Architecture practice THISS Studio has reconfigured the dark interior of an interwar house in east London, adding an extension characterised by timber joinery and a curved aluminium roof.
Designed to have “a fun and unconventional presence”, the extension was conceived by THISS Studio as though it were a piece of furniture rather than a conventional structure.
It is formed of exposed timber joinery animated by a curved roof canopy, affectionately referred to by the clients and studio as the “fried egg”, giving the project the name Sunny Side Up.
THISS Studio has extended an interwar house in east London
“We wanted to create a fun and unconventional presence in the garden that also reflected [the clients’] playful character as people,” THISS Studio told Dezeen.
“We wanted to think of the new addition at a domestic scale and more like a piece of furniture that you can sit within and enjoy, rather than a typical extension of the existing spaces,” it continued.
“In doing so we were forced to consider the materials and how they came together much more than you normally would, as every joint and intersection was exposed.”
The extension has a curved aluminium roof
Sunny Side Up expands the home’s ground floor by three metres and contains a light-filled dining space. Its design evolved from the client’s original vision of a full-width rear extension.
By reducing its size, more of the client’s budget was allocated to using sustainably sourced sapele hardwood for the timber structure.
It is constructed from timber
Sapele wood has also been used to create a lattice structure below a large skylight, which sits above the dining table, as well as a built-in bench seat.
To protect the exposed timber structure from the elements and create shade during the summer months, the sweeping aluminium canopy extends from the back of the home to rest above the extension.
The extension contains a dining room
The roof was laser cut into its unique organic shape and is also designed with a gentle slope to direct rainwater away to a rain chain.
“The garden is south-facing and gets a lot of direct sun in summer, so the canopy acts as an external sun shade to give a bit of respite when the sun is at its hottest,” said the studio.
A skylight sits above a timber lattice
“Generally exposed timber doesn’t like the sun too much even if treated, so the canopy protects it from degradation and increases the lifespan of the building considerably,” added the studio.
“It also protects the timber from the rain too, leaving it dry and protected pretty much all year round.”
Inside, the Sunny Side Up project also involved an update to the original kitchen.
It features Italian terrazzo worktops and splashbacks, paired with dark slate flooring that continues out to the sunken patio.
A connection to the garden is prioritised in the design
According to THISS Studio, the garden was treated as “another room rather than a separate space” in the project. It was landscaped by the client and his mother who is an experienced landscape gardener.
Views of the garden are captured through the sapele-framed windows and bi-folding doors, while a servery window allows food and drink to be served from inside to out, further supporting this connection.
The kitchen was updated as part of the project
Using wood as the dominant material is becoming increasingly popular in residential extensions.
After years of doing video conferencing while we were working or studying remotely, you would think that people have gotten used to using our computers’ and devices’ webcams already. But there are still those that are not used to turning on their cameras to participate in video calls whether for work, school, or personal reasons. It’s something that will probably be around for the foreseeable future so we still need all kinds of video conferencing tools.
Seesun is a concept for a webcam and lighting tool that can be utilized by those who are concerned with privacy but also need something to help them out for times when they have no choice but to turn their cameras on. It’s basically a display that can cover the camera if you don’t want to use it but if you need to actually use it, a smiley face will help you become more accustomed to the camera.
When you turn on the camera, you’ll see a countdown to help you prepare for when it begins showing you to whoever it is that you’re meeting with. There is a smiley face on the display that will supposedly help put you at ease and make you stare directly into the camera and make you look more trustworthy. It can also serve as a light stand if your room needs it to give a better video quality. There is also a small remote to help you control the device.
The design basically is that of a light stand but with a web camera on top. The smiley face may actually help in putting people not used to appearing on webcams at ease. As someone so used to video calls, it may not be much of use to me but there are still a lot of people out there who need tools like this to become a video calling pro.
The Virginia Museum of Fine Arts, located in the state’s capital Richmond, hosts an installation by Chicago-based artist Theaster Gates.
The site-specific installation, titled Wonder Working Power, explores fragility, urban decay and neglected spaces alongside traditional craft through the medium of clay.
The installation is on display in the Lewis Focus Gallery, alongside the National Council on Education for the Ceramic Arts’ conference, which takes place in Richmond in March 2024.
Modernism Week hosts architecture, design, art and fashion-focused events. Photo courtesy of Natural Retreats. Above photo is by Andrew Cabral
Modernism Week 15 to 25 February, Palm Springs, California
Annual design, architecture, fashion and art festival Modernism Week returns to Palm Springs for an 11-day programme in February.
The week’s events include tours, exhibitions, talks and parties that aim to address topics of design innovation, organic architecture, landscaping and diversity in the industry.
The series of tours across the city include walking, biking and bus tours in addition to property interior tours.
The five-day programme includes talks, exhibitions, workshops and parties. Photo is courtesy of Anchorage Museum
Hosted by the Anchorage Museum, the 2024 edition city’s annual design week hosts a selection of exhibitions, workshops, talks and parties across five days.
Anchorage Design Week presents in-person and online events centred around interior design, sustainability, organic materials, screen printing and design for communities.
The festival takes place across 15 districts in the Great Miami region. Photo is courtesy of Open House Miami
Architecture and design festival Open House Miami takes place over two days and across 15 districts in the Great Miami region, including Miami Beach, Coral Gables, Opa Locka and Design District.
As part of the festival – organised by The Miami Center for Architecture and Design – tours, talks, performances and networking opportunities are open to the public.
This year’s edition follows the themes: Sacred Spaces, Culture, Resilience, Building Miami, Sports, Glamour and Grandeur, and Curiosities and Colourful Past.
The Miami edition forms part of the wider Open House Worldwide festival, in which more than 50 cities are taking part in 2024.
Brazilian architect Lina Bo Bardi’s Bowl Chair is on display at the exhibition. Photo is curtesy of The Museum of Modern Art
Crafting Modernity: Design in Latin America, 1940–1980 is an exhibition taking place at the Museum of Modern Art (MoMA) spotlighting furniture, ceramics, design objects, textiles, paintings and photography.
The exhibition explores the social and political changes in Latin America between 1940 and 1980, highlighting different approaches to modernism.
The artists and designers taking part are from Argentina, Brazil, Chile, Colombia, Mexico and Venezuela. Their pieces aim to reflect the crafts and culture from their native countries.
About Dezeen Events Guide
Dezeen Events Guide is our guide to the best architecture and design events taking place across the world each year. The guide is updated weekly and includes virtual events, conferences, trade fairs, major exhibitions and design weeks.
Inclusion in the guide is free for basic listings, with events selected at Dezeen’s discretion. Organisers can get standard, enhanced or featured listings for their events, including images, additional text and links, by paying a modest fee.
In addition, events can ensure inclusion by partnering with Dezeen. For more details on inclusion in Dezeen Events Guide and media partnerships with Dezeen, email eventsguide@dezeen.com.
Dezeen Awards 2024 launched last week in partnership with Bentley. Enter before 27 March to save 20 per cent on entry fees.
Now in its seventh year, the programme has become the ultimate accolade for architects and designers everywhere, with winners selected by a prestigious panel of international judges.
Read on to find out more about the first five of the 90 industry professionals who will be judging entries this year.
Interior designer Bobby Berk is one of this year’s judges
American interior designer and Emmy-winning host of the Netflix show Queer Eye, Bobby Berk will be joining the interiors panel for Dezeen Awards 2024.
The Los Angeles-based designer’s practice specialises in residential interiors and utilises furnishings, materials, colours and lighting to try to actively lift people’s mental well-being.
Berk has completed residential projects across the US, including a renovation of a 1950s traditional home using patterns and natural textures inspired by Indian actress Frieda Pinto’s heritage.
London-based designer and artist Faye Toogood is the founder of Studio Toogood
Toogood is the founder of London-based Studio Toogood, a multi-disciplinary practice comprised of architects, sculptors, furniture makers and illustrators. Before founding her studio in 2008 she started her career as an editor for The World of Interiors magazine.
Italian architect Gaetano Pesce’s work is featured in permanent collections around the world
Italian architect and designer Pesce is considered a pioneer of Italy’s Radical Design movement and will judge the architecture categories for the seventh edition of Dezeen Awards.
Indian-American architect Suchi Reddy is the founder of studio Reddymade
Indian-American architect Suchi Reddy is the founder of studio Reddymade and will be on the architecture judging panel alongside Pesce.
Since founding her practice, Reddy has worked on various cultural, educational, healthcare, retail, commercial and residential projects informed by her research at the intersection of neuroscience and the arts.
Dezeen Awards 2024 is open for entries. Find out about all of this year’s categories and log in or create an account to start your entries. Enter before 27 March to benefit from our discounted early entry prices.
Dezeen Awards is the ultimate accolade for architects and designers across the globe. The seventh edition of the annual awards programme is in partnership with Bentley as part of a wider collaboration to inspire, support and champion design excellence and showcase innovation that creates a better and more sustainable world. This ambition complements Bentley’s architecture and design business initiatives, including the Bentley Home range of furnishings and real estate projects around the world.
It’s crucial that whoever wins the upcoming general election prioritises fixing the UK‘s energy-efficient housing, but the message doesn’t seem to be getting through to our political leaders, writes RIBA president Muyiwa Oki.
Last summer, as temperatures soared and the sun beat down relentlessly, people around the UK sweltered in their homes.
A few months ago, with near zero-degree temperatures, many of us found the reverse, struggling to decide whether to turn on the heating and bear the rising energy costs.
Despite our best efforts to stay cool or keep warm, our outdated built environment and energy-inefficient homes meant that escaping the stifling heat or freezing cold was nearly impossible. For some, it was not just uncomfortable – it was desperately dangerous.
It is clear something needs to be done
The state of Britain’s ageing homes has become a national shame, and it is clear something needs to be done.
Stark warnings about rising temperatures hit the headlines this month. For the first time on record, global warming breached the critical 1.5-degrees threshold over a 12-month period. In the UK, it was the second-hottest year on record, as we suffered heatwaves and floods. Unfortunately, these trends are set to continue.
We know decarbonising the built environment is crucial to reducing carbon emissions and mitigating rising temperatures; our buildings are responsible for almost 40 per cent of global energy-related carbon emissions. The time to act is now.
With 80 per cent of the buildings that we’ll use in 2050 already built today, we must prioritise bringing these up to scratch – and we need to start with housing. The UK has among the oldest and least energy-efficient housing stock in the whole of Europe, with 19 million homes in dire need of retrofitting.
Yet, this message doesn’t seem to be getting through to our political leaders. On the very same day that the news broke about terrifying temperature rises in 2023, it was announced that Labour is cutting back on funding promises for home-insulation projects should the party win the upcoming general election. The previously announced £6 billion a year to retrofit 19 million homes has been dropped, with plans now to spend £6.6 billion over 5 years, equating to £1.3 billion a year.
It follows prime minister Rishi Sunak’s September announcement that he would be scaling back key green policies – including postponing a ban on oil and liquified petroleum gas (LPG) boilers to 2035 and scrapping energy-efficiency improvements for the private rented sector.
To do nothing would be to condemn the population to many more decades of substandard housing
This general election year is a chance to reset the dial and treat the climate emergency as the urgent, existential threat that it is. To do this, we need the next government to set out a national retrofit strategy – a well-funded, long-term plan to make homes more energy efficient and climate resilient. Not only would this reduce our climate impact, but it would also create jobs, boost green skills and improve prosperity up and down the country.
Of course, this strategy requires ambitious government investment, but we at the Royal Institute of British Architects (RIBA) believe there are clever ways to incentivise homeowners to make their properties greener. A financing strategy to make energy-efficiency upgrades affordable for all homeowners and landlords before they feel the benefit of reduced energy bills will be a crucial piece of the puzzle.
In its 2020 Greener Homes report, the RIBA – along with many other organisations – recommend looking at tax incentives such as a sliding scale of stamp duty, with the most energy-efficient homes accruing significantly less tax than the least energy efficient, and tax rebates for a period after purchase to encourage homeowners to make energy-efficiency upgrades, recognising that they are most likely to make upgrades just after buying a house rather than getting round to it at a later date.
Equally, in the private rented sector, landlords should be incentivised to make energy-efficiency upgrades by being able to claim part of these against their income-tax liabilities.
Putting funding aside, retrofitting has to be done properly to avoid unintended consequences like damp and mould. To achieve this, we must prioritise a fabric-first, whole-house retrofit approach, using architects’ expertise to ensure changes are made in the right order and at the right time. Possible measures include insulating lofts and walls, draught-proofing doors, windows and floors, using double or triple glazing, integrating smarter appliances and making changes to heating and energy systems such as heat pumps and solar panels.
A retrofit revolution will create jobs. Just installing external insulation to all England’s interwar homes, built between 1919 and 1939, could create 5,000 full-time jobs every year until 2032. But it also demands good organisation – a systemic method of decarbonising homes, with defined typical upgrade packs for different housing types. Training will be required to upskill the construction workforce across the country to carry out the work efficiently and effectively.
A nationwide retrofit programme on this scale may be unprecedented, but we need to see the bigger picture. Millions of us live in damp, draughty homes that are leaking energy and money, and to do nothing about it would be to condemn the population to many more decades of substandard housing. I sincerely hope the next government turns this challenge into an opportunity to demonstrate global climate leadership and turbocharge our green economy.
Muyiwa Oki is the president of the Royal Institute of British Architects and an architect at construction company Mace.
Dezeen In Depth If you enjoy reading Dezeen’s interviews, opinions and features, subscribe to Dezeen In Depth. Sent on the last Friday of each month, this newsletter provides a single place to read about the design and architecture stories behind the headlines.
London-based start-up Nothing is trying to upend the consumer-tech industry. In this interview, the company’s design director, Adam Bates, discusses how.
Since being founded by Chinese-Swedish entrepreneur Carl Pei three years ago, Nothing has moved at breakneck speed, releasing three wireless earbuds and two smartphones – with a third set to launch next month.
Counting iPod designer Tony Fadell and Reddit CEO Steve Huffman among an illustrious list of investors, the company’s stated aim is to “make tech fun again”.
“We’re a bit bored”
Having joined Nothing as design director in early 2022 after spending 14 years at Dyson, Bates is tasked with ensuring that the brand’s products deliver on that ambition.
“I think it’s in a lot of our bones that there are some things that aren’t right about these products,” said Bates, referring to the current offering of smartphones from mainstream brands.
“And also that we’re a bit bored,” he added.
Bates suggests that the current state of monotony within the smartphone industry can be traced back to 2007 and the seismic launch of the original Apple iPhone.
“The iPhone in 2007 was a new format,” he told Dezeen. “There were touchscreen phones before but the way they designed the interface – really we’re still with that now.”
“When something like that happens and then it catches and it gets traction, other people start doing it as well.”
Nothing’s product launches so far include phones and earbuds
“It was a bit lost and uninspired and then came the iPhone, which was this massive step-change, and everyone focused on Apple and that format, and in the process of doing that a whole industry was built that was quite rigid,” he said.
“Maybe in that process of trying to get there, people forgot about thinking of new ideas, and then also customers maybe stopped wanting new ideas.”
Seventeen years and 36 iPhone iterations later, Nothing argues that the magic has worn off and that it’s time for new ideas to make a comeback.
Picking up on the design language of Nothing’s first product, the Ear (1) earbuds, it featured a transparent back displaying its inner components and a light-up “glyph interface”.
Hundreds of distinctively arranged LEDs illuminate to create patterns that indicate notifications from apps, incoming calls or charging status when the phone is face-down.
The phone was included in Time Magazine’s Best Inventions of 2022 list.
Released a year later, the second-generation Phone (2) focused on refinements such as a more ergonomic pillowed-glass back and extra glyph functions, as well as updates to Nothing’s designed-in-house, monochromatic operating system.
Released in July 2022, the Phone (2) tweaked the design of the brand’s debut smartphone
Only another eight months on and the brand will soon launch the Phone (2a), touted as a low-cost alternative to the Phone (2).
Ear (1)’s successor, the Ear (2) and Ear (stick) – which is defined by a cylindrical twist-to-open case – complete the Nothing range of products, not including those produced by its sub-brand, CMF.
Bates explains how Nothing is attempting to ensure its designs stand out from the crowd.
“I guess for us to try and break out of it, we’ve got to trust ourselves as people that are interested in technology, that are creative, that care about the products that we use,” he said.
“There’s a bit of trusting our gut instinct of what excites us and what excited us in the past, because data is not going to lead us there – data is going to lead us to the same place as everyone else.”
“There is a conscious element to that,” Bates acknowledged. “When Apple was on such a roll surprising you every time, I guess there might be a nostalgia for that feeling, and maybe the visual language comes from that feeling.”
The company’s studio in King’s Cross, London, is filled with all manner of old-school tech, from Gameboy Colors to Casio piano keyboards.
“Design hasn’t got better now, it’s always been really good,” said Bates.
“So there’s definitely a natural thing, which is to look at something from the 1970s with the same seriousness as something on some Instagram feed of new renders that people are putting out.”
Bates confesses to being fascinated by companies that manage to sustain prolonged periods of design innovation.
The company’s London studio is full of retro tech such as Gameboys and Sony Walkmans. Photo by Nat Barker
“There’s these golden eras in companies and they’ve got quite a lot in common with each other when you look at them,” he said.
“Some people just manage to keep doing it – Nintendo just keep doing it, they have a flop and then they come back again, so they’ve got some magic which passes on through generations.”
One such company is Dyson, where Bates was formerly head of design and product experience working on products including the feted Supersonic hairdryer.
“It did become more corporate as time went on, but it always operated quite a lot like a start-up,” he recalled.
“A thing to bring with you from there is: challenge everything, don’t take anything for granted, don’t trust anything unless you’ve seen it with your own eyes and you’ve tested it yourself,” he continued.
Since being founded three years ago Nothing has launched several products. Photo by Nat Barker
But while he says Dyson was “an amazing education”, he argues there is a limit to what he can import to the design team at Nothing.
“Dyson was good at innovation and good at new ideas, so I can bring my experience there and see how that works here,” he said.
“But at the same time, could they do a phone with exactly their approach? There are things that you just can’t mess with, and Dyson just mess with everything.”
One important point of difference between Dyson and Nothing is the pace of development. Including research, the Supersonic took five years in all, the Phone (1) just 10 months.
Now with six products in existence including two generations of its main lines, Bates says Nothing has no intention of slowing down.
“I think the general trend is going to speed up,” he said.
So how will Nothing ensure that its products stay “fun” when moving at such a speed?
Bates is hopeful that the company’s strong cultural focus on design will ensure that it continues to test boundaries.
“We’re not just here to make money – loads of companies make money,” he said. “Some of the designers I’ve been able to hire are some of the best in the business and could probably work anywhere.”
“They’ve chosen to work here because they want to do something different, so we have to hold each other to account I guess.”
“If you’re not in the game you can’t do anything”
Just how far the Nothing will push the envelope is an open question – its phones stick with the scrollable, rectangular LED screen zeitgeist that has dominated since the iPhone, and the brand has not yet indicated plans to move away from this format.
Another major challenge for the smartphone industry is sustainability. According to Deloitte, the devices generate 146 million tons of CO2 each year worldwide, mostly linked to the extraction of the many precious minerals they contain.
Nothing has taken some steps to reduce the environmental impact of its products. For instance, Phone (2) uses recycled aluminium, plastic, tin, copper and steel, renewable energy in its assembly plant and plastic-free packaging.
Its packaging displays the lifecycle carbon of products, with Phone (2) carrying a footprint of 53.45 kilograms CO2 or equivalent emissions – eight per cent less than the Phone (1).
In comparison, ethical smartphone company Fairphone‘s fourth-generation phone’s lifecycle carbon emissions were 43 kilograms, while the least-polluting version of the iPhone 15 generates 66 kilograms.
The brand shows no sign of slowing down, with a new launch set for March
“The repairability thing is clearly the way to go,” said Bates, referring to a push from campaigners and some regulators for tech brands to prolong their products’ lifespans.
“Maybe there are Nothing products in the future where you can touch the battery, and you can take the battery out, and we’re back to those days where you take the rear cover off.”
However, he indicated that these sorts of changes could be some way off yet as the brand continues to find its feet.
“If you’re not in the game you can’t do anything. If you do too much too soon, or if you kind of pin yourself to something, we will not survive, and then we’re all just at the mercy of Apple, Samsung, Oppo, Google.”
The photography is courtesy of Nothing unless otherwise stated.
Dezeen In Depth If you enjoy reading Dezeen’s interviews, opinions and features, subscribe to Dezeen In Depth. Sent on the last Friday of each month, this newsletter provides a single place to read about the design and architecture stories behind the headlines.
Located in the Jumeirah district, the curved, 18,000-square-metre complex comprises 37 residential units alongside ground-floor restaurants and bars and a centralised public plaza.
Vertical louvres provide shading and privacy for the residences
“The design aims to create a shift in the way mixed-use projects have been developed in the region where there is a complete separation between the end users and the surrounding community,” studio founder Tariq Khayyat told Dezeen.
“The H Residence provides a seamless relation between the outdoor urban spaces and the surrounding program, where the central plaza is positioned in a way to welcome the public and for end users to enjoy a vibrant urban space.”
Spread across three floors and a basement level, the curvaceous complex is divided into two wings, connected by a lobby on the ground floor as well as a 30-metre-long bridge on the upper floor.
The complex has a communal plaza
Outdoor space on either side of the lobby forms a plaza, which acts as a “central hub” on one side and a residential drop-off point on the other.
“All the outdoor areas are considered as public areas to encourage the synergy between end users and community,” Khayyat explained.
It contains 37 residential units
Situated behind the ground-floor restaurant units are 25 two- and three-bedroom townhouses and four smaller apartments. These are identified by their jagged facades and vertical louvres for privacy and shading.
With the complex being located on a sloping site, TKDP designed each townhouse with a small front yard and back garden raised above ground level. Additionally, private walkways and ramps lead out from the housing units to provide direct access to the central plaza and lobby to improve accessibility.
The first floor of the complex accommodates a further eight apartments fronted by a row of deep balconies, which provide views overlooking the central courtyard and are also finished with vertical louvres.
Meanwhile, a lounge within the upper-floor bridge hosts seating for residents and is finished with marble flooring, white walls and wood panelling.
A 30-metre-long bridge connects the two wings of the complex
A 300-square-metre pool located on the roof of The H Residence mimics the deep curve of the first-floor bridge and enjoys a view of Dubai’s city skyline.
Sweeping roofs on either side of the pool shelter a gymnasium and lobbies that provide access to public roof gardens located on the outer edge of the two wings.
A rooftop pool offers views overlooking the city skyline
On the complex’s basement level, a car park is provided for both residents and visitors.
Collaborations in the top tech echelons are routine. Some are hard stretched but few are like a match made in heaven. A meaningful partnership in the latter type is the Toyota Land Cruiser’s tie-up with G-Shock. I am sure this collab, which marries high-end watchmaking with automotive genius, would need no introduction. But if you mean why, the companies thrive on their ability to go anywhere and take what you throw at them, so why not?
The partnership marks the 30-year history of Team Land Cruiser Toyota Auto Body competing at the Dakar Rally. The watch for the occasion is designed to embody the spirit of resilience and adventure, which are the main stakes of the iconic motor sporting event renowned for its challenging and exhausting terrain.
Dubbed the GW9500TLC-1 Mudman ‘Land Cruiser’ limited edition, it is based on one of the most rugged G-Shock watches, the Mudman GW9500. Aptly chosen to represent the most extreme motorsports event, the G-Shock Mudman in the collaboration is inspired by the TLC racing team and the Dakar Rally itself.
That said, the new watch is as close as it can be to the Mudman GW9500 in features and style, except for a few tweaks that make this G-Shock a Toyota companion for the desert. The primary distinction is the use of stainless steel for the bezel and the custom color theme of black and red ion plating that make the timepiece and keeps it in theme with the rally car, Land Cruiser 300 GR Sport’s color scheme. For its distinction, the collaborative G-Shock x Land Cruiser Mudman, reference GW9500TLC-1, is priced about $60 higher than the base Mudman model at $440.
Besides all that, this G-Shock x Team Land Cruiser Toyota Auto Body Mudman has all the same features as the GW9500. It has a Carbon Core Guard interior that’s resistant to dust and keeps the watch tough yet lightweight. The watch is solar powered, has a dynamic dual-layer LCD, features 6 radio-controlled timekeeping, and 200-meter water resistance. The digital compass, altimeter, barometer, and thermometer make the watch an ideal partner for the 10,000km Dakar Rally.
G-Shock has ensured perfect branding to render the watch appropriate for The TLC racing team. The caseback wears the TLC logo. The G-Shock x Team Land Cruiser Mudman’s rugged case comes paired with a black rubber strap which has a brown sand-splashed pattern for camouflage in the desert.
The storied location of this brasserie in Paris inspired interior studio B3 Designers to fill the restaurant with tasselled chairs, disco balls and other flamboyant decor.
Brasserie des Pres is set in Paris’s Latin Quarter, which was a hub of creativity throughout the 19th and 20th centuries, its cafes filled with artists, publishers and prominent writers including Ernest Hemingway and Jean-Paul Sartre.
Brasserie des Pres’s ground-floor dining space features red-panelled walls with decorative tiling
London-based studio B3 Designers aimed to infuse this same buzzy ambience into the quarter’s latest eatery, undeterred by its awkwardly narrow interiors.
“Brasserie des Pres has a very unique floor print and we’ve used the existing architecture to create layers of dining experiences,” the studio said. “We’ve created a feeling of community and delight, a welcoming backdrop to the great food served here.”
Built-in shelving transforms walls on the first floor into a cabinet of curiosities
Lush with greenery, the exterior of the restaurant features a striped orange awning and classic Parisian terrace seating.
Once guests step inside, they find themselves in a large dining room with red-panelled walls, inset with mirrored shelves that display an assortment of shapely glass vessels.
Decorative tiles depicting limes, lemons and oranges are incorporated at the top of each panel.
Guests can also relax in the top-floor lounge, which houses a rich selection of vinyl records
Tables throughout the room are dressed with white linen cloths and bijou brass lamps, nodding to the table set-up of the Latin Quarter’s traditional eateries.
Guests also have the option to sit at a high marble counter that directly overlooks Brasserie des Pres’s bustling kitchen or enjoy a drink at the bar, which is fronted by velvet-lined orange stools.
More dining space is provided on the first floor, where the shelves along the walls are filled with antique books and candelabras to mimic the worldly look of a cabinet of curiosities.
Finally, on the top floor of the restaurant is a lounge-style space where guests can relax while selecting tracks from the brasserie’s vinyl record library.
A crimson-red bar hides behind a curtained doorway
A curtained partition can be drawn back to reveal a secret bar, complete with a mirrored ceiling. From its centre hangs a cluster of disco balls, enclosed by a circular neon sign that spells the word groovy.
A plush, crimson banquet winds around the periphery of the space, accompanied by matching tassel-backed chairs and marble tables.
Even the toilets at this level are finished with eccentric details including a pearl-laden chandelier that droops above the washbasin and surreal gold-framed paintings that depict the eyes of “unsung Parisian anti-heroes”, according to B3 Designers.
Surreal paintings and a pearl chandelier appear in the bathroom
Paris’s rich culinary scene is constantly expanding.
Select a card from the Shuffle Wallet, and it’s no surprise if it evokes the familiar feel of a deck of playing cards. The concept of the Shuffle Wallet resonates widely, given the universal experience of playing cards, adding a touch of brilliance to its conception. When Stephen’s co-founder Jack asked him how he came up with the idea, his simple response, “It was an accident,” made me chuckle. He said this while wearing a neck brace. While I like minimalist wallets and shuffling cards, will combining the two make for a great form and functional wallet? Let’s explore further and discover why this product is the perfect solution for the most personal accessories you carry daily.
The Shuffle Wallet is cleverly designed as an ideal solution for those looking to simplify their lives and protect their cards, especially those with NFC chips, from unwanted scans. Consider a common situation that I’ve experienced, where I’ve flustered my children in front of their friends by fumbling through cards and old receipts to locate the Starbucks card when treating them to drinks at Starbucks. While this may have only lasted seconds, it felt mortifying to a teenager with their friends watching. Another costly example where the Shuffle Wallet could have saved me time and money occurred during my visit to Tokyo. When riding the subway there, you must retain your exit ticket. Otherwise, you’re required to pay again if you lose the ticket. This situation becomes even more problematic when riding the bullet train, where the ticket price can exceed $80. These instances underscore the shortcomings of traditional wallets, and it’s these everyday inconveniences that the Shuffle Wallet aims to eliminate.
The Shuffle Wallet is thinner, classier, and more fun than your thick leather bifold
The Shuffle Wallet, created by the innovative team at Mobile Pixels, stands out for its practicality and elegant design. It includes a unique opening mechanism reminiscent of a deck of cards, which allows you to easily browse and select one of the six or eight cards (if you use the silicone pouch). The quick-draw slot provides swift access to your most frequently used card.
Your cards fan out in a satisfying way, allowing you to easily pick the right one every time.
This feature isn’t just about speed; it’s also a security measure designed to keep your cards securely in place, preventing them from accidentally slipping out. It also comes with a sleek money clip for those who prefer to carry cash, providing a minimalist yet organized way to keep your bills secure and accessible.
The creative features of the Shuffle Wallet continue with its unique opening mechanism. It also incorporates RFID-blocking technology. This feature provides a secure barrier to protect your cards from potential digital theft, ensuring your sensitive information is safe from unauthorized RFID scans.
The Shuffle Wallet is entirely RFID-protected, so digital scammers can’t scan your cards without your permission!
RFID blocking creates a barrier or shield around your cards that operate using Radio Frequency Identification (RFID) technology. This technology is commonly found in credit cards and passports, allowing information to be read wirelessly via radio waves. While this provides convenience, it also opens up the potential for unauthorized access or theft of sensitive data. An RFID-blocking feature, like the one integrated into the Shuffle Wallet, prevents this unauthorized access. It uses materials that interfere with radio waves, making your cards ‘invisible’ to a scanner and securing your information.
This feature is crucial because digital theft is becoming increasingly common. Criminals can use portable RFID readers to steal information from your cards without you even knowing. The RFID-blocking feature in the Shuffle Wallet protects your cards against such potential digital theft, ensuring your sensitive information is safe from unauthorized RFID scans.
Want to share your contact card? The Shuffle Wallet has a built-in NFC business card that lets you share with a tap.
Networking is essential for everyone, from new graduates to accomplished entrepreneurs. That’s why the exchange of contact information must be swift and efficient. The Shuffle Wallet offers a perfect solution that combines convenience and technology. This innovative wallet features an NFC chip inside a silicone pouch, allowing you to embed your digital business card. You can easily share your contact information with a friendly tap of the wallet.
Recognizing the diverse needs of its users, the Shuffle Wallet offers a range of optional accessories to enhance its utility. An AirTag holder is available for those who want the added reassurance of being able to track their wallet, a feature that merges technology with peace of mind. For added convenience, there’s also a flashlight attachment with two brightness levels, a keychain capable of holding up to 10 keys, and a multifunctional credit card tool that includes a range of tools from a screwdriver to a bottle opener, all designed to be TSA-approved for trouble-free travel.
The wallet also provides an optional non-RFID silicone pouch for those who need quick access to specific cards without RFID protection. This is especially useful for items like subway passes or gym cards, which you might need to swipe or scan frequently.
Frequently used cards can sit in the Quickdraw slot, allowing you to instantly access them in under a second
The Shuffle Wallet is available in two durable materials: aluminum, which weighs 4.7oz, and titanium, weighing slightly more at 6oz. The aluminum version is offered in various appealing colors, including neon black, polar ice, gunmetal, and diesel green, while the titanium version showcases the sleek, raw beauty of titanium. Despite its compact size of 4.25 x 2.44 x 0.5 inches, the wallet is designed to be functional and stylish, with an aluminum keychain extending to 9cm in length.
From a broader perspective, the Shuffle Wallet provides more than just a storage space for your money and cards. It is a thoughtfully designed accessory that blends security, style, and practicality, catering to individuals who prioritize efficiency and grace in daily life.
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