune system.

Most fashionable trends are simply manufacturer dictated newness

All grist for the mill of intentional personal space creation. In other words, homes that reflect an occupant’s authentic likes and lives rather than being determined by anything dictated externally.

So where does this leave trends?

In truth we know that most “fashionable” trends are simply manufacturer dictated “newness” designed, in the loosest sense of the word, to shift product. But there are also bigger shifts that underly these seasonal fluctuations. These are the lateral moves we make as a society (highlighted by consumer research, or early adopters) that eventually bubble up to the mainstream as potent influencing factors. These are the “trends” worthy of comment.

“The uncomfortable truth is that 2020 might just have been exactly what we needed”

As such, right now, sustainability is the obvious thread connecting anything relevant for 2022.

It’s finally dawning on the majority that it’s less about the planet being in jeopardy, than us. The planet has seen worse, we have not. We are the ones in danger of extinction. But it’s not too late (just) to do something about it.

Sustainability is the obvious thread connecting anything relevant for 2022

Albeit I’m leaping to the assumption that the bosses of our worst air, water and plastic polluting corporations (China Coal and Saudi Aramco to Coca-Cola, Pepsico and Unilever among others) start focusing their might on species survival rather than lucrative personal tenures. Things are happening, but too slowly.

Regardless, my faith still rests with the power of the everyman and the nudges for change we can make as individuals. A 2020 report by the IBM Institute for Business Value showed that six out of 10 consumers are ready to change their purchasing behaviour to minimise their environmental footprint. This has power because options exist, consumers switch and such direct impact on corporate bottom lines forces change.

Today the only question worth asking any brand, supplier or corporation is simply, can you make what you do responsibly, as standard ie without endangering our air, waterways, mammal or marine life? Because if you can’t, we don’t want you. And no company today wants to be open juried or cancelled via social media.

Any period of sobriety is generally followed by heady abandonment

But they will be as our eyes are increasingly opened to the obfuscation, deliberate spread of misinformation, lobbying against environmental measures, and hypocrisy employed to protect perilous corporate status quos. And this covers everything from the manufacture of washing-up liquid that’s legally deemed chronically harmful to aquatic life (read the label on the back of a bottle of Fairy Liquid) to high acrylic content paint, a major source of microplastic pollution.

In most cases, injurious options exist only because they cost pence to produce but sell for pounds aka ching ching, maximum profit. But the tide is turning.

However, while this is the backdrop against which everything else is measured, decoratively speaking, all herald unbridled frivolity, the return of joy and a dose of the pretty. It makes sense though; it represents an element of release after being so tightly wound that we cannot help but be intuitively drawn to.

Any period of sobriety is generally followed by heady abandonment; denial begets indulgence — consider the Roaring 20s after world war one. Cue then rooms drenched in full-fat colour and joyous prints applied with enthusiastic abandon to walls, floors, if not ceilings. Think wallpaper and rugs to parquetry and narrative mosiacs.

The success of the Netflix romp Bridgerton (pictured) was the torchbearer for this in my opinion. First aired on Christmas Day 2020, it clocked 82 million viewing households in its first 28 days (by the streamering company’s own reckoning). Steamy, indulgent and diverse, it was viewing manna for the sensory-starved and lockdowned at home. Stylistically speaking, it was also just incredibly pleasing to watch, all Wisteria drenched porticos, torch-lit colonnades, dapper men and pastel silks.

Waste made wonderful will be essential to support a new sustainable economy

Set in the homes of England’s 19th-century Regency elite, for the wealthy this was a period of artful elegance and decoration for the sake of it, founded on classical tropes but inspired by Egypt to India. The country was ruled by the fiscally extravagant, culturally adept and party-loving Prince Regent and life in the upper echelons was lush, fun and romantic.

An eagerly anticipated second series of the show will premiere on March 25th 2022. Rest assured this sentimental recolouring of history will prompt a Neo-Regency as we freshly appreciate the uplifting potential of architectural adornment, both inside and out.

The evolving wave of biofabricated materials taps into this romantic milieu too. Rather than toxic tanneries and slaughtered animals we have pineapple leaves (Pi?atex) and Mexican cacti (Desserto) being turned into leather substitutes. Meanwhile, everything from discarded coffee grounds and shrimp shells, tea leaves and nut husks are being made into desirable products.

Seven key materials designers are relying on to create more sustainable products

It’s just as well. Waste made wonderful will be essential to support a new sustainable economy. After all, consumerism isn’t going anywhere. We will still want to wear nice clothes, buy lovely things and drink takeaway coffee, but we need to do so in a way that gives back.

Even at the luxury end of the market, notions of repair, recycling and re-use will predominate with the emphasis on the uniqueness of the remade product. There will be no loss of style or quality. It will be the same artisans crafting the products. But the desire to own brand new no longer carries the allure it once did. We want heritage, stories and clear provenance instead. Plus, today’s acutely aware consumer wants to literally wear their ecological credentials on their arms and backs and sit on it in their homes.

A lot of the big trends of the last 10 years were driven by technologically enhanced convenience

Thus, from homes designed for Friluftsliv — the Nordic ideal of being outdoors in all weathers — to IKEA pledging to be a totally circular and climate positive business by 2030, and Hempcrete coming through as a credible alternative to concrete, the new normal home-making experience is changing. Even long-term furniture rental, rather than purchase, is gathering steam. So much so that British high street stalwart John Lewis are getting in on the act, partnering with Fat Llama, the world’s largest rental marketplace to offer a flexible, affordable way to experiment at home without waste. It all adds up to a reason for hope.

“It’s time to reconsider the whole colour of the year carnival”

In summary, a lot of the big trends of the last ten years were driven by technologically enhanced convenience. We wanted everything quicker, smaller, faster and yesterday, regardless of the consequences.

Life sped up to keep pace, accrued air miles were shorthand for success, and cover up, smooth out, quick fix solutions were the go-to (from surface finishes to cladding via the feature wall) and damn the consequences.

We’re paying for that now. As the anthropologist and primatologist Jane Goodall says in her newly released, The Book of Hope, authored with Douglas Abrams and Gail Hudson, “If we keep pulling threads from the tapestry of life it will disintegrate and we will lose what supports us.”

Wisdom for the future then relies on us finally knowing our place, recognising our responsibility to the natural world. In short, for us to earn the right to stay here, there must be a new cultural revolution.

The most incredible opportunities exist right now for us and every single brand to be a game-changing trailblazer for the greater good. This could be the restoration era: repairing planet and people one conscious choice at a time. Our freedom to survive, let alone thrive, depends upon on those choices.

Michelle Ogundehin is a thought-leader on interiors, trends, style and wellbeing. Originally trained as an architect and the former editor-in-chief of ELLE Decoration UK, she is the head judge on the BBC’s Interior Design Masters, and the author of Happy Inside: How to Harness the Power of Home for Health and Happiness, a guide to living well. She is also a regular contributor to many prestigious publications worldwide including Vogue Living, FT How to Spend It magazine and Dezeen.

Source: dezeen.com

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Yakusha Design Creates Earthy Interiors for Antwerp’s Faina Gallery

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A colour scheme informed by soil and moss features inside this showroom in Antwerp, Belgium, which Yakusha Design has developed for its own furniture line Faina.

The retail space, named Faina Gallery, is set inside a 500-year-old building.

As a result, the studio steered away from making major structural alterations to avoid disturbing its historic framework.

Instead, the Ukrainian studio devised a new colour palette, painting walls throughout the shop in earthy shades that evoke the natural world.

“I wanted to convey this feeling of grounding serenity in the interior,” explained Victoria Yakusha, who founded both Yakusha Design and Faina.

“Nothing is more powerful than the energy of earth. When standing on bare earth, I am one with nature, I gain strength.”

Upon entering Faina Gallery, visitors walk into a room almost entirely washed with a deep, mossy green paint.

The only surfaces untouched by the colour are the grey terrazzo floors and the ceiling, which has been left in its original state.

Matching green furnishings are displayed throughout the space, including Faina’s angular Toptun armchairs and three of its knobbly hand-sculpted Soniah floor lamps.

There is also a beige edition of the Plyn sofa, with its gently curving cushions stacked on top of each other “like stones that have been naturally polished by wild waters”.

A bespoke stainless steel shelving unit runs the length of one of the walls.

Designed to resemble a cabinet of curiosities, it showcases an array of Faina’s ceramic ornaments alongside a number of scents for the home.

Yakusha Design applies dark tones throughout its Kyiv offices

The storage unit is interrupted by a steel-lined doorway that leads through to Faina Gallery’s second room.

This space has been painted jet-black in a nod to chernozem, a highly fertile black soil that is found in abundance throughout Ukraine.

The furniture presented here is dark, too. One corner of the room is dominated by a black version of Faina’s hole-punctured Ztista table while a charcoal-grey model of the brand’s bulbous Domna chair sits nearby.

There’s also a wall-mounted black tapestry emblazoned with the word “earth”, written in the symbol-based writing system of the ancient Cucuteni-Trypillia civilisation, which lived in Ukraine in the fifth millennium BC.

Victoria Yakusha established her eponymous studio in 2006 before launching Faina in 2014.

Her practice has previously designed a number of interiors in the Ukrainian capital of Kyiv, including Yakusha Design’s own office and a calm, tactile fast food restaurant.

The photography is by Piet-Albert Goethals.

Source: dezeen.com

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