Mayne timber flooring and Ermont veneer bring vibrant design to life at Melbourne’s Bistrot Bisou

Mr Wednesday, a cafe located in Fairfield, Melbourne, draws its name from a figure of mystery, as explained by its young owner, Dylan Breen. The cafe's name is not derived from Neil Gaiman’s novel 'American Gods' or the J-Pop band PASSPO☆, contrary to initial playful speculation. Breen indicates that the name is inspired by an elusive, mysterious character, a detail he prefers to keep understated. The interior design of Mr Wednesday reflects Breen's personal interests, particularly his love for vintage motorbikes, with a 1920s motorbike prominently displayed on an exposed brick wall. The cafe embraces a rustic Melbourne aesthetic, characterized by a 'ramshackle vibe.' This is evident in the decor, which features plants and archaic lighting fixtures suspended from a wooden beam supported by ropes. This design choice aims to evoke the atmosphere of motorbike workshops that Breen frequents, creating a unique and personal space. The interior elements contribute to an overall sense of comfortable disarray and charm, making the cafe a visually engaging environment. Culinary offerings at Mr Wednesday are curated with an emphasis on quality and local collaboration. Coffee is sourced from Industry Beans, a well-regarded roaster. The food menu is developed by a team including Nina De Goldiway, an emerging chef from New Zealand, and Jacob Mullen, formerly of the Great Northern Hotel. The menu features typical Melbourne cafe fare, including elaborate breakfast options, diverse salads, and hearty burgers, catering to a range of tastes. These dishes are designed to complement the cafe's distinctive atmosphere. The article highlights the cafe's ability to blend intriguing personal narratives with a distinctive interior design and a quality culinary experience. The ambiguous origin of its name adds to its allure, inviting patrons to engage with its enigmatic charm. The integration of vintage elements, particularly the motorbike, alongside a consciously rustic design, positions Mr Wednesday as a notable establishment within Melbourne’s competitive cafe scene. The selection of reputable coffee and culinary talents further solidifies its appeal as a destination for both casual diners and design enthusiasts. Overall, Mr Wednesday in Fairfield presents itself as more than just a cafe; it is a carefully crafted experience that reflects the personality and passions of its owner. The combination of an intriguing backstory, a unique vintage-inspired interior, and a strong food and beverage program makes it a noteworthy addition to Melbourne's cafe culture. The detailed attention to decor and the quality of its offerings contribute to its identity as a charming and memorable spot for patrons seeking both good food and an engaging environment. #Melbourne #CafeDesign #VintageInteriors #RusticVibe #MotorbikeEnthusiast #IndustryBeans #Fairfield #HospitalityDesign

Akin Atelier, a design studio led by Kelvin Ho and based in Sydney's Surry Hills neighborhood, has completed the interior design for the Camilla and Marc womenswear store in Armadale, an affluent suburb of Melbourne, Australia. This project represents the eighth store the studio has designed for the brand, with a specific focus on creating a tactile experience, aiming to evoke a "homage to the sense of touch." The store occupies the ground floor of a 19th-century terrace building, and the design strategy addressed its challenging, long floor plan by introducing a warm and homely quality through the strategic use of materials. The design champions hand-craft and specialist trades, presenting the interiors as a series of distinct surfaces and textures that become apparent as visitors immerse themselves in the space. The store is organized into a sequence of four distinct rooms, each subtly separated by a short flight of steps and a travertine architrave. The walls throughout the initial room are finished with marmorino plaster, a traditional Italian plaster made from lime putty and crushed marble. The upper sections of these walls are tinted a pale peachy hue, contrasting with a darker terracotta shade applied to the lower portions. Travertine is also a prominent material, used for the skirting boards and to create a subtle chequerboard pattern on the floor. A bespoke counter, crafted from pearl-wave onyx, serves as a focal point in the first room. This chunky counter features an inlaid glass case designed to display the brand's jewelry pieces. This counter transitions into the second, slightly elevated room, where the flooring shifts to herringbone-patterned oak. In this area, garments are displayed on slim white rails that extend directly from the walls. The third room in the sequence houses three changing rooms, each adorned with burnt-orange curtains made from bouclé fabric, specifically from Kvadrat and Raf Simons' Helia collection. An additional changing cubicle is located in the second room, featuring a ceiling-mounted curtain track. To enhance natural light, two expansive windows were incorporated into the third section of the store, transforming a previously dimly lit area. The fourth and final room is dedicated to accessories and a relaxed seating area. It features a three-tier display shelf for accessories, a beige sheepskin armchair, and several sculptures placed on stone plinths. These sculptural elements are a deliberate nod to the art galleries that historically populated the Armadale area. Furthermore, a new skylight and a glazed opening were added to the rear wall, providing views of a landscaped, greenery-filled courtyard designed by Myles Baldwin. The Camilla and Marc store designed by Akin Atelier has been shortlisted in the small retail interior category of the Dezeen Awards, where it competes against other notable projects such as the Flamingo Estate Harvest Shop and Rookies opticians. #RetailDesign #InteriorDesign #AkinAtelier #CamillaAndMarc #MelbourneArchitecture #TactileInteriors #MarmorinoPlaster #Travertine #Onyx

Worrell Yeung, a Brooklyn-based architecture practice, designed the Springs Artist Studio, an 800-square-foot, two-story addition to an existing home in East Hampton, New York. This project was developed for a painter/creative director and a florist who possess an extensive collection of art and objects. The upper floor of the new structure is dedicated to a painting studio, while the ground level serves as a flexible exhibition space, a single-car garage, and includes a powder room. The project faced significant design challenges due to the neighborhood's strict zoning regulations and the site's environmental sensitivities. To minimize its impact on the natural landscape, Worrell Yeung meticulously positioned the addition within the smallest possible footprint, ensuring that no existing trees were removed during construction. The studio's deliberate integration into the wooded environment means it gradually reveals itself to visitors, appearing subtly through the dense tree canopies and being only slightly visible from the road. A fully glazed connector links the new addition to the existing home, allowing for uninterrupted views of the lush, surrounding woodland. This connector also provides a transitional space between the home and the work environment. The foyer features plywood cladding and a matching plywood staircase that leads to the upstairs painting studio. A refurbished vintage David Weeks chandelier is installed above the staircase, adding a touch of sophisticated design. The upper-level painting studio is distinguished by a 360-degree panorama of four-foot-tall ribbon windows. These windows offer views of the dense tree canopies, and to the west, Hog Creek and osprey nests. The design maximizes natural light while framing unique views from every direction with unobstructed glass corners. To achieve this continuous ribbon window effect, Worrell Yeung collaborated with Silman Structural Engineers to incorporate small steel columns that match the window mullions and feature steel rod cross-bracing for lateral support, creating a visually floating roof structure. Birch plywood boards cover the studio floor and extend four feet up the walls, meeting the base of the windows. This plywood finish is both efficient and utilitarian, contributing natural warmth to the space. A plywood-clad peninsula of cabinet space, located near the staircase landing, provides storage for the artist's materials and includes a sink for diluting paints. The walls and vaulted ceiling above the ribbon window are painted white, reflecting natural light throughout the space and creating an optimal environment for painting and art exhibition. Four minimal uplights provide diffuse illumination, complementing the abundant natural light. The ground floor's flexible space serves as both an exhibition area and a garage, capable of housing the homeowner's 1966 Chevy Impala Supersport Convertible. Plywood-lined walls in this area allow for the installation of artwork, transforming it into a temporary gallery. The powder room is also clad in plywood, but it is stained with a semi-sheer Yves Klein blue, which allows the natural wood grain to remain visible. From a distance, the studio presents itself as an abstract volume with minimal horizontal windows. However, upon closer inspection, the textured wood and varied plank sizes break down the building's scale, adding richness and detail. Worrell Yeung's design choice to vary the facade emphasizes the firm's interest in creating objects and materials that can be read at different scales, and in developing architecture with minimal environmental impact. The Springs artist studio appears to effortlessly float above the ground, and when illuminated at night, it transforms into a glowing lantern within the trees. #ArtStudioDesign #ArchitecturalAddition #WorrellYeung #SustainableDesign #PlywoodInteriors #NaturalLight #EastHamptonArchitecture #EnvironmentalIntegration #ModernDesign

The article details the design and concept behind "Another Smith" by TasteSpace, a second-generation family restaurant in Tak province, Thailand. Building on the culinary legacy of Kapor Pla Rim Moei, known for its fish maw dishes, the restaurant's design merges Thai-Chinese traditions with contemporary aesthetics. The name "Another Smith" derives from the owner's surname, Smithikorn, influencing the branding. The logo, inspired by traditional Chinese family seals, features red for good fortune and blue, symbolizing fish scales and ancestral recipes, signifying both heritage and modernity. The architectural design, a collaboration with Thor Kaichon, specialists in bamboo architecture, stands on an open plot. Bamboo, a material revered in Southeast Asian culture for its resilience and sustainability, is central to the project. An innovative blue dyeing technique applied to bamboo, alternating with natural bamboo, forms a fish-scale pattern on the facade and a striking ceiling in the cafe. This application creates a visual rhythm that integrates tradition with contemporary design principles and promotes sustainable architecture. The restaurant's layout is meticulously planned, comprising three main sections: a restaurant, a cafe, and a jewelry shop. The left wing houses an office and a private dining room, while the right wing accommodates the cafe and main dining area. The kitchen is centrally located for efficient service to all areas. This strategic planning also extends to operational hours, with the cafe opening earlier to cater to morning customers. This thoughtful arrangement ensures a smooth flow for both staff and patrons, enhancing the overall dining experience within a sustainable design framework. The design narrative weaves storytelling with practical functionality. A perforated wall behind the coffee bar prominently features the “SM” logo, and the bar counter's blue diagonal tiles subtly echo the fish-scale motif, reinforcing the cohesive design language. Material selection and spatial organization are deliberate, reflecting the restaurant's identity and connection to nature. The use of bamboo highlights sustainability and craftsmanship. Water, a symbol of life, renewal, and abundance in Thai culture, influences the extensive use of blue in the materials and branding. This choice not only honors cultural traditions but also acknowledges water's essential role in the family’s fish-based cuisine and the wider community. The ambiance is designed for relaxation, with integrated interior and exterior elements allowing diners to connect with their surroundings. The designers aimed to create a visually appealing, functional, and adaptable space that welcomes guests. "Another Smith" represents a modern evolution of a family-owned establishment, where design serves as a powerful medium for storytelling, alongside food. TasteSpace's philosophy prioritizes balancing aesthetics with practical considerations, evident in how the space facilitates interactions among owners, staff, and customers. The project integrates cultural symbolism, innovative materials, and thoughtful spatial planning to create a timeless yet contemporary dining destination that respects its heritage while looking towards the future. It demonstrates how design can honor culinary legacy and embrace modernity, creating a unique identity for the restaurant. #RestaurantDesign #ThaiArchitecture #BambooArchitecture #SustainableDesign #CulturalHeritage #ContemporaryDesign #HospitalityDesign #Craftsmanship #ArchitecturalInnovation

Mardi Doherty, founder of Melbourne-based Studio Doherty, established her firm in 2014, quickly gaining recognition for her distinctive interior designs. Her work is characterized by a unique and original application of colour, texture, and materials, creating spaces that are both full of character and highly liveable. Clients have often described Doherty as possessing an "X-ray vision," capable of envisioning the full potential of a space by creatively reimagining its structure and introducing striking new volumes. This innate talent for design has been cultivated since her early years. Doherty’s upbringing, where her parents frequently bought and sold motels, exposed her to constant renovations, significantly influencing her passion for design. She pursued her education in interiors at RMIT University in Melbourne and briefly embarked on an architecture degree. Although she later became a successful painter, her dedication to engaging in compelling design collaborations remained steadfast. Her early career included designing the Great Eastern Dining Room in Shoreditch, a project that led her to spend two years in the UK. During this time, she worked with esteemed firms such as Conran Design Group and David Collins Studio, contributing to significant projects, including the interiors of Madonna's Belgravia home. Studio Doherty’s contemporary aesthetic draws inspiration from 1970s and 80s styles, as well as from artists like the Australian stained-glass master Leonard French and the Dutch creative Sabine Marcelis, known for her colourful, sculptural works. Doherty also cites modernist architects, such as John Lautner, whose bold geometric forms inform many of her spatial design decisions. Recent projects by Studio Doherty exemplify this vision. The Gloss House, a new-build in Melbourne, was designed in collaboration with Enth Degree Architects for a client who desired a generous and quirky home reminiscent of mid-century Palm Springs style. Instead of direct imitation, the studio aimed to capture the era's essence through warm timbers, human-scaled spaces, and playful elements, utilizing materials in unconventional ways. This project features an electric-blue spiral staircase, an orange conversation pit, and an open-plan kitchen, dining, and living area unified by a sweeping timber-clad ceiling and a curved tile system that reflects light. Another notable project is Gable House, a restored heritage home in Melbourne designed with Folk Architects. The interior is characterized by its joyful and confident approach, incorporating bold yet refined colour choices, such as a lipstick-pink pantry and a fire-engine-red fireplace. These vibrant elements are harmoniously juxtaposed with layered stone, Murano-glass chandeliers, and vintage pieces, showcasing a successful blend of heritage and contemporary invention. Currently, Doherty is engaged in two distinct projects: the renovation of a Georgian Revival mansion in Toorak, Melbourne, largely untouched since its 1936 construction, and a creative home for a toymaker in the city's bayside area. The latter project is a more restrained endeavour, with the design direction heavily influenced by the owner's extensive collection of new and vintage toys and clocks. The studio’s Elonera House project highlights their innovative use of tiling, with muddy-yellow zellige contrasting with skinny, blush-pink tiles on the kitchen island. Studio Doherty’s design philosophy prioritizes creating spaces that are both expressive and deeply personal, tailored to the unique narratives of each client. When it comes to expert advice, Studio Doherty emphasizes thinking beyond traditional applications for tiles, suggesting their use in living spaces, entrances, or even as furniture surfaces. They also highlight the transformative potential of curved tile systems and rounded edges in altering a space’s mood, softening geometry, and adding a playful touch. The importance of grout is also stressed, as its colour and thickness can significantly impact a tile's appearance, either enhancing contrast, echoing other tones, or creating a seamless finish. The studio advocates for confident, anchored use of bold colours, noting that an electric-blue staircase might be surrounded by neutrals, while an orange conversation pit is designed to dominate and breathe within its space. Finally, wood remains a fundamental material for its versatility, used for cladding ceilings to add warmth and architectural identity, or for tongue-and-groove panelling to introduce rhythm and softness to walls. #InteriorDesign #ColourInnovation #Materiality #MelbourneDesign #StudioDoherty #ResidentialArchitecture #HeritageRenovation #TileDesign #ContemporaryInteriors

Melbourne homeowners are known for their sophisticated style, and this preference is strongly reflected in their interior design and decor choices. Robert Nguyen, Lead Designer at Boutique Homes, a prominent Melbourne-based builder, notes that good design is a key consideration for consumers across all their purchases, especially when it comes to their homes. Melbourne buyers are keen on adopting fresh design trends in the coming year, whether these trends lean towards historical influences or embrace natural elements. Six key interior design trends are predicted to gain popularity in Melbourne for 2025 and beyond. The first trend is the rise of multifunctional spaces. As urban living spaces tend to shrink and housing costs increase, maximizing every square foot becomes crucial. Traditionally, Australian homes featured distinct rooms for various activities. However, contemporary designs are shifting towards flexible layouts that offer both comfort and practicality in smaller footprints. Implementing elements like sliding doors allows spaces to transform, for instance, from an open gathering area to a private children’s play zone, catering to evolving family needs without the necessity of relocation. The second trend focuses on indoor-outdoor living. This concept is highly valued by Melbourne buyers, and properties that successfully integrate indoor and outdoor areas often command higher prices. Modern architectural approaches are enhancing this connection through features such as living spaces built around open courtyards and double-height areas with expansive windows. Robert Nguyen explains that this integration not only elevates the aesthetic appeal of a home but also its lifestyle value, making the living area feel more expansive and connected to nature. The Portofino range, with its courtyard floorplans, and the Pasadena double-storey homes, known for their light-filled open spaces, exemplify this trend. The third trend is the embrace of bolder colors. While neutral palettes remain a classic choice, Kat Moore, also a lead designer at Boutique Homes, observes a growing inclination among Melbourne buyers towards more vibrant hues. Greens and blues are particularly popular, with cherry red and rich brown tones also seeing a surge in demand. This shift towards bolder colors, especially cherry, aligns with broader lifestyle forecasts, indicating a move away from purely monochromatic schemes. The fourth trend involves vintage and retro influences, specifically mid-century modern styles. This trend blends diverse materials with an emphasis on functionality. Mocha, designated as Pantone's Colour of the Year 2025, is a prominent shade within this aesthetic. Moore suggests incorporating vintage materials or upcycled decor with personal significance as subtle ways to adopt this trend, adding character and history to living spaces. Minimalism constitutes the fifth trend. For minimalist buyers, the focus is on creating simple, organized, and serene living environments. This trend in Melbourne is characterized by stylish simplicity and urban sophistication, featuring elements such as closed-door storage solutions and monochromatic color schemes that create visual focal points while maintaining a sense of calm. The sixth and final trend highlights artisanal and handcrafted elements. In contrast to strict minimalism, many stylish Melbourne homes are integrating unique, handmade items and custom-made furniture to infuse individual personality and self-expression. Moore points to feature-wall tiles with organic edges, chalky textures, and subtle color variations that evoke a handcrafted feel. Natural materials like timber are increasingly used for flooring and cabinetry, while wool carpets add a touch of nostalgic luxury. Decorative items such as clay and ceramic vases, along with woven rugs, further contribute to this artisanal aesthetic, encouraging homeowners to experiment with scale and create spaces that tell a story. #InteriorDesignTrends #MelbourneHomes #HomeDecorating #MultifunctionalSpaces #IndoorOutdoorLiving #BoldColors #VintageInfluences #Minimalism #ArtisanalElements

The article highlights Forbo's Furniture Linoleum, a surfacing material showcased in a video produced by Dezeen. This product distinguishes itself through its composition primarily of natural materials, including linseed oil, wood flour, and limestone. A key aspect emphasized by Alexander Wenzel, Forbo's head of key account management, is the material's strong focus on sustainability. Wenzel notes that Furniture Linoleum is "climate positive, without any offsetting" and produced using "one hundred per cent green electricity." The material's environmental impact is assessed using a "cradle to gate" approach, covering its lifecycle from raw material extraction to its departure from the factory. Beyond its eco-friendly credentials, Furniture Linoleum possesses practical benefits such as antibacterial and antistatic properties. These characteristics make it a suitable choice for environments requiring high hygiene standards, such as kindergarten schools and hospitals, as dust does not adhere to its surface and it inhibits bacterial growth. The material also offers a distinctive aesthetic and tactile experience. Wenzel describes its matte finish and a feel akin to wood and leather, which contributes to a warm and inviting atmosphere in furniture applications. This characteristic was further elaborated by Lotte Hyldahl, founder of the Danish design company &Shufl;, who noted the material's soft touch, inviting interaction. Furniture Linoleum is a versatile material, applicable to a wide range of furniture items including desks, stools, kitchens, cabinets, and doors. The product is available in a palette of 24 contemporary colors, which Hyldahl described as soft, classical, and timeless, designed to remain fashionable for years. Forbo is set to unveil its latest color collection at Galleria Rossana Orlandi during Milan Design Week, scheduled from April 7 to 13. The material's combination of natural composition, environmental benefits, hygienic properties, and appealing aesthetics positions it as a noteworthy option in the surfacing material market for furniture design. #Forbo #FurnitureLinoleum #NaturalMaterials #SustainableDesign #Biomaterials #InteriorFinishes #FurnitureDesign #MilanDesignWeek

Daniel Boddam, an Australian architect and designer, leads his eponymous studio in Sydney, focusing on creating spaces and furniture that inspire human engagement and connection with nature, while celebrating artisanal craftsmanship. His design philosophy is rooted in simplicity and the belief that design can foster a sense of calm and well-being. Boddam integrates a modern perspective with materials, colors, and textures inspired by the Australian landscape, aiming to articulate a unique Australian voice with global appeal. His latest furniture collection draws inspiration from the raw Australian environment. The 'Wave' sofa and chair, for instance, feature undulating forms reminiscent of ocean waves, emphasizing organic shapes and lyrical simplicity. The 'Portsea' side tables highlight elemental forms and quality craftsmanship, using materials like Calacatta marble and Travertine to add tactile dimension to circular and triangulated designs. These pieces, along with his 'Coast,' 'Geo,' and 'Monument' collections, are designed for enduring elegance, combining luxurious materials, revered artisanship, and timeless design. The material palette includes organic elements such as timber, travertine, stone, and marble, paired with neutral tones like sand, grey, and white, all reflecting natural inspirations. Boddam's design process begins with hand sketches, which are then translated into 3D models and integrated into architectural projects to visualize their spatial relationships. Boddam discussed two recent interior projects. For Carthona House, he aimed to create a breathable, light-filled, and well-crafted addition to an existing Federation-style home. His approach involved 'complement by contrast,' balancing the traditional qualities of the original facade with a striking blackened silhouette for the extension, and integrating indoor/outdoor living while maintaining privacy. Lindfield House, in contrast, offers a calm and refined atmosphere tailored to the clients' personalities, driven by considered simplicity and mid-century influences, achieved through layered materials and textures to create a luxurious and minimal interior. His early life was immersed in design, with both parents being architects. One of his first design memories involves playing inside Charles Rennie Mackintosh's Willow Chair, which left a lasting impression of craftsmanship. His curiosity about design persisted from childhood, eventually leading him to study architecture at the University of Sydney. Boddam finds inspiration in the simplicity and elegance of designers like Christian Liaigre, Vincent Van Duysen, and Joseph Dirand, admiring their craftsmanship and timelessness. Boddam splits his time between his primary residence in Byron Bay and an apartment in Bondi, Sydney. His Byron Bay home, built in the late 1990s, backs onto a natural reserve and was designed as a barefoot sanctuary to reconnect with nature, reflecting the spirit of the local landscape and an elevated expression of coastal living. For inspiration, he often turns to nature, taking walks along the coastline to clear his mind. He maintains a daily ritual of sketching concepts in the mornings, treating each design as a research project to build a narrative around a concept. Upcoming projects for 2021 include a recently completed Sydney harborside project—a contemporary interpretation of a Californian bungalow featuring an art collection—and the continued development of new furniture pieces using quality Australian materials. His dream projects involve collaborating with like-minded clients in inspiring locations, with a focus on quality craftsmanship and artisanal celebration, such as designing a stand-alone home in North America or a one-off eco-friendly villa. #DanielBoddam #AustralianDesign #InteriorDesign #FurnitureDesign #CoastalLiving #ArchitecturalProjects #MaterialPalette #ArtisanalCraftsmanship

The Xingu collection by Brazilian designer Maria Fernanda Paes de Barros for Yankatu Design represents a collaborative effort with Mehinako artisans from Alto Xingu in Brazil’s Mato Grosso state. This collection uniquely merges traditional craftsmanship and materials with contemporary technological applications, such as CNC carving, to create modern furniture interpretations. The design process emphasizes the utilization of locally sourced materials, including cabreuva wood, straw yarn, woven stems from the buriti palm tree, and natural dyes and pigments, highlighting a commitment to sustainability and cultural preservation. The collaboration ensures that indigenous knowledge and techniques are central to the creation of each piece, while also introducing innovative methods for precision and efficiency in production. Key pieces within the Xingu collection exemplify this fusion. The Kaüpuna swing, for instance, features buriti yarn meticulously harvested, cleaned, and dried by Mehinako women. This natural material is intricately woven and combined with a bench seat crafted from wood by Mehinako men, which is then adorned with traditional graphics derived from charcoal and annatto-based pigments. This particular piece showcases a direct application of both male and female artisanal contributions within the Mehinako community, preserving their distinct roles in craft. Similarly, the Embira bench draws inspiration from the construction of traditional houses. It is made from cabreuva wood, known for its durability and aesthetic appeal, and employs moorings fashioned from strips of embira tree bark, a method deeply rooted in traditional building practices. The Oca closet, another significant item in the collection, reimagines traditional buriti and cotton woven rugs by transforming them into the sheathing for a tall, étagère-like cabinet supported by slender legs. This application not only gives new life to traditional textiles but also demonstrates their versatility in contemporary furniture design. The Shelter credenza features two tambour-style sliding doors composed of exceptionally narrow (6 mm) turned cabreuva slats. These slats are intricately woven with cotton threads, naturally dyed using raw materials collected around the Kaüpuna village in Upper Xingu. This piece highlights precision craftsmanship and the aesthetic value of natural dyes. The collection's centerpiece, the Beiju table, is carved from solid cabreuva wood and stands on brick-shaped wooden legs. A distinctive element of the table is the incorporation of draped beaded necklaces, traditionally used in Mehinako rituals, which are integrated into the design, adding cultural depth and symbolic meaning to the furniture piece. This collection ultimately serves as a bridge between rich cultural heritage and modern design sensibilities. #YankatuDesign #MariaFernandaPaesDeBarros #XinguCollection #MehinakoArtisans #BrazilianDesign #SustainableMaterials #TraditionalCraftsmanship #ModernFurniture #CulturalHeritage

Cloud House, a new residence in Bondi designed by Akin Atelier, serves as a serene sanctuary for a couple who divide their time between Singapore and Sydney. The design prioritizes careful consideration of apertures and subtle textures to foster a sense of expansive space and lightness within the home. The clients sought a house that would offer relaxation, facilitate enjoyment of the outdoors and sunlight, and eventually serve as a family home. A key design challenge was the clients' desire for the living space at the rear, which was the south-facing end of the site. Kelvin Ho, founding director of Akin Atelier, emphasized the meticulous attention given to junctions and openings, which he described as an opportunity to test their understanding of light and space. The design effectively uses various apertures and angles to fracture light into the building's core, ensuring ample sunlight despite the south-facing living area. A central courtyard, a double-height glazed wall, a raked ceiling, and strategically placed skylights are integral to illuminating the interior. These elements, combined with materials chosen for their interaction with light, create a calming and comfortable environment. The house's architectural composition features simple white geometric forms encircling a central courtyard. This courtyard not only ushers northern light into the living area but also functions as the main entry point, accessed via an external, bamboo-lined walkway. Glazing frames the courtyard, with an outdoor shower discreetly positioned among plants adjacent to the fence. The living, kitchen, and dining area, located behind the courtyard, appears simple but is a highly refined arrangement of materials and forms. A striking 6.1-meter glazed wall bathes the living space in sunlight, highlighting the textures and shadows of the adjoining white brick wall. A raked ceiling and gentle curves subtly guide movement and light deeper into the kitchen and dining areas. Functional elements are seamlessly integrated, such as a concrete step transitioning into a fireplace plinth, and shelving and cupboards evolving into kitchen cabinetry and a benchtop, all beneath a still-generous three-meter ceiling that defines a more intimate atmosphere. Minimalist glass doors connect the living space to a narrow side garden and a rear deck, stacking externally to maximize the indoor-outdoor connection. Project architect Georgia McGowan conducted extensive research to select glazing systems that balanced light maximization, indoor-outdoor flow, and cost-effectiveness. Slim-profile windows were chosen for critical openings, while standard profiles were used for side elevations. A flush floor finish and a fine-edged steel track further enhance the sense of uninterrupted space, with a slender circular column providing discreet structural support. This attention to detail extends throughout the house. Glass doors in the adaptable front room (serving as a guest bedroom, study, or family room) also retract into a wall. A distinctive round window in the bathroom pivots horizontally, contrasting with the facade's rectilinear lines. A skylight spanning the length of the staircase offers views of the sky, and slim-profile windows upstairs open to the courtyard. The second floor accommodates two bedrooms and a bathroom at the front, with the main bedroom and ensuite at the back. A passageway creates a natural division, allowing for the creation of private zones. The clients' bedroom, bathroom, and walk-in robe are arranged for spatial fluidity, with timber wardrobes divided by a vanity and a skylight illuminating the shower. Timber screens and neighboring bamboo create a secluded, sanctuary-like ambiance in the main bedroom, which also benefits from plants cascading from the roof. Operable rosewood timber screens, designed to weather and grey over time, contribute natural color and texture to the exterior while providing privacy. Elevated skylights create dynamic light and shadow effects. Ultimately, Cloud House exemplifies a design where seemingly disappearing windows, doors, and screens create a continuous and effortless sense of space, embodying Kelvin Ho's philosophy that "You don’t notice when you walk into a space, but you feel it." #ResidentialArchitecture #AkinAtelier #BondiBeach #NaturalLightDesign #IndoorOutdoorLiving #ModernHomeDesign #ArchitecturalApertures #Materiality #ContemporaryAustralianArchitecture

The Lesire Collection, designed by Botswana-based furniture designer Peter Mabeo, founder of Mabeo Studio, translates the intricate lace crochet techniques of 1900s South African women into a line of hardwood furniture. The collection's name, "Lesire," meaning "wedding veil" in Tswana, refers to a textile characterized by its distinctive scalloped-edge detail, which serves as the primary inspiration for the furniture's aesthetic. This design philosophy not only honors traditional craftsmanship but also provides a global platform for local artisans, as the collection is now available through Design Within Reach. The core material for the Lesire Collection is panga panga wood, a durable hardwood native to Southeast Africa known for its resistance to insects and fungi. This choice of material firmly anchors the collection in its geographical context, a fundamental principle for Mabeo. The designer emphasizes the importance of drawing inspiration from one's immediate environment, believing that globally applicable design directions are more authentically achieved by engaging with familiar surroundings. This approach allows for a blend of innate understanding and acquired knowledge, fostering a sense of freedom in artistic expression. The panga panga wood used in the collection is ethically sourced from LevasFlor, a Mozambican company committed to sustainable harvesting practices and community involvement. LevasFlor's FSC certification ensures a balance between international sustainability standards and local inclusivity, aligning perfectly with Mabeo's vision for responsible and community-centric design. Each piece within the Lesire Collection is meticulously hand-carved by Mabeo's skilled artisans, who meticulously transfer the scalloped-edge motif onto various furniture items, including mirrors, tabletops, credenzas, and storage benches. The angular legs of the tables, credenzas, and benches complement the scalloped pattern, creating a dynamic visual interplay between structural elements and decorative details. The inherent richness and textured grain of the panga panga wood contribute to the natural elegance of each item, while the hand-carved elements highlight the exceptional craftsmanship of the local artisans. This fusion of heritage, artistry, and raw material beauty results in a collection that is both culturally resonant and aesthetically sophisticated. #FurnitureDesign #HardwoodFurniture #MabeoStudio #PeterMabeo #AfricanDesign #SustainableMaterials #HandCarved #CulturalInspiration #InteriorDesign

The article presents a curated list of 15 interior design coffee table books, handpicked by Belle, to inspire and enhance home aesthetics. These oversized volumes serve as decorative elements and sources of design inspiration for enthusiasts and make ideal gifts. The selection covers a broad spectrum of design philosophies and artistic expressions, ranging from practical styling guides to historical explorations of design movements and personal insights from leading architects and designers. One featured book is "Moments at Home: Interior Inspiration for Every Room" by Steve Cordony, which focuses on elevating everyday living through styling and tablescaping across various rooms. "Collecting: Living with Art" by Kym Elphinstone explores the personal act of integrating art into daily life, showcasing how diverse artworks can shape a room's identity and meaning. The historical influence of "Bauhaus" is captured in a book detailing the German school's impact on art, craft, and technology between the world wars, highlighting its utopian vision applied across architecture, design, and textiles. Adelaide Bragg's "City, Coast & Country" presents a collection of Australian interiors, organized thematically by color, revealing the designer's material choices and creative influences rooted in her rural upbringing. "The Architect’s House: Inside the homes of 20 architects from around the world" offers inspiration for those contemplating building or renovating, showcasing diverse properties from apartments to large detached homes. Anna Spiro’s "A Life in Pattern" advocates for a maximalist aesthetic, combining patterns, colors, and curated objects to create spaces that reflect individuality, featuring over 250 photographs from various interior design projects. Alfredo Paredes' "Alfredo Paredes At Home" chronicles the distinctive, urbane, cool, and masculine style of the former Ralph Lauren creative officer through four of his own homes. "The World Of Peter Dunham" emphasizes the emotional impact of childhood homes, with Dunham's approach incorporating color, pattern, patina, and personality to create welcoming spaces. Aerin Lauder’s "Living With Flowers" shares tips for floral arrangements and integrating flowers into home decor and entertaining, from wallpaper to china. "Art in Residence" by Nicole England showcases enviable art collections within architectural masterpieces globally, illustrating how diverse artworks can create meaningful backdrops. Finally, "A Century of Colour in Design" by David Harrison explores the bold and innovative use of color in furniture, lighting, and decorative pieces throughout the past century, demonstrating how liberal color application can lead to whimsical and distinctive creations. The compilation provides both aesthetic pleasure and a rich resource for interior design enthusiasts. #InteriorDesign #CoffeeTableBooks #HomeDecor #DesignInspiration #ArtCollecting #Bauhaus #AustralianDesign #ArchitecturalHomes #PatternAndColor

In Miami's Wynwood neighborhood, Michael Hsu and his team have created Uchi Miami, an extension of the renowned Austin-based Japanese restaurant. Opened late last year amid the COVID-19 pandemic, the restaurant's design meticulously integrates Japanese traditions of craft and artistry, evident from its sushi rolls to its carefully chosen wooden elements. The design vision was heavily influenced by Japanese wrapping techniques, particularly how gifts, vegetables, and fruits are presented, fostering an atmosphere of continuous discovery within the space. Hsu emphasized how architectural inspiration was drawn from ropes, strings, and the act of tying things together, leading to a deliberate exploration of material paradoxes. Upon entering, guests are greeted by a custom wall crafted from concrete blocks and interwoven cotton rope, appearing to be held in place solely by the ropes. This unique piece was created by local artist Vas Bets. The restaurant's design incorporates bespoke artwork throughout, adding a whimsical touch that resonates with the surrounding neighborhood. Examples include a hand-drawn chalk mural by Sam Angus Jackson depicting jellyfish above the sushi counter and custom woven lighting fixtures that appear to float above dining tables, designed by Warbach. These elements contribute to a holistic sensory experience, which Hsu described as a primary goal. To enhance this sensory journey, the team utilized organic materials and biophilic elements, such as lush, vibrant plants. The seating arrangement offers a mix of intimate booths and communal tables, catering to various dining preferences. A significant challenge in the design process was managing Miami's intense sunlight, especially for an upscale dining establishment. To achieve a more subdued and intimate ambiance, Hsu opted to drape the glass facade. This strategic use of drapery creates a varied blend of tonal textures and hues, effectively diffusing the natural light while simultaneously instilling a sense of mystery, reminiscent of a meticulously wrapped package tied with string. The restaurant's interior features several notable design elements that reinforce the Japanese aesthetic. Rattan booths provide a sense of privacy for diners. Curved banquettes and booths showcase interwoven seat backs, reflecting traditional textile practices. In the bar area, walnut and ash wood are prominently used to create a focal point, further highlighting the concept of contrasting elements that is central to the design. Hand-woven wall hangings by local artist Elan Byrd adorn the walls of the private dining area, adding another layer of textural richness. Even the restrooms maintain the geometric forms and material palette seen throughout the rest of the restaurant, ensuring a cohesive design experience. The exterior also features a custom brick wall by Vas Bets, welcoming guests and setting the tone for the interior experience. The overall design successfully translates the delicate artistry and material sensitivity of Japanese traditions into a contemporary restaurant setting, creating a space that is both visually engaging and experientially rich. #JapaneseTradition #RestaurantDesign #MichaelHsu #UchiMiami #InteriorDesign #WynwoodMiami #MaterialContrast #SensorialExperience #BiophilicDesign

Anthony Gentile, a Montreal restaurateur from the renowned Café Gentile family, sought to create a pizza parlor that honored the past while embracing contemporary culinary advancements. To achieve this vision, he engaged local firm Atelier Zébulon Perron to design the interiors of Gentile Pizza Parlour. The design objective was to infuse the space with nostalgia without resorting to clichés, drawing inspiration from Gentile's childhood memories of playing at his family's arcade. The resulting restaurant features warm tones, including browns and golds, which evoke the late 1970s and early 1980s, establishing an inviting and cinematic ambiance. The design team preserved and enhanced vintage elements inherent to the original restaurant space. A key feature was the restoration of a rhythmic metal slat ceiling, initially designed for signage in the 1980s, to its former architectural prominence. To complement this, a continuous diagonal tile pattern was implemented across the floors, walls, and bar, adding a dynamic visual element that also aids in directing foot traffic. The interior further distinguishes itself through a deliberate juxtaposition of old and new materials. Items like marble and vinyl tabletops were combined, and prefinished wood panels were paired with backlit mirrors. These materials were sourced from personal collections and classified ads, contributing to the unique yet familiar aesthetic of Gentile Pizza Parlour. Additional design choices reinforce the nostalgic yet contemporary theme. Amber glass dividers were installed, harmonizing with the warm, subdued lighting emanating from vintage glass fixtures overhead. This careful selection of lighting and materials creates an atmosphere that is both cozy and stylish. The integration of playful elements, such as a PAC-MAN machine, directly references Gentile's childhood memories and adds to the retro appeal. Despite the overarching warm palette in the main dining area, the bathroom offers a contrasting experience with cool blue and green hues, providing a distinct departure from the rest of the restaurant. The interplay between various textures also plays a crucial role in enlivening the otherwise monochromatic scheme, ensuring visual interest and depth. The design successfully balances architectural uniqueness, dynamic contemporary touches, and a strong sense of nostalgia, creating a welcoming and memorable environment. The project showcases how thoughtful interior design can bridge different eras, transforming a space into a place that feels both timeless and current, while honoring cherished memories. #RestaurantDesign #Montreal #NostalgicInteriors #RetroAesthetics #AtelierZebulonPerron #PizzaParlour #InteriorDesign #HospitalityDesign

Dorothée Meilichzon, a French interior designer, transformed the Henrietta Hotel's ground-floor restaurant in London into Henri, a space that fuses Parisian bistro aesthetics with British pub characteristics. Located in a 19th-century Covent Garden townhouse, Henri serves French dishes with British ingredients, reflecting a blend of culinary traditions. Meilichzon's design for Henri mirrors this fusion, incorporating art nouveau elements typical of French brasseries alongside the oakwood paneling and leather upholstery found in British public houses. Upon entering, guests encounter an informal bar area featuring red Coralito marble counters, where snacks and aperitifs are served. The lighting scheme in this area includes bulbous brass lights and table lamps with plum blossom-inspired scalloped shades, creating a dimly lit ambiance. This choice of lighting pays homage to Covent Garden's history as a fruit and vegetable market. The cozy pub atmosphere is further enhanced by forest-green paint, dark timber wainscoting, and a bar fitted with leather-upholstered stools. Belle Epoque details, such as spherical lights and gridded mirrored panels, are integrated to ensure a visual flow between the bar and the main dining room. Meilichzon specifically designed custom seating banquettes for Henri, some featuring decoratively curved backrests and concealed cutlery storage. The designer noted the inclusion of art nouveau elements, such as the detailing on the banquette arms, frosted glass globes, Thonet chairs, and bespoke organic suspensions, all contributing to the brasserie-like feel. Despite the restaurant's compact size, a variety of seating arrangements are accommodated. Near the entrance, smaller booths upholstered in duck-egg blue leather and velvet, framed in a darker midnight hue, offer an intimate setting. As the space expands towards the open kitchen at the rear, the design transitions to a warmer color palette. This area features terracotta wall tiles and larger banquettes, upholstered in rust-colored velvet with glossy red arms and backrests, suitable for group dining. The dining experience is complemented by custom-made marble-topped tables with dramatic skirts and classic bentwood bistro chairs from Thonet. The walls are adorned with an eclectic mix of artworks, photographs, framed mirrors, and blackboards displaying daily specials, adding to the restaurant's decorative appeal. One notable design decision was the retention of the restaurant's existing floral ceiling murals, hand-painted by French artists. These murals provide a contrast to the structured grid of the honeycomb parquet flooring below. Henri represents another collaboration between Meilichzon and Experimental Group, a French hospitality firm for whom she has previously designed hotels in various locations including Venice, Ibiza, Biarritz, and the Cotswolds. The interior design successfully blends different cultural and historical styles to create a unique and inviting dining environment in London. #InteriorDesign #RestaurantInterior #LondonHospitality #FrenchBrasserie #BritishPub #ArtNouveau #CustomFurniture #DorotheeMeilichzon #HenriRestaurant

Creative agency Spacemen integrated biophilic design concepts into the flagship store for luxury leather manufacturer Braun Büffel in Malaysia, featuring a tree-like, moss-covered installation as its central focus. The objective was to create an interior appealing to a younger demographic, envisioning the store as an 'abstract oasis' within Putrajaya's IOI Mall, blurring the lines between an art museum and a laboratory. This unique approach aimed to establish a strong connection between nature and high-end fashion. The centerpiece of the store's design is a large, organically shaped sculpture suspended from an illuminated disc in the shop's center. This sculpture is adorned with preserved flat moss, ball moss, and lichen, creating a natural and visually engaging focal point. Directly beneath this hanging installation, a spherical table, similarly covered in moss and other preserved plants, serves as a display platform for Braun Büffel's leather bags. These bags are strategically arranged throughout the store, evoking the presentation style of museum artifacts, further enhancing the artistic and curated atmosphere. The inspiration for this dominant sculpture comes from biophilic design, a methodology that seeks to strengthen the human-nature connection within built environments. Edward Tan, founder of Spacemen, explained that the sculpture's form was designed to appear as if it is growing from the ground toward the ceiling, symbolizing growth and reaching for the sun. The envisioned aesthetic was an otherworldly concept, drawing parallels to a scene from a Hollywood sci-fi film, adding an element of fantastical innovation to the retail space. In developing the store's interior, Spacemen adopted a 'maximal minimalism' philosophy. This approach aimed to counteract the often-uninspired shapes and colors typically found in luxury retail spaces. The interior features lime plaster walls and bright white terrazzo flooring, providing a clean and contemporary backdrop. These elements are complemented by numerous intricately designed display cabinets and shelves, which are further enhanced by floor-to-ceiling mirrors, contributing to a sense of spaciousness and understated opulence. Further details of the store's luxurious design include cabinetry crafted from opulent slabs of swirling orange onyx and jade marble. Some of these marble surfaces are topped with glass vitrines, designed to showcase smaller leather goods, adding another layer of sophistication and attention to detail. This combination of natural elements, innovative design, and high-quality materials creates a distinctive shopping experience. Edward Tan elaborated on the decision to incorporate biophilic design, noting a societal shift in appreciation for nature, particularly post-pandemic. He observed that individuals residing in urban apartments or working in office cubicles often lack sufficient exposure to natural environments. Consequently, the integration of lush flora and garden-like elements into interior spaces has emerged as a new form of luxury. This recognition of nature's value within commercial design contributes to the project's overall success and resonance with contemporary consumer preferences. #BiophilicDesign #LuxuryRetail #InteriorDesign #FashionStore #MossInstallation #SpacemenStudio #BraunBuffel #MaximalMinimalism #SustainableDesign