Visit the FEEK website - here.

Visit the Ritz-Carlton Montreal website - here.

From Marc Koehler:

The house is located on a very small plot in Ijburg, a recently developed suburb of the city of Amsterdam.  The house is designed as a monolythical sculptural mass, expressed by contrasting introverted private spaces (that form the mass) with open collective spaces that seem to have been ‘carved out’ from the solid volume as a continuous transparent void, visually and physically connecting them to the street, the garden and roof terrace.  This strategy seems to give the house a monumental and sculptural quality that articulates a sense of stability, simplicity and permanence.

The facade contains specific brick detailing inspired by techniques from the famous Amsterdamse school style from the 1920’s, which had become redundant in the 2nd half of the 20th century.  By intensive cooperation with brick and mortar suppliers, masonry consultants and brick layers, the architect managed to introduce these texture effects in contemporary building methods.

Visit Marc Koehler’s website - here.

From Arcadia:

Diverse and purposeful in nature, Hush offers a sense of privacy in open spaces, fulfills standard lounge seating requirements, and when combined with connecting tables, becomes a modular oasis of form and function. Collection includes private (high back) and public (low back) lounge chairs, straight and quarter-round connecting tables, optional accessories as well as accompanying benches and occasional tables.

Visit the Arcadia website - here.  Visit the 5d Studio website - here.

Visit the at 103 website - here.  Visit the Chapultepec Space website - here.

Visit Nathan Hunter’s website - here.

Takao Shiotsuka is a Japanese architect who has recently completed this minimalist house that sits in the middle of a walled compound overlooking the sea.

Visit Takao Shiotsuka’s website - here.

Visit Lucie Koldová’s website - here.

Via Yankodesign

Fremont Peak is a development by Seattle design firm Caron Architecture. It includes four units (two single-family houses and one duplex of two townhomes).

Visit the Caron Architecture website - here.

Slit is a do-it-yourself sculptural lamp shade that comes as a single flat plastic sheet, which allows you to complete the design by hanging it in your own unique way.

Visit the Studio Make Light website - here.

From John Lum:

The dry-rotted back porches of this 1890’s two-flat Edwardian building were completely rebuilt and expanded to create great rooms for each unit with newly remodeled kitchens. The result is a delightfully sunlit-space that relates to the existing Edwardian architectural detailing while providing an appropriate backdrop for the client’s mid-century Scandinavian furniture collection. Bead board clads the wall, with fir on the ceilings, lending warmth to the sitting area while contrasting with the steel-clad fireplace. The new kitchen features an eclectic mix of aluminum grating, white quartzite, hi-gloss plastic laminate over finn ply cabinet doors, stained ash veneer, and matte-white brick tiles; a traditional nod to an otherwise modern composition.

Visit the website of John Lum Architecture - here.

From the architects:

The theme for this Japanese restaurant is the Natural Garden, which is reflected in the local found materials we used: wood, slate, rocks, pebbles, sand, bamboo, water and dried tree branches. The traditional concept that artwork should be mounted on walls or floor has been challenged here, it has become the very fabric of the interior. Engineered plywood sheets have been handcrafted into three giant artworks: a giant wooden feature wall made of 1000 plywood sheets, with 2 punctured ovals, created by hand tooling the plywood sheets into shape; a large semi-sphere created by planes of plywood; a sushi counter with a “wave” form enclosure made of bent plywood.

Visit the CL3 Architects website - here.

From Tom Raffield:

This beautifully sculptural form is created with 80 metres of steam bent strips of English Ash, woven, coiled and twisted around one another. Whether the light is on or off, this is a unique and stunning lampshade. Each one is handmade, signed and dated by myself.

Visit Tom Raffield’s website - here.

Contact the agents at Knobel & Davis - here.

From Safretti:

‘Learning to look is the foundation for learning for live’, according to Jan des Bouvrie, the man who has spent a lifetime taking interiors ‘out of mothballs’. His obstinate, but consistent views on fire, colours, form and space have had a great influence on contemporary design of the Curva. Using the round shapes makes this firespace sexier. A revolutionary design with a wink to the ‘60’s.

Visit the Safretti website - here.

From the designers:

Product photography usually doesn’t include the people who will actually be using the designs, in this case I couldn’t ignore how naturally the pieces were adopted by the passing public. The balance between privacy and openness, intimacy and interaction, were key in the development of this installation.

Visit the Tjep website - here.

One of the restaurant’s unique features are menus projected onto tabletops, allowing diners to order food and beverages interactively, to change the ambiance of their individual table, to play games and even to order up local information and services, such as booking a cab.

Visit the Blacksheep website - here.  Visit the Inamo website - here.

From the designers:

The restaurant and downstairs bar is the brainchild of entrepreneurs Danny Potter and Noel Hunwick and will offer customers high-quality Asian fusion cuisine, under the guidance of leading Head Chef Anthony Sousa Tam, who comes to Inamo from superstar restaurants Atami, Chino Latinos, Nobu, Hakkasan and Ubon.

The interior of Inamo has been designed by Blacksheep, hot from their latest west end success with the Whisky Mist at Zeta bar and nightclub at London’s Hilton Hotel - and from the announcement of their third winning project in a row at the London Bar & Club Awards with the Knightsbridge bar Vendôme. Blacksheep also contributed to all the restaurant’s graphic applications, adapting the existing identity with new iconography for signage, menus and marketing materials as well as all environmental graphics, from graphic wallpaper to graphic tablecloths, shopfront etched patterns and illuminated screens, with all pattern work inspired by and adapted from traditional Asian print designs.

For the designers, it was an ambitious project and a tricky concept to get right. Great attention had to be paid especially to ensure that lighting levels and proportions were spot on for the restaurant to work at all hours of the day and night. The restaurant design also had to have an overall strong sense of identity as a space, neither overwhelming nor being overwhelmed by the technology at its heart. ‘We created a concept based around the keywords: warmth, vibrancy, charm and theatre’, explained Blacksheep Director Tim Mutton. ‘It was important to balance out the restaurant’s technological aspects by creating a sensuous, social space with a strong personality.’

Customers approach the restaurant via a brand new jet black timber facade, in keeping with the existing architecture. To protect interior light levels, the glazed restaurant windows have a graphic vinyl applied featuring solid and translucent star patterns (designed by Blacksheep), creating a strong graphic statement as well as protecting interior light levels. The vinyl graphic nonetheless allows tantalising glimpses of the interior and of the Blacksheep-designed ‘cocoons’ which house the projectors, computers and frames and which sit above each table.

External signage includes a projecting sign, a high-grade acrylic ‘Restaurant & Bar’ sign and halo-lit boxed steel lettering for the ‘Inamo’ identity. The shopfront bases have an aluminium trim and there are four external aluminium downlighters with a red filter to match the red and silver of the graphic vinyl on the glazing.

The central entrance to Inamo is via glazed doors with a high-impact, red, black and white graphic applied to the back wall of the small entrance lobby area (which had to be kept for structural reasons, as the restaurant was once two separate buildings with a subsequently-infilled alleyway at its centre!). The main structural works to the interior (formerly an Italian restaurant which existed for 25 years) centred on the ground floor space, opening it up as much as possible by removing columns and a structural wall and also creating a new extension to the rear to house an extra twenty covers.

Once inside the restaurant, the stair to the downstairs bar is immediately to the left, finished in matt black, with timber-effect vinyl flooring here and throughout (by Armstrong). Graphic wallpaper above the stair mirrors the window graphic. Customers are immediately met at the greeter station (in black timber), directly in front of a high-impact six-seater table. The restaurant has been treated partly in monochrome to allow the tabletop illuminations to stand out and partly with further graphics (inspired by the colour choices of kaleidoscopes and origami for an Asian feel) to mirror the strong graphic sense created by the tabletops. Walls are therefore in a white vinyl wallpaper with mirrored graphic panels, which work effectively like lightboxes with an etched pattern and a cut pattern, with light allowing the cut pattern to shine through. Seats are either a silver vinyl banquette with feature red stitching or else 2-tone flip chairs with black backs and white frontage (from Protocol). The tables themselves have a black base and a white Corian top.

The ‘cocoon’ projectors are set at the same height throughout within the suspended high gloss black ceiling and come in three sizes to light 2-cover, 4-cover or 6-cover tables. When customers sit down there are white spots for plates and an individual ‘e-cloth’ for each table. Customers use a touch panel to order food and drink or change their table top to one of the seven other patterns available. ‘Serving staff are available at any time to help customers to navigate their menus or answer any other queries, but the menus have been exceptionally clearly designed and should be both intuitive and fool-proof for users!’ Project Designer Benjamin Webb commented.

The downstairs bar features the same design language as the restaurant, but uses a warmer and darker colour scheme (as it doesn’t have to work alongside any technological elements) to create a sense of intimacy. Graphic screens replicate those on the ground floor, but use bronze mirrors, with a glowing red backing to promote a sense of space within the bar. Pendant light fittings again echo the cocoons above and have been specially-designed using the same organic language.

‘It’s important to adapt to a new way of thinking when working so closely with technology’ Benjamin Webb concluded. ‘With Inamo, we took a cohesive approach towards adapting the technology to sit within the interior, fine-tuning ambience levels and building strong relationships between graphic and interior elements. Above all, we had to ensure that the vivid projections were met by the interior elements of the scheme, creating an equally strong and unified impression.’

The clients commented: ‘Before starting the build of this project we had pitches from four different interior designers with our brief and keywords: warm, vibrant, charm, theatre. Blacksheep stood out because of their ability to take our brief on board while simultaneously inputting their own creative flair and talents into the project. They have since created a holistic design that ties into and around our concept, adding value throughout.’

From the designers:

The huge “exploded globe of light” was suspended from the trees over London’s famed Hoxton Square and was interactively controlled by the guests…who used special punch cards to choreograph their own colour animations. These cards were ’scanned’ at a freestanding plinth located in one corner of the square, from where their colours were uploaded to the main globe to form the overall animated lighting display.

Visit the Cinimod Studio website - here.

In 2003, Damian Barton relocated his studio to America where he continues to create innovative objects known for inspiring interaction through the fusing of function with welcoming forms.

Visit Damian Barton’s website - here.

The Shroud Chair:

The Aluminum Petal Chair:

The Cavex Stool:

For more of his work, visit Damian Barton’s website - here.