"Surprising colour combinations" define Raw Color's IKEA collection

Table setting using products from Tesammans collection by Raw Color for IKEA

On the heels of a two-year research process, Dutch studio Raw Color has released an IKEA collection in which no item features less than two colours to explore how our perception of a hue can change based on its context.

Under the name Tesammans, which means together in a Swedish dialect, the range incorporates 15 different colours across 18 pieces of furniture, homeware and lighting.

Table setting using products from Tesammans collection
The Tesammans collection explores how colours interact

This makes it the most colourful collection that IKEA creative leader Maria O’Brian has seen in nearly a decade of working at the Swedish furniture giant.

“It’s really lovely, the way that Tesammans has combined colours in the same object,” O’Brian told Dezeen. “I don’t think there’s anything that’s uni-coloured in the collection and that’s often how we’ve used colours historically.”

Trolley from Raw Color's collection for IKEA
This gridded trolley casts different shadows depending on the time of day

By focusing primarily on smaller furniture pieces and homeware, Raw Color hopes to offer shoppers an easy and accessible way to “embrace colour instead of keeping everything black, white and grey”.

“Somehow, people are quite afraid of colour,” said Daniera ter Haar, who founded the studio together with Christoph Brach. “Not everyone, of course, but we’re talking about the mainstream.”

“I think people are not really taught anymore how they can use or bring colour into their home.”

Lamp and mobile from Tesammans collection
A sculptural metal mobile is among the 18 products in the collection

Raw Color’s research-heavy approach involved a lengthy process of selecting 15 distinct shades for the collection. It then paired them in different ways for different products to create what the studio called “surprising colour combinations”.

The result is a collection of “not the most typical home objects”, including a sculptural mobile and a gridded trolley that casts varying shadows depending on the position of the sun. It also features rugs and throws designed to create optical illusions.

Reminiscent of the studio’s Temperature Textiles, these appear from afar to feature blocks of colour but in reality, they’re composed of alternating lines of two different tones.

The two lamps in the collection have three-tiered metal shades coloured in three different shades of the same colour, with the lightest at the base where the light is strongest.

Ceramic pots and vases are decorated with large strips of colour and can be rotated to foreground different shades to complement or contrast the plant it holds at any given time.

Several of the objects consist of multiple parts that can be combined to different effects, among them a glass carafe with two different coloured cups that double as lids and gridded metal trays that produce different patterns when layered together.

Carafe and glasses from collection by Raw Color for IKEA
Coloured cups can be used with the carafe for different effects

This same layering technique was also used to form an abstract wall clock, composed of three concentric circles that spin independently to show the time and create shifting patterns throughout the day.

“People think oh, it’s just a clock,” ter Haar said. “But a clock is very difficult to make.”

“I’m super happy that it’s in the collection because we’ve already made some clocks during our career and most of them, in the end, we never managed to get as a working type that really got sold.”

Metal wall clock from Tesammans collection
This abstract clock is composed of three concentric rotating circles

Raw Color was born in 2008, shortly after ter Haar and Brach graduated from the Design Academy Eindhoven.

Their work explores the nuances of how colour works and how it can be used to convey information, which the duo explored in a dedicated exhibition at Aram Gallery for the 2016 London Design Festival.

Despite the studio’s affinity for colour, the Tesammans collection with its many different products proved a challenge due to the need to colour-match across various materials.

Stacked pillows from collection by Raw Color for IKEA
The collection also includes a range of different textiles

This was down to the fact that the same Pantone swatch will look very different as a yarn, a ceramic glaze or a metal powder coating, ter Haar explains.

“Colour makes everything more difficult,” she said. “It can be this love-hate relationship at that moment. Like oh my god, why don’t we do everything in black and white?”

“It’s what we are and it’s what we love to do but of course, sometimes it can give you a hard time.”

The Tesammans collection is being launched as part of the IKEA+ exhibition at Paris Fashion Week today, alongside a photo series captured by the company’s first-ever artist-in-residence Annie Leibovitz.

IKEA+ will take place on 28 Rue de Lappe, Paris, from 29 February to 3 March. For more worldwide events, exhibitions and talks in architecture and design, visit Dezeen Events Guide

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Oman announces plans for mixed-use district in Jabal al Akhdar mountains

Omani Mountain Destination by AtkinsRéalis

Three villages will make up Omani Mountain Destination, a mixed-use district for 8,000 people being developed for Oman by the country’s Ministry of Housing and Urban Planning.

Set to be built at an altitude of 2,400 metres in the Jabal al Akhdar mountain range, the development is being led by Oman’s Ministry of Housing and Urban Planning (MoHUP) with a masterplan by engineering firm AtkinsRéalis.

Once complete, it will serve as a mixed-use destination expected to create 5,000 jobs and accommodate a residential population of 8,000.

Visualisation of the wider Omani Mountain Destination in Oman
Oman has announced its plans for Omani Mountain Destination

Spanning across a series of mountaintops, three villages will be connected by weaving paths, bridges and roads carved into the landscape. A cable car will also operate as a key mode of transport across the undulating landscape.

The proposal will offer 2,527 homes and 2,000 hotel rooms, along with a health and wellness village, a high-altitude training facility, an amphitheatre, a museum and a biodiversity centre.

Visualisation of mixed-use development in Oman by AtkinsRéalis
The district will be built in the Jabal al Akhdar mountain range

The renders of Omani Mountain Destination reveal outdoor spaces defined by paved walkways and open squares, interspersed with areas of greenery and bodies of water.

Meanwhile, the more dense areas will be populated with rows of housing and public buildings, with infrastructure built into the mountainsides.

Render of Omani Mountain Destination atop Jabal al Akhdar
A cable car will become a key mode of transport

The project forms a key part of the Oman Vision 2040 – a development that aims to “achieve a developed, diversified, and sustainable national economy, with fair distribution of development gains and protection of natural resources”.

“The concept driving the vision for the project is to unlock the potential of Al Jabal Al-Akhdar, creating a globally inclusive destination that offers diverse nature experiences while respecting the natural ecology and community on and around the Jabal Mountain,” project architect Kawther Al-Lawati told Dezeen.

As part of the Oman Vision 2040, the country is investing heavily in tourism and aiming to offer a range of unique experiences for visitors.

Designed with these goals in mind, The Omani Mountain Destination (OMD) is expected to welcome an average of 2,000 daily visitors and 2,350 overnight visitors.

Close-up render of public area within Omani Mountain Destination
Paved walkways and open squares will be interspersed with greenery

Omani Mountain Destination’s tourist experiences will include a park with farming space and an extreme sports facility for activities including mountain biking, bungy jumping and rock climbing.

Additionally, an escarpment walkway will be opened within a National Scenic Reserve as part of the development.

View of weaving public walkways within development by AtkinsRéalis
The proposal is expected to draw in a residential population of 8,000

According to the team, Omani Mountain Destination will cost $2.4 billion (£1.9 billon) and is targeting low energy consumption through passive design strategies and solar energy.

“We have worked closely with AtkinsRéalis to ensure a resilient sustainability approach that includes materials reuse where land from the Jabal will be reintegrated into the construction process, passive design, offsite solar farms, household solar panels and a comprehensive mobility strategy to promote walkability,” Al-Lawati said.

Elsewhere in Oman, Skidmore, Owings & Merrill is designing the Sultan Haitham City, a metropolis for 100,000 residents, while Allies and Morrison is working on a 624-hectare city in a desert valley.

The visualisations are courtesy of ING Media.

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Five key projects by designer and Dezeen Awards judge Lee Broom

Requiem by Lee Broom

London-based designer Lee Broom has joined Dezeen Awards 2024 as a judge. Here, he selects five projects that best reflect his work.

Broom is a furniture and lighting designer, as well as the founder of the global design brand bearing his name.

Since establishing his studio, the designer has released over 150 furniture, accessory, and lighting pieces – all designed, manufactured, and sold under the Lee Broom brand and crafted in its East London factory.

“I design for longevity”

Broom’s work intertwines elements of craft and heritage within modernist designs and is often imbued with a sculptural quality that is particularly evident in the lighting pieces.

“I like to reinterpret classic designs in new and innovative ways with an unexpected edge,” Broom told Dezeen. “I design for longevity with the hope that people will love and live with our products for a lifetime and beyond.”

“My background was in theatre and then fashion, so there is often a sense of drama in my work, particularly in my exhibitions where I like to create more of an experiential moment.”

The British designer has announced a new lighting collection set to debut in New York during NYCxDesign – his inaugural launch in the US.

Broom among Dezeen Awards 2024 judges

Dezeen Awards 2024 launched on 13 February in partnership with Bentley. On Tuesday we announced our second set of Dezeen Awards judges, including interior designers Patricia Urquiola and Amechi Mandi, and architects Odile Decq and Shawn Adams.

Submit your entry by Wednesday 27 March to save 20 per cent on entry fees. Click here to find out more.

Read on to find Brooms’s views on the five projects that best represent the work of his studio:


Orion by Lee Broom
Orion’s modularity enables users to create diverse installations

Orion Light, 2018

“I designed the Orion Light in 2018, which has since become one of our most iconic designs.

“Orion comprises simple modular lights with alternating opaque and solid polished gold spheres and tubes with the same finish, which connect horizontally and vertically to create bespoke constellations of light with infinite adaptations.

“The piece is inspired by the yin and yang, the opposite and the interconnected. The versatility of Orion allows people to create their installations in multiple ways.”


Pantheum, Divine Inspiration by Lee Broom
The exhibition debuted 30 lighting pieces informed by places of worship. Photo by Luke Hayes

Divine Inspiration, Milan design week, 2022

“Marking our 15th anniversary, Divine Inspiration was our 2022 exhibition during Milan design week where we showcased 30 new lighting pieces in various materials inspired by places of worship.

“The collection began with my research into the world of brutalist architecture, which then led me to explore places of worship throughout the ages and the monumental design language associated with religious architecture, interiors, and artefacts.

“Our biggest show to date, which attracted over 20,000 visitors in a week, led the viewer on an immersive journey through vast rooms inspired by places of worship, exploring how light can evoke a sense of stillness, reverence, and contemplation.”

Read more about Divine Inspiration ›


Crescent Lights by Lee Broom
The asymmetrical brass shape is a modern take on the classic globe light

Crescent Light

“Crescent Light is one of the simplest and most popular lighting pieces in my collection.

“It is a modernist take on the classic globe light that I have sliced asymmetrically and then shifted to reveal a brass fascia, similar in shape to the crescent moon.

“The inner mechanics of Crescent are very complicated, however, the exterior is simple and seamless which prompts the viewer to question how it was made.”


Salone del Automobile by Lee Broom
The van made stops at various design destinations, including a party collaboration with Dezeen at Bar Basso. Photo by Marcus Tondo

Salone Del Automobile, Milan design week, 2016

“One of our earlier presentations during Milan design week saw us create a unique travelling show, which was staged inside our Lee Broom delivery van and driven from the design studio headquarters in London to Milan.

“The doors were opened to reveal a dramatic surreal recreation of a traditional Italian palazzo with an illuminated floor, showcasing the new lighting range Optical.

“Throughout the week, the Lee Broom ‘Milan Van’ parked up in each design destination and a few parties on the way, including the Lee Broom x Dezeen block party at the infamous Bar Basso.”

Read more about Salone del Automobile ›


Requiem by Lee Broom
Requiem uses sculpted plaster to create ghostly forms resembling fragile drapery. Photo by Luke Hayes

Requiem Collection, 2022

“Requiem is an ethereal series of limited-edition pieces, each sculpted by myself in our London factory, inspired by the marble drapery on ancient statues and sepulchral sculptures.

“Each piece appears weightless and fluid but is solid in form, made by hand-draping fabrics in plaster through and around illuminated glass.

“These ghostly forms are then sculpted with more plaster into their final shape and set until solid. The effect is one of fragile drapery that appears to capture a floating light source.”

All photography is courtesy of Lee Broom.

Dezeen Awards 2024 in partnership with Bentley

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.

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Australia's largest architecture firms fail to meet gender pay gap

Men sitting around an office table

First-time data on Australia‘s gender pay gaps has revealed the country’s 22 biggest architecture firms pay men between five and 27 per cent more than women, failing to meet the government’s target pay gap range.

Published yesterday in an online tool by the Workplace Gender Equality Agency (WGEA), a federal government agency, the data included figures from all private companies in Australia with one hundred employees or more. It was the first time gender wage gaps from individual employers had been published in the country.

Out of a total of nearly 5,000 companies, 22 were architecture and landscape architecture studios, including Grimshaw, Hassell and Woods Bagot.

All 22 studios had a median total remuneration gender pay gap in favour of men and failed to have pay gaps within the target range of plus or minus five per cent, which allows “normal business fluctuations and employee movements”, according to WGEA CEO Mary Wooldridge.

Majority of companies reported pay gaps of over five per cent

In comparison, 62 per cent of all the companies in the data had median gender pay gaps of more than five per cent in favour of men.

Nine of the studios had gender pay gaps larger than the national average of 19 per cent.

The architecture and landscape architecture studios included in the data were Architectus, Aspect Studios, Bates Smart, Billard Leece Partnership, Buchan Group, BVN, Conrad Gargett, Cox Architecture, Designinc, Francis-Jones Carpenter, GHD WoodheadGrimshaw, GroupGSA, Hames Sharley, HassellHayball, HDR, Mode Design, NBRS Partners, Nettletontribe, Tract Consultant and Woods Bagot.

The three architecture studios with the largest gender pay gaps were GHD Woodhead, Hassell and Mode Design, which had median gaps of 26.1, 26.4 and 26.9 per cent respectively.

GroupGSA had the smallest median pay gap at 5.6 per cent. Woods Bagot had a 9.4 per cent gap, Grimshaw sat at 16.3 per cent, Cox Architecture at 17.1 per cent and BVN at 18.5 per cent.

Nine studios out of 22 had more female than male employees

The data, which used information from the 2022-23 employer census, was published in an online tool that also revealed the gender balance between men and women at different levels in each company.

Out of the 22 architecture studios, 12 had more men than women across all employee pay levels, nine had more women than men and one studio, BVN, had a 50/50 split.

Across the studios, the workforce gender composition between women and men ranges from 59/41 in favour of women at GroupGSA to 36/64 in favour of men at Buchan Group and GHD Woodhead.

This gender balance in the studios shifts in the upper pay quartile, where all studios had more men than women. The studios with the greatest disparity in this quartile were Nettletontribe with a gender composition of 15/85 in favour of men, and HDR and GHD Woodhead at 20/80.

Additional published information included whether the company has a gender pay gap policy, if it undertook payroll analysis and if action was taken as a result of the analysis.

Employers were also given the option to submit statements giving context to their gender pay gap results.

“Hassell shares the goal of the WGEA to achieve gender equality,” said Hassell. “As part of this broad commitment, we specifically support WGEA’s efforts to address the Organisational Gender Pay Gap in Australia and this inaugural cycle of public reporting of data across our industry.”

“It helps us reflect on where we are currently in our journey and what more we can do to accelerate toward achieving gender balance at all levels of our organisation.”

“When comparing our results to our Industry Group, our gender pay gap is less than the industry comparison,” said Woods Bagot. “While we are pleased to be leading our industry, we acknowledge there is still more action required to achieve a better result for our current employees, future employees and our clients.”

First time gender wage gaps from individual employees has been published

The published WGEA data follows the passing of the Workplace Gender Equality Amendment (Closing the Gender Pay Gap) Bill 2023 in Australia on 30 March last year.

It is the first time WGEA has published gender wage gaps from individual employers. In the 10 years prior, the organisation published average gender pay gaps across different industries and occupations.

“The release of employer gender pay gaps marks a historic step towards transparency and accountability in addressing gender inequality,” said Australia’s Minister for Women Katy Gallagher.

“Transparency and accountability are critical for driving change,” she added. “By shining a light on gender pay gaps at an employer level, we are arming individuals and organisations with the evidence they need to take meaningful action to accelerate closing the gender pay gap in Australian workplaces.”

In the UK, companies with at least 250 employees are required to report their salaries. Last year, the average gender pay gap widened in the country’s 20 biggest architecture studios. This compares to six out of 13 reporting architecture studios having growing pay gaps in 2022.

The photography is by Dylan Gillis via Unsplash.

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Van Gogh herringbone flooring by Karndean Designflooring

Van Gogh herringbone collection flooring by Karndean Designflooring

Dezeen Showroom: UK-based brand Karndean Designflooring has expanded its range of Van Gogh flooring to include six new herringbone-style, oak-effect surfaces.

Karndean Designflooring aimed to create a versatile vinyl iteration of classic herringbone patterned floors, which are made up of individual planks of wood laid in successive V-shapes.

Van Gogh herringbone collection flooring by Karndean Designflooring
Different colours can be mixed and matched

The herringbone planks come in six colourways – Croftmore Oak, Glenmore Oak, Hayfield Oak, Aviemore Oak, Canadian Nude Oak and Antique French Oak – that vary in tone and warmth yet share realistic textural surfaces and convincing signs of age, according to the brand.

Flooring can be constructed using just one colour or hues can be mixed and matched to create bespoke finishes.

Up to eight laying patterns can also be achieved, providing a dynamic and timeless flooring solution.

Van Gogh herringbone collection flooring by Karndean Designflooring
The planks are suitable for use in a range of spaces, including bathrooms

The flooring is designed for use in both residential and commercial settings.

Product: Van Gogh herringbone collection
Brand: Karndean Designflooring
Contact: commercial@karndean.co.uk

Dezeen Showroom

Dezeen Showroom offers an affordable space for brands to launch new products and showcase their designers and projects to Dezeen’s huge global audience. For more details email showroom@dezeen.com.

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"The graffiti rather improves the aesthetics" says commenter

Los Angeles graffiti towers

In this week’s comments update, readers are discussing a trio of incomplete skyscrapers in downtown Los Angeles that have been covered in graffiti.

Graffiti artists began covering the Oceanwide Plaza development with tags in January, sparking debate about the development that has been abandoned since 2019.

Graffiti on unfinished Oveanwide towers Los Angeles
Trio of abandoned Los Angeles skyscrapers covered in graffiti

“The graffiti rather improves the aesthetics”

Commenters were largely in favour of the graffiti covering the towers.

“The graffiti rather improves the aesthetics, doesn’t it?” asked Johan in a comment that was upvoted seven times. “Rather than remove it they should let the artists complete their work,” they suggested.

This sentiment was echoed by Tony365 who thought “the graffiti is very much an improvement”.

Nominalis agreed, writing “I think it’s beautiful – the artist Christo would be loving it if he was still around”.

However, Gaugi put forward that the city “should give a developer concessions to finish the construction”.

What do you make of the graffiti? Join the discussion

Metal-clad house in USA
SILO creates Steel Louise house for Charlotte neighbourhood with “dramatic contradictions”

“Lots to like about this aesthetically and spatially”

Another project that caught readers’ attention this week was a sculptural, metal-clad home in North Carolina created by US studio SILO, which is intended to break away from the “suburban-type” development emerging in the area.

Some commenters were impressed, with Leo calling it a “beautiful house” and Whateverandeveramen arguing there was “lots to like about this aesthetically and spatially”.

However, Butnotreally was underwhelmed, writing “not much to say other than ‘meh'”.

Others felt more strongly, with Tom Roberts suggesting that “it tries too hard and is confusing instead of spatial”.

JZ was similarly unconvinced and questioned “how this bucks suburban trends, other than making the entire living space visible from the street”.

What are your thoughts on the metal-clad house? Join the discussion ›

Beijing City Library steps and columns
Snøhetta creates library to emulate feeling of “sitting under a tree”

“Another Insta-archi backdrop for selfies”

Also sparking debate in the comments section was the news that Snøhetta has completed Beijing City Library in China, a glass-lined building filled with towering tree-like columns.

“Sure doesn’t feel cosy to me to be able to sit there in peace and read a book,” concluded Apsco Radiales. “I would be distracted by all the ‘architecture’,” they added.

For Anthony Sully, the library represented “yet another example of a building not expressing its function, but rather an example of Hollywood-type excess beyond actual need”.

They went on to suggest that “there is such an extravagant waste of space and unnecessary use of many steps that the books appear to be the least important item”.

Ralph Kent offered a similar critique – “looks more like yet another Insta-archi backdrop for selfies than a functional library,” they suggested.

However, HeywoodFloyd was slightly more positive, writing “interesting at first, but I think the ceiling should have more sectional development”.

What do you make of Snøhetta’s latest project? Join the discussion ›

Comments Update 

Dezeen is the world’s most commented architecture and design magazine, receiving thousands of comments each month from readers. Keep up to date on the latest discussions on our comments page and subscribe to our weekly Debate newsletter, where we feature stories in the last seven days.

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Lenovo reveals "industry's first" laptop with transparent display

Lenovo's ThinkBook Transparent Display Laptop Concept aka Project Crystal

At the Mobile World Congress in Barcelona, electronics brand Lenovo has unveiled a laptop concept with a transparent screen that allows users to see through the device.

Lenovo describes the ThinkBook Transparent Display Laptop Concept – also referred to as Project Crystal – as “the industry’s first laptop with a 17.3-inch Micro-LED transparent display”.

Overhead view of glass base and transparent screen on Lenovo's ThinkBook Transparent Display Laptop Concept aka Project Crystal
Lenovo has developed a laptop with a transparent display

The proof-of-concept device features a display with adjustable transparency and a detachable see-through base that can be used as a keyboard or tablet.

Instead of physical buttons, keys are projected onto this smooth, flat surface of nano-optical glass.

The proof-of-concept was unveiled at the Mobile World Congress in Barcelona

Bringing a stylus close to the keyboard causes the keys to disappear so it can be used for drawing. Artists and designers can sketch directly onto the surface and see their creations appear on the screen.

The laptop’s chassis also incorporates a rear-facing camera that allows the device to recognise and interact with objects placed behind it using generative artificial intelligence (AI) and augmented reality (AR) software.

Two Lenovo ThinkBook Transparent Display Laptop Concepts aka Project Crystal
Users can draw on the laptop’s nano-optical glass base with a stylus

At the Mobile World Congress (MCW) trade show, Lenovo demonstrated these AR capabilities by placing a flower in a vase behind the screen and having a virtual butterfly fly around it.

The technology could allow digital artists to view what is directly behind the laptop while sketching on the drawing pad with a dedicated stylus while interior designers could overlay virtual furniture or decor on top of an existing space.

“The transparent screen opens up new avenues of work collaboration and efficiency by enabling the interaction with physical objects and overlaying digital information to create unique user-generated content,” Lenovo said.

The concept is Lenovo’s first foray into the world of transparent displays, which several companies have so far used for televisions.

Chinese electronics firm Xiaomi unveiled a see-through TV with an edge-to-edge transparent display in 2020, while LG’s Signature OLED T was a standout at this year’s Consumer Electronics Show.

The Project Crystal display features MicroLED technology, which uses microscopic LEDs to enable light control at the pixel level and a high contrast ratio.

Back view of transparent laptop screen on a glass base
The transparent screen is detachable

Lenovo claims the display’s high colour saturation and brightness of 1,000 nits ensures good visibility both indoors and outdoors in any light condition.

When the pixels are at maximum brightness the display appears as a fully opaque surface while dimming them increases the transparency.

The prototype device features a relatively low resolution of 720 pixels but Lenovo is confident that MicroLED technology will continue to evolve to provide better image quality and durability.

Close-up of illuminated keyboard
Keys are projected onto the base

Lenovo currently has no plans to bring the Project Crystal laptop to market but is instead hoping to demonstrate potential uses for technologies that might appear in future products.

Other experimental projects from Lenovo include the Yoga Book 9i – the “world’s first” laptop with two full-sized screens – which the company presented at the 2023 Consumer Electronics Show.

The Mobile World Congress is on at the Gran Via convention centre in Barcelona, Spain, from 26 to 29 February 2024. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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Lyle's Golden Syrup changes dead lion logo after 150 years

Tate and Lyle's Golden Syrup rebranded squeeze bottle

British company Tate & Lyle Sugars has unveiled a rebrand of its Lyle’s Golden Syrup for the first time since the inception of the sugar syrup brand in the late 19th century.

The branding – confirmed by Guinness World Records as the oldest unchanged brand packaging – was updated to remove the illustration of a dead lion surrounded by bees and the accompanying religious tagline.

Original tin of Tate and Lyle's Golden Syrup rebrand
The original Lyle’s Golden Syrup tin features a lion carcass surrounded by bees

In an effort to bring the product to a 21st-century audience, the new logo will be used across Lyle’s Golden Syrup squeeze bottles. But the brand’s classic green-tin packaging will retain the original 150-year-old lion illustration.

“While we’ll continue to honour our original branding with the heritage tin, consumers need to see brands moving with the times and meeting their current needs,” Lyle’s Golden Syrup brand director James Whiteley said.

“Our fresh, contemporary design brings Lyle’s into the modern day, appealing to the everyday British household while still feeling nostalgic and authentically Lyle’s.”

Tate and Lyle's Golden Syrup rebrand
The revamped logo resurrects the lion and simplifies its design

Lyle’s Golden Syrup was founded in 1881 by Scottish businessman Abram Lyle and, according to the company, it was Lyle’s religious beliefs that led to the brand’s original logo, drawing from the biblical tale of Samson from the Old Testament.

In the original story, strongman Samson kills a lion with his bare hands and later discovers a beehive nestled within its carcass, exclaiming: “Out of the strong came something sweet”.

An interpretation of this quote – “Out of the strong came forth sweetness” – has accompanied the lion carcass logo until now, with the company opting to remove the quote as part of the rebrand.

The lion iconography was abstracted and simplified, removing the full-body lion carcass and swarm of bees. Taking their place is a decorative golden lion’s head and a single hovering bee to retain the connection to the original product story.

“We’re confident that the fresh new design will make it easier for consumers to discover Lyle’s as an affordable, everyday treat while reestablishing the brand as the go-to syrup brand for the modern UK family,” Whiteley explained.

The new packaging design will be rolled out across the brand’s range of squeeze bottles, dessert toppings and portion packs starting this month.

Tate and Lyle's Golden Syrup rebrand
The swarm of bees is replaced by a single bee

The rebrand has already proven controversial, particularly among traditional Christian groups who have lamented the dilution of the religious imagery.

Tate & Lyle Sugars was quick to respond that religion played “no part” in the rebrand.

Lyle’s Golden Syrup is owned by food and beverage company Tate & Lyle, which was established in 1921 following a merger between Abram Lyle & Sons and rival sugar merchants Henry Tate & Sons.

Elsewhere in the food and beverage industry, dessert brand Jell-O recently received its first makeover in ten years and Pepsi updated its logo to hearken back to the 1990s.

The images are courtesy of Tate & Lyle.

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Industrial Facility designs Herman Miller furniture to be relevant and lasting

Woman sits at green enclosed desk

Promotion: Industrial Facility has created several furniture designs for Herman Miller that aim to transform underutilised spaces into agile workspaces.

Clerkenwell-based Industrial Facility designers Sam Hecht and Kim Colin first collaborated with Herman Miller in 2007, designing furniture collections that “balance the need to live a full life with the desire to keep things simple”.

A photograph of Clerkenwell-based Industrial Facility designers Sam Hecht and Kim Colin
Colin and Hecht have both been named prestigious Royal Designers for Industry (RDI). Photo credit: Noah Hecht

OE1 Workspace Collection includes multifunctional furniture pieces designed to help people evolve their space by evaluating what furniture is required at the moment while quickly making changes if needed. The collection was recently expanded to include pieces that aim to help organisations transform underutilised areas into flexible workspaces.

“With its multifunctional designs and mobile elements, OE1 helps organisations create agile, hard-working workspaces,” said Hecht.

Woman sits at green enclosed desk
The OE1 Nook is a solo workstation that enables visual and acoustic privacy. Image courtesy of Herman Miller

The collection’s OE1 Mobile Easels are designed for easy collaboration while the OE1 Agile Walls aim to let employees quickly create flexible areas to collaborate on group projects or quiet spaces for work requiring concentration.

The collection includes several table and desk products, such as the OE1 Project Table and the OE1 Nook, which allow organisations to provide employees with a wide range of spaces to support their needs as they change throughout the day.

Two tables of modern desks with computer monitors are positioned in a light-filled room with light wood floors.
Industrial Facility aims to design Herman Miller furniture to be relevant and lasting. Image courtesy of Herman Miller

New additions to the collection aim to make the set increasingly relevant for diverse organisations.

These include the height-adjustable OE1 Sit-Stand Table that has a residential appearance, which is “ideal for employees to feel comfortable and create their own space in most areas of the office”, according to senior vice president of global product at Herman Miller, Malisa Bryant.

It also includes the OE1 Workbox for storing stationery and work tools and the OE1 Personal Hoodie, a “tabletop boundary” designed to reduce glare and distraction.

A laptop sits on a white square table with a circular base
The OE1 Workspace Collection aims to transform underutilised spaces into agile workspaces. Image courtesy of Industrial Facility

“Sam and Kim’s passion for industrial design empowers organisations and individuals to find their own perfect blend of purpose, performance and expression,” said Bryant.

“The enhancements to OE1 provide our customers with even more flexibility to adapt their floorplates as their needs change.”

White desks in an open-plan office
New additions to the collection aim to make the set increasingly relevant for diverse organisations. Image courtesy of Herman Miller

Parts of the OE1 Workspace Collection – such as the tables – are ideally paired with Herman Miller’s office seating solutions according to the brand, which includes the Lino Chair designed by Industrial Facility in 2018.

The Lino Chair has a contoured structure that is designed to provide balanced movement and a dynamic fit. The chairs are designed to be breathable and support the spine due to a variety of different thread tensions. The chairs are available in a wide range of colours to fit in various settings.

The designers also created the Herman Miller Civic Tables collection – a table range that comes in a range of heights, shapes and sizes, which can be used in a variety of settings, including work, home and hospitality.

The collection includes tables for conferences, meetings, cafes, lounges, collaborations and side tables, each available in a choice of colours, materials and shapes.

An aerial shot of Lino Chairs by Herman Miller
Lino Chairs have a contoured structure that aims to provide a balanced movement and dynamic fit. Photo credit: Gerhardt Kellermann. Courtesy Industrial Facility

Hecht and Colin say their eclectic style comes from the fact that Colin is from California and Hecht is from London.

“Each of us is from a different part of the world and we collaborate constantly about ideas, methods and opinions,” said Colin. “Our work is never created in cultural isolation, and therefore our office behaves like a good, condensed international neighbourhood, which is efficient, energetic, and pleasurable.”

An aerial shot of a rectilinear desk with a laptop
Civic Tables collection includes tables for conferences, meetings, cafes, lounges, collaborations and side tables. Photo credit: Gerhardt Kellermann. Courtesy Industrial Facility

Many of the studio’s designs are part of museums’ permanent collections, including the V&A Museum in London, the Pompidou Centre in Paris and MoMA in New York City.

Colin and Hecht have both been named prestigious Royal Designers for Industry (RDI). The studio’s monograph entitled Industrial Facility was published by Phaidon Press in 2018 and catalogues its portfolio.

To view more of the studio’s Herman Miller designs, visit their website.

Partnership content

This article was written by Dezeen for Herman Miller as part of a partnership. Find out more about Dezeen partnership content here.

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LCA Architetti nestles angular cork-clad home into Italian valley

Casa 9 by LCA Architetti

An angular black volume sits atop a cork-clad ground floor to form Casa 9, a home that Italian studio LCA Architetti has added to a valley on the border between Italy and Switzerland.

Located within a hilly landscape near Lake Lugano, the house was designed to showcase non-traditional building materials and features a timber structure as well as metal and cork cladding.

In response to the landscape and surrounding houses, LCA Architetti designed the home to have a low-lying form, comprising a rectilinear cork-clad ground floor as well as a more angular upper level, which features a standing-seam metal roof and wall.

Exterior of cork-clad home in Italy by LCA Architetti
A cork-clad ground floor is topped with an angular black volume

“The cork recalls the old walls of the oldest houses, the metal reflects the dark green of the surrounding environment,” the studio told Dezeen.

“The materials and colour palette of the house create a dialogue with the mountains surrounding the valley; colours blend in with the trees and rocks in the surrounding landscape.”

A paved walkway runs along the front of the home’s ground floor, which has a rectangular footprint designed to match the forms of the surrounding buildings.

Cork exterior of Casa 9
The design was intended to showcase non-traditional building materials

Following a gentle slope, the path leads to the front entrance, which opens onto a kitchen centred around an island finished with reflective surfaces.

Beyond the kitchen, the ground floor opens into a double-height living and dining space. Topped with a pitched roof, the open space features timber panelling along the lower halves of the walls and is brightened by a white-painted ceiling.

Reflective kitchen interior of cork-clad home in Italy
The kitchen is centred by an island finished with reflective surfaces

A series of glass doors line one wall of the space, offering stepped access to a deck area with a swimming pool and outdoor seating.

Separating the living room from two children’s bedrooms that are nestled into one end of the home, a dramatic black staircase marks the end of the double-height space.

This has a blocky, angular form that mimics the home’s exterior.

“The main features in the house are the two-level living area and the big staircase linking the two storeys; this is almost a sculpture, built with pleated wood and painted anthracite grey,” the studio explained.

“The feature set against the living area wall completely fills the height of the space, creating a dialogue between the contrasting ceramic volumes of the backsplash and the big porthole opening up to the mountains.”

Double-height dining space within Casa 9
The ground floor hosts a double-height living and dining space

Above the staircase, the upper level spans half the length of the building and holds a main bedroom and ensuite bathroom.

“The house features open spaces and encourages conviviality; family members can interact from different rooms at the two different levels, through elements and spaces that are in part shared,” said the studio.

A roof terrace takes up the other half of the building’s length. Accessed by an external staircase, the roof terrace is bordered by a standing-seam metal balcony that follows the rhythm of the rest of the facade.

View of internal staircase at cork-clad home by LCA Architetti
A staircase provides access to an en-suite bedroom on the upper floor

In addition to using an alternative material palette including natural materials, LCA Architetti aimed to ease the environmental impact of the building with photovoltaic (PV) panels and a mechanical ventilation system.

“The climate emergency imposes on those who work in architecture the need to search for a new language,” the studio said. “This house represents our successful attempt at building a ‘non-traditional’ home in a sustainable way.”

Bathroom interior at Casa 9 in Italy
The home utilises photovoltaic (PV) panels and a mechanical ventilation system

Casa 9 builds on the studio’s past work with natural materials, including a countryside home made from cork, straw, and timber and a house that pairs timber with stone to reimagine the traditional Alpine chalet.

The photography is by Simone Bossi.

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