Word of Mouth: Exciting New Openings in Milan

Restaurants, bars, a hotel and more in the flourishing Italian city

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Word of Mouth: Exciting New Openings in Milan

Restaurants, bars, a hotel and more in the flourishing Italian city

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Courtesy of Alessandro Barattelli

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Italy may be a nation that celebrates heritage, but Milan continues to break from convention and invest in new experiences for visitors. Whether it’s a fresh take on design, a unique new concept or the smallest detail that makes the biggest difference, the city has seen a boost in hotels, restaurants, bars, installations and exhibitions. The following eight highlights feel fresh in a city that we’re constantly passing through.

Courtesy of Circle Collection

Max Brown Missori

It was only ten years ago when the first Max Brown opened in Amsterdam’s canal district; since then, the Circle Collection counts five properties including its latest opening in the Missori neighborhood of Milan, with a sixth set to open in Athens. The hotel itself breathes a dynamic, urban retreat where simple knick-knacks like the pic and mix by the entrance or the Crosley record player and pastel blue Smeg kettle in every room offer an understated sense of comfort. Within the walls, 64 rooms vary in size from tiny to extra large and, together with the common areas, exude a soft, ’70s appeal with retro motifs and colors (mustards, burnt orange, pastels and pop). Take a stroll through the ground floor where a bar, pool table and cosy nooks to whip out your laptop await while you gaze through the contemporary art collection displayed along the wall. With rates starting at 200 euros a night, this hub is a great new option that gives travelers a more affordable, casual and relaxed atmosphere to sojourn. Oh, and furry friends are also most welcome.   

Courtesy of Jérôme Galland

Gloria Osteria

It’s interesting that an Italian restaurant born in London finally debuts in Italy, after the group behind it opens twenty-five outlets across Europe. We’re talking about the Big Mamma hospitality, whose dynamic concept and ingenious interior design have taken European cities by storm. Gloria Osteria, situated in the central Brera district, features two floors of opulent, ’60s-inspired art-deco interiors with gold-framed mirrors, striking Murano chandeliers (which look like gigantic jelly-fish hanging from the ceiling) and upholstered quirky fabric seating all within a joyful, welcoming atmosphere. The menu is an ode to Italian regional recipes augmented with international touches such as the Pici Cacio e Pepe, prepared with a blend of four peppers sourced from Asia. Leave some room for desert as the XXL Citron tarte is a fantastic palette-cleanser with a cloud-like meringue placed upon a lemon tart (sharing is recommended).

Courtesy of NON la solita vineria

NON la solita vineria

This cosy joint is tucked along the quiet backroads of Porta Romana, where an old-school café once stood. When designing the NON la solita vineria wine bar, a retro heritage was maintained and combined with an urban look featuring wrought iron, floor-to-ceiling mirrors, and bottles stacked along the walls. It’s from Daniele Rosa and Andrea Vignali, the duo behind the trendy Milanese restaurant MIRO – Osteria del Cinema, who curated the concept alongside sommelier Valentina Bruno. Their idea was to source the uncommon and give voice to lesser known producers both from the drink and the culinary perspective. For example, on the menu you’ll find a Metodo Classico made with Sangiovese, a grape native from Tuscany, grown in the Marche region and turned into this unusual yet wonderful sparkling wine in the small winery Failoni di Staffolo. 

Courtesy of Studio Latino

TOW The Odd Wine

TOW The Odd Wine is a great joint for savoring a pre-dinner glass of wine or venturing along for an “apericena,” as Italian’s would say, where food is enough to satiate for dinner. It’s located in Cenisio, a northern Milanese neighborhood that has been experiencing a rise in quirky new openings over the last year. Founded by Andrea Griffini and Andrea Zarra, this venture stems from their deep expertise, extensive experience and shared passion. Their aim is to introduce a unique concept to a city in constant flux, balancing innovation with tradition and excellence. TOW The Odd Wine shines a light on lesser known wineries across Italy coupled with a culinary selection inspired by global flavors, reflecting Milan’s cosmopolitan vibe: expect a blend of Italian, Asian and South American ingredients with a sharing-dish format. 

Courtesy of Nobuya

Nobuya 

A few steps away from the central Cadorna district, chef Niimori Nobuya and entrepreneur Andrea Lin opened Nobuya. Its concept, which travels across all spectrums of the restaurant, aims to bring together Italian and Japanese culture, which represent a fundamental part of the chef’s previous work experience and personal growth. In fact, there are many elements that these two cultures share which you’ll find on the menu including succulent slow-cooked meats, seafood broths, braised and fried ingredients with seasonal, Italian produce. The tonkatsu, a traditional Japanese pork cutlet, has been reinterpreted using capocollo from the Basilicata region; sashimi and tataki are offered with Mazara red shrimp or beef from Piedmont. The design mirrors the concept in which traditional Japanese elements blend with Italian materials creating a delicate, intimate space. 

Courtesy of 21 House of Stories

I Mirador

This spring, one of the coolest rooftops that overlook the city reopened just in time for Milan Design Week. We’re talking about I Mirador of the 21 House of Stories hotel that opened in the Navigli district last autumn, with a skybar that lived a short-but-sweet period before closing for winter. The cocktail menu is designed by their bar manager, Franco “Tucci” Ponti, while chef Andrea Ribaldone curates the snack proposal; a combination served with a fantastic view of the city’s skyline, especially at sunset. 

Courtesy of Stefania Zanetti

Oda 

Artist Ece Iyigun recently transformed a simple white space in Porta Venezia into a room known as Oda filled with art and color, seeking to bring together like minded individuals to unleash their creativity over daily ceramic workshops. These are hosted by a number of local, young artists who switch-up their two-hour sessions with breakfast, brunch or aperitif (sometimes in pajamas)! 

Courtesy of Alessandro Barattelli

Casa Tobago

October saw the opening of Casa Tobago, a spirited restaurant and cocktail bar in the eastern part of the city, close to Porta Romana. It’s a place that thrives in conviviality; where you can pop in for an intimate aperitif, dinner with a group of friends or after-hour cocktails within a dimly-lit, warm environment. The decor is sensual: deep tones, dark woods, red bricks, period-style wallpaper and decadent art that paves the backdrop for a menu that’s both avant-garde and primitive, with a hefty selection of grilled meats. Behind the cocktail selection is mixologist Alberto Corvi whose expertise lies in balancing contrasting flavors such as rum, Campari, pineapple and curry used in the “Curry me on” cocktail.  

Eight highlights from the first-ever We Design Beirut event

Design objects in Beirut courtyard

The We Design Beirut festival showcased the Lebanese capital’s often-overlooked design scene. Here, Dezeen rounds up eight highlights from its inaugural edition.

We Design Beirut is the city’s first design week in five years and the first design event since the explosion that destroyed a large part of Beirut in August 2020. In its aftermath, many creatives left the city and moved to other parts of the region.

Held from 23 to 26 May, We Design Beirut presented products, furniture, concepts, and thematic exhibits by designers that either stayed after the explosion or returned over time.

“We Design Beirut is a platform dedicated to the rebirth of Lebanon’s design identity in the world,” said founder Mariana Wehbe.

“The ‘We’ signifies the synergistic effort and dedication of the many parts of the design landscape, a diverse ecosystem of artisans, creators, collectors, and creatives in Lebanon and the diaspora.”

For the first edition of the festival, Webhe and co-organizer Sameer Alameen selected three distinct locations to host multiple exhibitions.

They included the ruins of lighting manufacturer PSLab‘s former headquarters, Ottoman mansion turned archeological museum Villa Audi, and Usines Abroyan, a converted industrial site.

Other presentations and open studios were also part of the four-day programme. Read on for eight exhibition and project highlights:


Photography exhibition in Beirut

Vision From Beirut by Karim Nader and Julien Lanoo

Local architect Karim Nader commissioned Belgian photographer Julien Lanoo to capture Beirut streetscapes with analogue black and white film.

“Perhaps no city is more contradictory than Beirut,” Nader said. “2024, post-explosion, post-revolution, post-financial crisis, Beirut is struggling to reinvent itself. In this interstitial moment, it is time to make a visceral diagnosis of the current situation before the cards are shuffled once again.”

The hand-printed images were meant to depict the city from multiple vantage points and intended to suggest the potential of a hopeful future.

“Fragments overlap; architecture, archaeology, fauna, flora and an uncanny human presence appear under a new light,” Nader said.


Design objects in Beirut courtyard

Metiers D’Art

Presented as part of the overall We Power showcase at PSLab, Metiers D’Art was an interactive exhibit with local artisans such as Elie Ayrouth, Fatima Al-Tartousi, and Dima Stephan of design studio Rattan Hun creating new wares in wood, copper, and rattan respectively while on site.

Stephan’s work translates the traditional craft technique of woven rattan into lighting fixtures and furnishings, while Al-Tartousi is the first woman in her family to uphold the craft practice of engraved copper vessels.


Portraits of Lebanese artisans

The Ready Hand

The Ready Hand, a platform for Lebanese artisans, showcased 600 portraits of artisans currently operating throughout the country.

Miniature hand tools created by the late car-mechanic-turned-artist Tanious Zghaib were also displayed.

During a panel discussion moderated by art critic and curator Nadine Khalil, Beirut-based designers Nada Debs, Karen Chekerdjian, Georges Mohasseb, Michèle Maria Chaya and Karim Chaya spoke about how contemporary Lebanese design relies heavily on these craftspeople.

“Design cannot be scalable in Lebanon, that’s the limitation, and so collaborating with artisans is a necessity,” Mohasseb said during the panel.

“Working in high-end, limited edition design is how Lebanese talents are able to look to the future and put the country on the map.”


Wooden bench in Lebanon exhibition

Clou de Girofle Bench by Georges Mohasseb

Through his bespoke furniture practice Studio Manda, Georges Mohasseb debuted his Clou de Girofle Bench as a standalone installation at PSLab placed near a large painted text reading “No Standard, Everything We Do Is Personalised.”

Inspired by the shape of a dried clove, the furnishing was produced at the Minjara wood workshop in Tripoli, Lebanon.

The workshop operates out of the Guesthouse at the Rachid Karami International Fairground, originally designed by architect Oscar Niemeyer in 1962 and restored by East Architecture Studio in 2018.

The European Union Private Sector Development (PSD) program-supported initiative trains locals in craft traditions with the aim of providing them with new skills and a new source of income.


Sands of Welcome exhibition in Beirut

Sands of Welcome by Samer Bou Rjeily

Curated by creative agency Babylon founders Joy Mardini and William Wehbe, the Past Echoes: A Journey through Middle Eastern Product Design exhibited designs by 33 creatives in different rooms of Villa Audi.

“From furniture pieces to utilitarian objects, the works converge within its walls, echoing the region’s rich cultural heritage and craftsmanship,” said Babylon.

“Past Echoes stands as a testament to the transformative power of design, preserving memories and anchoring historical significance within the architectural gem of Villa Audi.”

Beirut-based designer Samer Bou Rjeily’s Sand of Welcome table was created using recuperated Burmese teak coated in sand from Lebanon’s southern coast.

“Complementing the organic elegance, the legs and seaters are sculpted from premium local sandstone, celebrating Lebanon’s Phoenician roots and offering durability and timeless appeal,” said Bou Rjeily.

“This exhibition piece serves as a tribute to the Lebanese art of living and the cherished tradition of hospitality, symbolising the art of receiving where people gather around a table.”


Interlocking limestone table

Carrier Table by Saha Raphael

Also on view as part of the Past Echos exhibition, Saha Raphael’s Carrier Table is made out of sinuously carved limestone components that interlock.

The design incorporates slots for various interchangeable elements, such as a nickel candle holder, an aluminium catch-all and a silver ashtray.

“Shaped by tactile interaction, its topology influences our behaviour and invites the user to have a closer look and feel through the folds, gaps and protrusions that provoke ritual,” Raphael said.

“The piece bears an accumulation of traces: the fossils in the stone, speaking to our geological past as a marine environment, the hand-drawn and sculpted marks, and the deliberately visible mechanical traces of the machines.”

The various vignettes of the Past Echo exhibition were presented on carpets from Beirut brand Iwan Maktabi.


Rugs in Beirut exhibition

Forgotten Space by Thomas Modeen for Iwan Maktabi

Beirut rug manufacturer Iwan Maktabi often collaborates with artists and designers on bespoke projects.

On view at its main showroom, designer Thomas Modeen’s Forgotten Spaces installation comprised geometric carpets used as walls and room dividers.

“The installation highlights the aesthetic potential hidden in overlooked areas of interior spaces, paying homage to corners and transitional spaces,” said Iwan Maktabi.

“Modeen’s creativity extends beyond floor coverings, using original genotypes to create tapestries for adorning various spaces, even meditation spaces.”


Wooden furniture in Beirut exhibition

All things must(‘nt) pass by Bernard and Teymour Khoury

Lebanese architect Bernard Khoury and his son Teymour curated the All things must(‘nt) exhibition in the brutalistic Interdesign building constructed in the 1970s by his father, architect Khalil Khoury.

The building was programmed specifically to serve as a showroom for his furniture company Interdesign, but never opened due to the start of the Lebanese civil war in 1975.

Khalil Khoury was able to complete the project in 1996, but by that time he was bankrupt and the building was seized.

For We Design Beirut, Bernard and Teymour Khoury were able to open the building for the first time in 50 years and mount a four-day exhibition showcasing Khalil’s archive.

This included drawings, watercolours, maquettes, furniture prototypes, photographs, correspondence and a recorded interview with architectural historian George Arbid.

“The installation recounts the fabulous story of a hopeless modern project,” Bernard Khoury said.

“From its short-lived triumphs to its sad closure, the story of Khalil Khoury and the Interdesign building epitomises in utmost ways the great aspirations of an extraordinary and forward-looking project which started during the glorious post-independence years and ended with the political debacle of the young republic of Lebanon.”

The photography is by Walid Rashid and Karim Sakr.

We Design Beirut took place at venues across the city from 23 to 26 May. The event was originally scheduled for late October 2023 but was postponed twice due to the ongoing Israel-Gaza war. For more events, exhibitions and talks in architecture and design visit Dezeen Events Guide.

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Agricultural sheds inform metal home in Taiwan by Studio Tngtetshiu

Double Roof House by Studio Tngtetshiu

The “anonymous” metal buildings found in rural Taiwan were a visual reference for Double Roof House, which local practice Studio Tngtetshiu has created in Tainan.

Double Roof House comprises a home, warehouse and playground, located alongside a red-brick church previously renovated by Studio Tngtetshiu.

To contrast the solidity of the church, the studio used a steel-framed structure and panels of corrugated metal for the home, referencing agricultural buildings nearby.

Exterior of Double Roof House in Tainan
The metal dwelling contrasts with the red-brick church

“We focused on anonymous building types and compositions, attempting to embody the idea of ‘same, same, but different’,” Studio Tngtetshiu told Dezeen.

“We hope the architecture can express a sense of familiarity yet evoke a slight sense of unfamiliarity, aiming to engage in a dialogue with the tin-roofed, anonymous buildings commonly seen in rural Taiwan,” it added.

The warehouse and home occupy two separate buildings, with the space between them and the existing church used as a paved terrace and play area.

Kitchen interior within home by Studio Tngtetshiu
White walls line the interiors

Where the roofs of the home and warehouse meet, they are connected by a red section of guttering, creating a sheltered space between the two.

Both buildings are finished externally with metal panels and a corrugated metal roof, with a red-painted column marking the home’s entrance.

“The goal is for it to resemble a double-roofed structure while also giving the impression of two small buildings standing side by side,” said the studio.

Double Roof House is organised around a central living, dining and kitchen area, with a high ceiling finished in a shade of silver. Two bedrooms and a reading area sit on either side, lined with white walls and steel columns painted a deep red.

Interior living space at Double Roof House in Taiwan
The ceilings are finished in a shade of silver

Large windows on the home’s southern edge overlook the courtyard, while a circular window in the bedroom frames a view of the church opposite.

In the storage building, the interior has been left unlined and split into a large and small room accessed by separate entrances.

Storage space within metal home by Studio Tngtetshiu
A storage building forms part of the project

“[The home] is complex and contradictory; it is a warehouse as well as a residence,” said the studio. “The related but different structural systems and architectural languages are contributed and shared by the two buildings.”

Metal shed-like structures also informed Tainan Xinhua Fruit and Vegetable Market, which was completed by Dutch architecture studio MVRDV.

Elsewhere in Tainan, MVRDV also recently transformed an old shopping centre into a “lush lagoon”, while Mecanoo created the Tainan Public Library.

The photography is by Studio Millspace.

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ASUS ProArt PZ13 detachable laptop brings Windows on ARM to creators on the go

Although Windows on ARM has existed before, the latest iteration of Qualcomm’s Snapdragon X processors is coming out in full force to redeem the platform’s previous image. Part of that means having more PC makers on board who are willing to dive head-on into the arena, branding not just more capable silicon but, more importantly, AI-powered features that are all the buzz these days. ASUS, unsurprisingly, isn’t going to be left behind, and it’s bringing all that goodness into the new ProArt PZ13 detachable laptop that offers an ultra-portable form factor aimed to give creators an edge to let their creative juices flow whenever and wherever inspiration strikes them, even if it’s just on their living room couch.

Designer: ASUS

Given the uninspiring legacy of previous Windows on ARM attempts, it’s quite a bold move for ASUS to pitch the platform to one of the most discerning audiences in the market. Artists, designers, and content creators need more than just light, portable devices or long-lasting batteries, they need the performance that will be able to meet the demands of the software they use. At only 9mm thin, weighing only 1.87 lbs, and carrying a large 70Wh battery, the ASUS ProArt PZ13 definitely gets the first two aspects right. The new AI-enabled Qualcomm Snapdragon X processor promises to deliver that last and most critical part.

If it wasn’t painfully obvious yet, this processor harnesses the power of AI to boost its performance, particularly with paired with the Windows 11 operating system. It isn’t just your run-of-the-mill AI voice assistant that answers your search queries but a deeper, more encompassing tool that optimizes the system’s operation to save time, power, effort, and other resources. ASUS is also throwing its own AI-powered creation tools, like a StoryCube media hub for organizing digital assets, and a subscription-based CapCut for dynamic video editing. And, yes, Microsoft’s CoPilot is also onboard to make the other menial tasks more efficient as well.

The ASUS ProArt PZ13 comes in a 2-in-1 detachable design that is reminiscent of the Microsoft Surface, complete with a full-width kickstand and a keyboard cover. The 13.3-inch 3K ASUS Lumina OLED touch screen promises to meet the demanding requirements of creators when it comes to brightness, color accuracy, and precision, supporting an optional ASUS Pen 2.0 stylus for creating digital masterpieces. Unlike the existing line of ASUS ProArt laptops, this tablet and laptop in one is clearly designed for mobility, and the IP52 dust and water resistance rating, along with MIL-STD-810H certification, offer some peace of mind when you need to take the device places.

Of course, the real question will be whether Windows 11 on this new Snapdragon platform will perform just as well as on Intel and AMD processors. Early reviews seem to be promising, but the final judgment will really depend on the compatibility of creators’ tools on this still rare combination. The ASUS ProArt PZ13 AI-powered detachable laptop will go on sale sometime in the third quarter of the year, with pricing details to be released closer to the product’s launch.

The post ASUS ProArt PZ13 detachable laptop brings Windows on ARM to creators on the go first appeared on Yanko Design.

Bigme HiBreak E Ink smartphone takes another stab at eye-friendly mobility

As powerful and as helpful as smartphones have become, they have also become sources not only of distraction but also of poor health. Staring at screens all day is bad enough, but they can also affect our sleep if used late into the night. Unfortunately, it’s almost impossible for many people to detach from their phones or even reduce their use, so a few designers and manufacturers have tried to come up with alternatives like minimalist phones. eReader maker Bigme is proposing a different kind of answer, one that smashes an eBook reader and a smartphone in one pocketable design, creating a phone-sized E Ink device that is actually a functional phone.

Designer: Bigme

This isn’t the first time we’ve seen a phone-sized eReader. We reviewed the Onyx BOOX Palma a while back and found it to be quite capable as a pocket reader. But despite its phone-like looks, it’s technically a tiny Wi-Fi-only device. In contrast, the Bigme HiBreak can plug in a SIM card and connect to 4G LTE networks. Yes, 4G LTE speeds only, which is probably fine because the device’s screen won’t be able to catch up with the network speed anyway.

1

The HiBreak comes in two flavors with different 5.84-inch E Ink screens. One is a pure black and white screen like a traditional eReader, while the other supports a few colors at a lower resolution than black and white. Despite the advancements in E Ink technology, the ultra-slow refresh rates of these panels will take the fun out of scrolling and swiping through social media, which is probably for the best. What it offers, instead, is a gentler reading experience, especially if you’re the type who likes to read text-only documents on the go.

Of course, the Bigme HiBreak is a true smartphone, one that runs Android 11 on practically mid-range hardware. It does have Google Play support, so you can install any app available that supports that old OS version but don’t expect the experience to be as smooth as on a regular phone. On the flip side, that 3,300 mAh battery is going to last you for days rather than just hours. It has a 13MP main camera, more for “scanning” documents than taking pretty pictures, and a 5MP front camera for emergency video calls.

In terms of aesthetics, the Bigme HiBreak is truly a shrunken-down eReader, complete with wide bezels and a rather plain design. It’s almost like it’s intentionally uninspiring in order to cut down on your smartphone use unless that use is for lots of reading. But while it does solve the problem of eyecare, a device that runs a full Android stack with cellular connectivity won’t do any wonders for those distracting notifications unless you decide to ignore them since they won’t look that nice on the E Ink screen anyway.

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Ben Edwards, Kerstin Thompson and Jonas Pettersson are Dezeen Awards 2024 judges

Architects Kerstin Thompson and Ben Edwards, designer Jonas Pettersson, sustainable developer Jonathan Smales and design entrepreneurs Odile Hainaut and Claire Pijoulat have joined as Dezeen Awards 2024 judges.

Dezeen Awards 2024 in partnership with Bentley is still open for entries. Did you miss last week’s deadline? Don’t worry, you have three more days to submit your entries before the late entry deadline on 6 June at 23:59 London time!

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 learn more about the latest judges joining this year’s judging panel:

Ben Edwards sq
Ben Edwards founded the innovative Studio Edwards in 2016

Edwards is the founder of Australian architecture practice Studio Edwards and will be joining White Arkitekter’s Alexandra Hagen on our architecture judging panel.

In 2011 Edwards won the Australian National Interior Design Excellence Award for projects including the Arnsdorf store and Lightbox House. In recognition of the dual-purpose Artist Carpark Studio, he also won the 2012 Institute of Architects Award while the Finesse shoe store in Melbourne won the National Australian Interior Design Award and was longlisted in Dezeen Awards 2023.

Other projects by Studio Edwards include House 28, a micro-hotel made from shipping containers and a zero-waste workspace in Melbourne made from recycled and off-the-shelf materials.

Jonas Petersson sq
Jonas Pettersson co-founded the industrial design company in 2005

Pettersson is the co-founder of Swedish industrial design studio Form Us With Love (FUWL) and will be joining Mae-Ling Lokko on this year’s sustainability jury.

FUWL believe that design is a force for good that can create change in the world, across people, business and the environment.

The practice also serves as a think tank for some of the world’s most iconic brands, including IKEA, BAUX, Muuto, Samsung and +Halle.

For the 2024 Stockholm design week FUWL transformed the front of their office into an experimental pop-up workspace called Testing Grounds.

Kerstin Thompson sq
Kerstin Thompson founded Kerstin Thompson Architects in Melbourne, 1994

Thompson is the founding principal of Australian architecture practice Kerstin Thompson Architects (KTA) and will sit on our architecture jury.

In recognition of her practices’ contribution to the profession Thompson was awarded a Life Fellow by the Australian Institute of Architects in 2017, a Member of the Order of Australia in 2022 and the Australian Institute of Architects Gold Medal in 2023.

Projects of KTA include the Bundanon Art Museum which was awarded Australia’s highest accolade for public architecture and an underground tasting room at an Australian winery.

Jonathan Smales sq
Jonathan Smales and Human Nature are designing and building leading sustainable developments

Smales is founder and CEO of sustainable development foundation Human Nature and will sit on our sustainability jury.

A former director and international trustee of Greenpeace, Smales sees development as a powerful pathway to a sustainable future.

His flagship project The Phoenix has recently received planning approval to transform a former industrial site in Lewes into the most sustainable neighbourhood in the UK, according to Human Nature.

The Phoenix will be powered by renewable energy and abundantly green, with an emphasis on shared courtyards and public space.

Odile Hainaut and Claire Pijoulat sq
Odile Hainaut and Claire Pijoulat launched WantedDesign in 2011

Hainaut and Pijoulat are the co-founders of global design platform WantedDesign and current brand directors of the International Contemporary furniture Fair (ICFF) and will be joining our design jury.

In 2018 the pair were honoured with the Chevalier of the Order of Arts and Letters, a title granted by the French Minister of Culture.

WantedDesign is a year-long international creative-platform that brings together the global design community. As well as a design fair it has a design school program, an international design residency and a permanent design store at Industry City in Brooklyn, a historic intermodal shipping, warehousing and manufacturing complex.

Three days left until entries close!

Dezeen Awards 2024 is open for entries. Log in or create an account to start your entries. Enter by 23:59 London time on 6 June for your final chance to enter. Don’t miss out!

Click here for more information about Dezeen Awards and subscribe to our newsletter for the latest news. Plus you can always drop us a line at awards@dezeen.com if you have any questions.

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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Dream completes mass-timber office building for Olympic Village in Paris

Mixed Building by Dream

French architecture studio Dream has completed an office building in Paris, which is clad with terracotta tiles to “evoke the history” of the industrial site in the Saint-Ouen district.

Situated within one of three Olympic villages, the mass-timber structure by Dream will be used as office space for the Paris 2024 Olympic Games team during the Olympics this summer. One of nineteen buildings in the Saint-Ouen Olympic Village, it was strategically designed for its use beyond the event.

Exterior view of offices at the Olympic Village by Dream
The building is clad with terracotta tiles

“The main idea behind the building is to imagine the office building of the future, with a particular focus on mixed-use programming and, in this case, the integration of a sports area of over 1,200-metre-square on the roof,” studio founder Dimitri Roussel told Dezeen.

“[The office] will occupy a central position within the Olympic village and then, during the ‘legacy phase’, it will house companies.”

Timber interior at Olympic Village offices in Paris
The structure is composed of a mass-timber frame

The building’s rectilinear structure is organised into three interconnected blocks of different heights. Rhythmic glazing lines the facade and is interrupted by double-height openings punctured into the building to form sheltered terraces.

A spruce wood frame was used to construct the building and is coupled with prefabricated concrete floors and a Douglas fir exterior. Terracotta tiles clad the facade and were intended to mimic the use of brick in the area.

Inside, the ground floor houses a food court that connects to an outdoor public space, while the upper floors provide bright workspaces divided by timber columns.

Situated on the building’s top floor is a spacious eight-metre-tall sports hall adorned by exposed timber framework and backed by a view of the city.

Leading out from the sports hall is a sheltered terrace of the same height.

Sports hall at offices by Dream
Exposed timber framework features in the sports hall

“The design creates opportunities for people to meet, because that’s what it’s really all about,” Roussel said.

“This building is a great living machine that offers multiple possibilities for users in their workplace to meet, exchange and create this challenge of living together.”

External staircases at Olympic Village offices in Paris
External staircases are designed to promote circulation

A series of external staircases are designed to encourage circulation through the building. Additionally, a parking lot located in the building’s basement is designed to be adaptable for extending the ground floor programmes.

Other projects recently completed ahead of the upcoming Olympic Games include the restoration of the city’s Grand Palais which will host fencing and taekwondo and a trio of apartment blocks lined with loggias and terracotta-tiled facades.

The photography is by Cyrille Weiner.

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Hassell completes "democratic and non-hierarchical" building for Sydney law school

Michael Kirby Law Building by Hassell

Architecture studio Hassell has completed the Michael Kirby Law Building at Macquarie University in Sydney, organising its teaching spaces around a skylit, timber-framed atrium.

Located on the university campus to the north of Sydney’s centre, the 8500-square-metre building replaces an existing two-storey administration centre built in the 1980s around an underutilised courtyard.

Hassell transformed the former courtyard into a large atrium, surrounded by a new four-storey timber structure that sits atop the existing concrete base.

Exterior of Michael Kirby Law Building in Sydney by Hassell
Hassell has created the Michael Kirby Law Building in Sydney

“Our initial reaction was to solve the existing building’s lack of connection to the broader campus,” principal at Hassell Kevin Lloyd told Dezeen.

“We recognised the opportunity to open up the existing building and provide additional floor space to create a vibrant new focal point for the university,” he continued.

The Michael Kirby Law Building is entered from its north eastern corner, where the cylindrical form of a mock courtroom shelters a set of curved concrete steps.

Interior of Michael Kirby Law Building by Hassell
The law school is organised around a skylit atrium

Inside, the atrium forms the social heart of the law building, with circular planters, wooden bleacher seating and a sculptural spiral staircase behind the reception desk.

Overlooking this central space, the timber grid of the structure creates balconies for the floors above and is infilled at points with glazed, pod-like meeting rooms.

Wooden university building in Sydney
It has an exposed wooden structure

The timber grid also frames a ceiling of skylights, lined at its edges with clerestory windows, which help illuminate the interior while providing views of the sky and trees outside.

“The design is about crafting a centre for learning, a place to make people feel comfortable that encourages interaction and champions ideas,” explained Lloyd.

“The top-lit atrium reflects the footprint of the existing building, which was centred around an underused courtyard,” added Lloyd.

“Having glimpses of the sky was essential to the design, it visually connects the interior to the established tree canopy outside and adds to the feeling of openness, warmth and connection to the wider campus.”

Interior of Michael Kirby Law Building by Hassell
The atrium features bleacher seating

Teaching and workspaces are organised in a ring at the building’s edge, benefitting from dual-aspect views to both the outside and the internal atrium.

Throughout, the wooden structure has been left exposed, contrasted externally by largely glazed facades shielded from the sun by large metal fins.

Atrium with sculptural spiral staircase
There is a sculptural spiral staircase

“The exposed timber provides a natural warmth to the interiors, [and] the sense of physical openness also reflects the transparent, democratic and non-hierarchical values of the law school,” concluded Lloyd.

Hassell is an international architecture studio founded in Adelaide, Australia. The studio recently also created a concept for a 3D-printed settlement on the moon and created an exhibition space in Cheshire concealed beneath a grass-topped dome.

The photography is courtesy of Hassell. 

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"My mum only recently started to understand what I do" says Nelly Ben Hayoun-Stépanian

Nelly Ben Hayoun-Stépanian

Experience designer Nelly Ben Hayoun-Stépanian enjoys the fact that people find it hard to pin down exactly what she does and believes others should embrace her “non-linear” approach, she tells Dezeen in this interview.

“I love people not fucking understanding what I do,” Ben Hayoun-Stépanian told Dezeen. “Bottom line is, they don’t understand what I do. But I do a lot.”

Ben Hayoun-Stépanian, who describes herself as a “designer of experiences”, has created projects for extremely well-known organisations including NASA, Porsche and LinkedIn, as well as running the Tour de Moon touring festival as part of the UK’s high-profile Unboxed festival.

“I’m a designer of experiences”

With the experiences she designs, Ben Hayoun-Stépanian hopes to make people consider the world around them.

“I’m a designer of experiences, which basically means that I design volcanoes in people’s living rooms, lift-off chair inside your lounge or make dark energy in your kitchen sink,” she explained.

“So I’m very much interested in this idea of extreme: what does it mean to make people feel something at a point in time where, you know, we don’t know how to think critically about the world that’s around us?”

“And so for me, experiences are a good way of getting members of the public to critically reflect on some of the big topics, big ideas that we are confronted with today, whether it’s in politics, sociology, and so forth.”

Nelly Ben Hayoun-Stépanian
Nelly Ben Hayoun-Stépanian has worked for numerous brands including Porsche (above)

Ben Hayoun-Stépanian has a varied academic background with a degree in textile design, a master’s in design interactions and a geography PhD. As design is a relatively new discipline, she believes there should plenty of room for experimentation.

“Design as a discipline is very young compared to architecture or the arts, and with this comes the potential for experimentation,” she said.

“Because it’s so fresh, you can kind of make it what you want it to be.”

“I think a lot of people fear big ideas”

Despite numerous prestigious projects, Ben Hayoun-Stépanian’s focus on experimentation and experiences means that many people – including clients and even her own family – don’t fully know what she does.

According to the designer, her mum only began to understand what she does after reading an article about Ben Hayoun-Stépanian being turned into a Barbie by Mattel.

“My mum only recently started to understand what I was doing,” she explained. “We have this local newspaper in Valence, where I’m from, called Le Dauphiné Libéré and it had an article about my Barbie and my practice.”

“And that was the first time I think that my mum actually understood what I was doing – she said ‘so you design experiences, you do this work at NASA to try and get members of the public to reflect about the future of humanity in space’.”

Nelly Ben Hayoun-Stépanian Barbie
Mattel created a Ben Hayoun-Stépanian Barbie

Through her experience design, Ben Hayoun-Stépanian aims to help people think about complex and confusing ideas.

“I’m much more interested in the fringe,” she continued. “I’m interested in counterculture. I’m interested in everything that doesn’t have a name for itself.”

“I think a lot of people fear big ideas,” she explained. “And whenever you cannot pin down a lexicon, or it doesn’t fit in some some kind of regimented compartment in your brain that you’ve been taught by your school, then they become uncomfortable with it.”

“I love the fact I exist in this alien territory”

Although people don’t immediately understand what she does, Ben Hayoun-Stépanian describes being hard to pin down as a “positive”.

“I love the fact I exist in this alien territory,” she said. “You could say that it’s more difficult [than for those working in more traditional fields like furniture design], but at the same time it is my KPI, it’s my trademark.”

“People come to me because they know that what they want to achieve is impossible. Or they come to me because they don’t understand what their next phase is going to be in technology, or with a company, or with a brand.”

Ben Hayoun-Stépanian believes that more designers should be working outside of the traditional bounds of the discipline, highlighting the work of Tigris Li, Mirrored Fatality and Danielle Brathwaite-Shirley.

She hopes that more designers will embrace “non-linear” approaches to design and their practices.

“I’m always trying to embed in all our installations and in all the work we a non-linear way of thinking and telling stories,” said the London-based designer.

Ben Hayoun-Stépanian founded the University of Underground
Ben Hayoun-Stépanian founded the University of the Underground

“Your practice doesn’t need to be linear – you can start in design, you can find yourself going into an art and political theory, you can talk about decolonisation through your practice, then you can go into space exploration,” she continued.

“And all of these are part of the way that you want the member of the public to experience something, because we are complex humans. And I think that has been forgotten and it’s really sad.”

For Ben Hayoun-Stépanian, this linear thinking is due, in a large part, to the way that design is taught in schools and universities.

“It really comes down to schools – there are not enough independent schools, universities and platforms for people to just experiment,” she said.

“It’s really important to us to remain pluralistic”

In response to this lack of independence, Ben Hayoun-Stépanian established the University of the Underground in 2017.

Described “a free, pluralistic and transnational university based in the basement of nightclubs”, the institution aims to provide an alternative to traditional design education.

“If you look at education, the way it’s been structured always responds to nation states and the agenda of one government,” she said.

“It’s really important to us to remain pluralistic. So not to depend on any governmental funding or governments or nation states. So we can always be free in our way of thinking.”

Ben Hayoun-Stépanian recently released her fifth documentary, Doppelgängers, at the annual SXSW festival in Austin, Texas. It follows a film released last year that documented the “chaos and radical imagination” of Tour de Moon festival.

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Torii bench by Ultramar Studio among nine new products on Dezeen Showroom

Torii bench by Ultramar Studio

Dezeen Showroom: a bench made from wood that mimics the shape of Japanese Torii gates is among nine new products recently listed on Dezeen Showroom.


Torii bench by Ultramar Studio

Torii bench by Ultramar Studio

A frame made up of cylindrical wooden lengths ending in flat brass discs makes up furniture brand Ultramar Studio‘s distinctive Torii bench.

The bench references the striking appearance of Japanese Torii gates – typically situated at the entrances of shrines – and comes in a range of stained finishes including brown and red, which add a pop of colour while allowing the grain of the timber to show through.

It was recently featured on Dezeen Showroom, alongside a woollen blanket that is made in Norway and a modular structure that aims to create different functional areas in open-plan workplaces.

Read on to see more of the latest products:


Kriskadecor ceiling installations by Kriskadecor

Kriskadecor ceiling installations by Kriskadecor

Spanish brand Kriskadecor has created a system of ceiling-hung chains that can be custom made to fit various project needs.

Kriskadecor ceiling installations comprise rows of aluminium chains that can be installed in public interiors to enhance the ambience of high-ceilinged rooms.

Find out more about Kriskadecor ceiling installations ›


BetteSuno bath by Barber Osgerby for Bette

BetteSuno bath by Barber Osgerby for Bette

Bathroom brand Bette collaborated with British studio Barber Osgerby on the design of a freestanding bathtub made from glazed titanium steel.

The BetteSuno bath has a minimalist form defined by straight outer walls and a slightly protruding rim, which contain a gently curved interior that creates a comfortable bathing experience for the user.

Find out more about BetteSuno ›


Renaissance fixture by Focus SB

Renaissance fixtures by Focus SB

UK-based hardware company Focus SB has created a panel for light switches and power outlets that has a slimline form that lacks visible screws.

Renaissance fixtures has square corners and come in five metallic finishes to blend into a wide variety of interiors.

Find out more about Renaissance ›


Clyde coffee and side tables by Dare Studio

Clyde coffee table by Dare Studio

A three-legged design and repeated rounded elements characterise this coffee table by British furniture company Dare Studio.

The Clyde coffee table comes in natural or black-stained oak and is available in two sizes.

Find out more about Clyde ›


Mosso chair by Pommier

Mosso chair by Pommier

French design brand Pommier has released a statuesque chair made from smoothly carved wood.

The Mosso chair has a slimline, fluid design with a supportive backrest and thick upholstered seat cushion to ensure comfort for the user.

Find out more about Mosso ›


Remi chair by Boss Design

Remi chair by Boss Design

UK-based furniture design company Boss Design has created a tub chair that is made from a combination of recycled and recyclable materials.

The design of the Remi chair was informed by shapes found in the natural world, such as flowers and seashells.

Find out more about Remi ›


Heritage throw by Plesner Patterns

Heritage throw by Plesner Patterns

Design studio Plesner Patterns has created a blanket made from merino wool that references time-honoured craft techniques used throughout Norwegian history.

The Heritage throw comes in four distinctive colourways and was made by employing both herringbone and waffle-style weaving methods.

Find out more about Heritage ›


Points furniture system by Pearson Lloyd for Bene

Points furniture system by Pearson Lloyd for Bene

Design studio Pearson Lloyd aimed to foster productivity and well-being with its design of this workplace furnishing system for office furniture brand Bene.

The Points furniture system creates defined zones in open-plan offices, from breakout areas to meeting rooms, that come in bespoke layouts and material combinations.

Find out more about Points ›

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.

Dezeen Showroom is an example of partnership content on Dezeen. Find out more about partnership content here.

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