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    Keiji Ashizawa and Norm Architects design tactile interiors for “hotel in the sky”

    Japanese designer Keiji Ashizawa and Danish studio Norm Architects have unveiled their design for the Bellustar Tokyo hotel, which aims to evoke a sense of nature in the middle of Tokyo’s urban Shinjuku district.

    The two studios worked together to design interiors for five penthouse suites as well as hospitality spaces for the top floors of the Bellustar Tokyo, 200 metres above the ground in Shinjuku’s Kabukicho tower.
    Norm Architects and Keiji Ashizawa Design had to take the city views from the building into account when designing the hotel rooms, which are spread over three levels from the 45th to the 47th floor.
    The Tsuki (moon) penthouse suite has calm grey walls”I would say that it is the tallest hotel I have worked on,” Ashizawa told Dezeen, describing it as “a quiet hotel in the sky of Shinjuku”.
    “Since there are no nearby buildings at this elevation, there was no need to be concerned about privacy, and it feels surreal that the views from all the windows are almost always spectacular,” he added.

    “That is why the relationship between views from the windows and the space is indeed very simple.”
    Floor-to-ceiling windows let light into the Tori (bird) suiteBoth studios were involved in the spatial organisation of the five penthouse suites as well as the placement of the hotel’s three restaurants, its top-floor spa and a penthouse lounge designed for guests to enjoy the setting sun.
    Ashizawa and Norm Architects drew on their signature use of natural materials and muted palettes to create the interiors for the five guestrooms.
    The penthouse lounge was designed for guests to view the sunsetThese were informed by the “beauty of the four seasons in Japan” and have names such as Hana (wind) and Tsuki (moon).
    The rooms have been furnished with pieces by the studios’ Karimoku Case Study series for wood furniture company Karimoku and feature a mix of natural materials.
    “The use of organic forms and natural materials like wood and stone can be seen as an antidote to the city that serves as artworks through the grand windows,” the studios said.
    The Hana (flower) penthouse suite features furniture in dark woodAmong the tactile details in the guest rooms are stone-topped bedside tables and wood-panelled headboards.
    “The idea is to create a balance of hardness and softness against the large area of the room that will be covered with textiles,” Ashizawa said.
    A bench creates distance from the view in the Sora (sky) penthouse suiteAs the guestrooms have floor-to-ceiling windows, the bedrooms and living rooms feature benches and curtains that were added “to create a little distance from the view to make the space feel more comfortable,” Ashizawa explained.
    A colour palette of mainly white, ivory and gray was used throughout the Bellustar Tokyo, which is a Pan Pacific hotel, with darker colours creating contrast in some of the spaces.

    Karimoku opens Kyoto showroom informed by traditional houses and temple gardens

    “The color palette is what we and Norm Architects consider to be the colors of nature, and we hope to create a sense of richness by evoking nature in Shinjuku, the most Tokyo-like place in the city,” Ashizawa said.
    “As an antidote to the city, we have tried to listen to nature’s story of artistry, optimism, imperfection, and impermanence, and bring these poignant qualities into the work,” Norm Architects added.
    The Bellustar restaurants have views over TokyoAshizawa also used tiles and handcrafted details to create more tactile walls in some areas of the hotel, including in the main restaurant, which has custom-made tiles from Japan.
    The Bellustar Tokyo features three restaurants: the main restaurant and bar, which was designed solely by Ashizawa, as well as a sushi restaurant and a teppanyaki restaurant.
    Here, the studios worked with material palettes that include wood and brick.
    The restaurant’s sushi restaurant has an intimate design”The sushi and teppanyaki restaurants are designed to feel like small hidden and intimate traditional city restaurants but transformed into contemporary places on the top of Tokyo,” Norm Architects said.
    “Both restaurants have their own unique character and material palette where the sushi restaurant is bright and works with hinoki [cypress wood], the teppanyaki place is dark and dominated by dark bricks in creative patterns.”
    The Kaze (wind) penthouse suite has tactile material detailsThe studios hope that by using natural materials and muted colours, the Bellustar Tokyo will function as a refuge from the busy city.
    “We hope that the guests of the hotel will first experience the vibrant atmosphere of the Shinjuku Kabukicho district of Tokyo, and then enjoy the serenity of the penthouse interior – as if the lively Tokyo scenery were like a Zen temple’s karesansui (dry landscape garden),” Ashizawa said.
    Light falls in through the large windows of the penthouse loungePrevious projects by Keiji Ashizawa Design include the Hiroo Residence overlooking Tokyo’s Arisugawanomiya Memorial Park and the Kyoto showroom for Karimoku.
    Norm Architects recently created a headquarters for children’s brand Liewood and an inside-out greenhouse restaurant in Sweden.
    Project credits:
    Interior architecture: Keiji Ashizawa Design: Keiji Ashizawa, Mariko Irie, Kenji Kawami, Yuichiro Takei. Norm Architects: Jonas Bjerre-Poulsen, Peter Eland, Frederik WernerBellustar penthouse (five penthouses): Keiji Ashizawa Design and Norm ArchitectsBellustar restaurant and bar: Keiji Ashizawa DesignSpa Sunya: Keiji Ashizawa DesignFurniture, fixtures and equipment: Keiji Ashizawa Design and Norm Architects

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    Largest-ever Norman Foster retrospective opens at Centre Pompidou in Paris

    An exhibition dedicated to the work of British architect Norman Foster has opened at the Centre Pompidou in Paris, showcasing drawings and original models produced by the architect over the last six decades.

    The exhibition, which according to the Norman Foster Foundation is the largest-ever retrospective display of Foster’s work, features around 130 of the architect’s projects including the Hong Kong and Shanghai Banking Corporation Headquarters, Hong Kong International Airport and Apple Park.
    The exhibition was designed by Norman FosterDesigns that informed Foster’s work are also exhibited, including works by Chinese artist Ai Weiwei, French painter Fernand Léger, Romanian sculptor Constantin Brancusi and Italian painter Umberto Boccioni, and even cars, which the architect is passionate about.
    The exhibition, simply called Norman Foster, was designed by Foster with his architecture studio Foster + Partners and nonprofit organisation the Norman Foster Foundation.
    On display are sketches, drawings and models of the architect’s buildingsCurated by Centre Pompidou deputy director Frédéric Migayrou, the exhibition aims to showcase examples of Foster’s innovation and technology, his approach to sustainability and his ideas for the future of the built environment.

    “This exhibition traces the themes of sustainability and anticipating the future,” said Foster.
    “Throughout the decades we have sought to challenge conventions, reinvent building types and demonstrate an architecture of light and lightness, inspired by nature, which can be about joy as well as being eco-friendly.”
    Examples of Foster’s work are interspersed with cars that have inspired himThe 2,200-square-metre exhibition begins with a room dedicated to Foster’s sketches and drawings, a practice he uses to communicate ideas and log design inspiration.
    “For me, design starts with a sketch, continuing as a tool of communication through the long process that follows in the studio, factories and finally onto the building site,” said Foster.
    “In 1975 I started the habit of carrying an A4 notebook for sketching and writing – a selection of these are displayed in the central cabinets, surrounded by walls devoted to personal drawings.”
    Visitors begin the exhibition in a room filled with Foster’s sketchesThe exhibition continues in a large space with partition walls that separates it into seven themes: Nature and Urbanity, Skin and Bones, Vertical City, History and Tradition, Planning and Place, Networks and Mobilities, and Future Perspectives.
    The Nature and Urbanity section explores Foster’s approach to preserving nature by building “dense urban clusters, with privacy ensured by design,” the studio said.

    “There are a lot of dangerous myths” about sustainability says Norman Foster

    Referencing a critic’s comment that the external appearance of Foster’s projects could be categorised as having a smooth “skin” facade or expressing its skeletal structure, the Skin and Bones portion of the exhibition showcases projects that illustrate the relationship between structure, services and cladding.
    In the Vertical City section, the studio showcases how it created “breathing” towers by designing open, stacked spaces.
    The exhibition features around 130 Norman Foster projects”We were the first to question the traditional tower, with its central core of mechanical plant, circulation and structure, and instead to create open, stacked spaces, flexible for change and with see-through views,” said Foster.
    “Here, the ancillary services were grouped alongside the working or living spaces, which led to a further evolution with the first ever series of ‘breathing’ towers.”
    It showcases projects spanning Foster’s six-decade-long career”In the quest to reduce energy consumption and create a healthier and more desirable lifestyle, we showed that a system of natural ventilation, moving large volumes of fresh filtered air, could be part of a controlled internal climate,” the architect continued.
    The History and Tradition section aims to provide insight into examples of historic and vernacular architecture that influenced Foster, while the Planning and Places portion explores masterplanning and placemaking in urban spaces.
    The exhibition is on display at the Centre Pompidou in ParisTowards the open exhibition space’s exit, the Networks and Mobility section displays examples of transport and infrastructure and leads to the final room, Future Perspectives, which exhibits concepts for future methods of travel and communication.
    On display are details of autonomous self-driving systems and designs for habitats on Mars and the moon that were developed with NASA and the European Space Agency.
    Foster recently spoke with Dezeen about his views on sustainability in architecture, in which he said “there are lots of dangerous myths”.
    The photography is by Nigel Young from Foster + Partners.
    The Norman Foster exhibition is on display at the Centre Pompidou in Paris, France, from 10 May to 7 August 2023. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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    Five highlights from Zaha’s Moonsoon: An Interior in Japan

    The Zaha Hadid Foundation has opened an exhibition about Zaha Hadid’s Moonsoon restaurant in Sapporo, Japan. Here, exhibitions officer and curator Johan Deurell selects five highlights from the show.

    Zaha’s Moonsoon: An Interior in Japan is a case study of architect Hadid’s first built project outside of the UK – the Moonsoon Bar and Restaurant in Sapporo, Japan, which was constructed in 1989.
    The exhibition offers a journey from the conception of the venue  – conveyed through a series of archival models, presentation documents and sketches – through to its built form, presented through images and one-to-one recommissioned furniture from the bar’s interior.
    “Our latest exhibition showcases the creative processes behind one of Zaha Hadid’s earliest and less well-known projects,” said Zaha Hadid Foundation director Paul Greenhalgh. “Moonsoon was created at the time of the incredible explosion of the Japanese economy, and the design boom that accompanied it.”
    “Japan provided opportunities for emerging architects to work on experimental projects. For the foundation, it is a chance for us to dive deep into the archives and highlight works rarely seen before.”

    Zaha Hadid’s first building in the Arab World photographed by Julien Lanoo

    Monsoon’s design referenced some of the early 20th-century avant-grade movements that emerged out of Russia, such as the works of Russian abstract artist Kazimir Malevich.
    Angular, twisting and geometric shapes were translated into functional architectural volumes and layers. Additional design references include the works of sculptor Alexander Calder, French liquor commercials from the 1950s and imagery of orange peel and pasta.
    Zaha’s Moonsoon: An Interior in Japan takes place at the Zaha Hadid Foundation headquarters in Clerkenwell, London, which functioned as Hadid’s headquarters from 1985 until her death in 2016.
    Read on for Deurell’s five highlights:

    Presentation case, acrylic and aluminium by Zaha Hadid Architects, 1989-90
    “The idea of our exhibition came about with the discovery of a Perspex briefcase in the archive. This briefcase was made by Daniel Chadwick as a container for the Moonsoon design concept.
    “It carried elements of model as well as 14 paintings, six perspective drawings and 13 collages shown in this exhibition. The case would be taken to the clients as a form of presentation strategy, where the works on paper would be laid out and the model assembled.”

    Presentation model, acrylic by Zaha Hadid Architects, 1989-90
    “This model, made by Daniel Chadwick, was created to illustrate a concept, rather than as a replica of the restaurant’s final form. Here an ‘orange peel’ shape swirls through the two floors, and the colourful shards represent the furniture and interior elements. At the time it was made, the interior and furniture designs had yet to be finalised.
    “Zaha Hadid Architects embraced the transparency of acrylic to make the relationship between interior and spatial elements in the model easier to view. In the future, digital models would provide the transparent layering effects that Hadid sought to achieve through the early use of acrylic.”

    Interior concepts, acrylic paint on black cartridge paper by Zaha Hadid Architects, 1989-90
    “This painting belongs to a suite of 14 paintings originally stored in the Perspex briefcase. Moonsoon’s concept was partially inspired by fire (for the first-floor bar) and ice (for the ground-floor restaurant), which is illustrated through the reds and blues in this painting. A swirling ‘orange peel’ shape represents the central furnace penetrating through the two floors, whereas splintered ‘ice shards’ symbolise tables.
    “Zaha Hadid Architects used paintings to explore concepts that could not be shown through conventional perspective drawings. Various team members contributed to the paintings. The works were derived from sketches, which had been transferred to tracing paper and then onto cartridge paper, and subsequently coloured in, often by Hadid herself. Their warped shapes and layering anticipated the possibilities later offered by CAD software.”
    [embedded content]
    Zaha’s Moonsoon, by Marwan Kaabour, 2023
    “Not everything in the show came from that briefcase. There were boxes upon boxes of archival material too. During the research phase, colleagues at Zaha Hadid Architects told me: ‘go find the little doodle’. That turned out to be a sheet of Arabic letterforms spelling out Zaha and Moonsoon, and the recurring swirly shape, which you see in the model and paintings.
    “With some help from Marwan Kaabour, who designed the graphic identity for the exhibition, I learnt that the swirl is a stylised version of the letter H in Zaha. Marwan has done some amazing work for Phaidon and V&A before and runs the Instagram account Takweer on queer narratives in the SWANA region. I asked him to make a video based upon the archival material we had found.
    “This snippet is taken from that video. It charts the development of Moonsoon’s ‘orange peel’ structure, from the brief to its final built form. Beginning with sketches of the words مونسون [Moonsoon] and زها [Zaha] based on Arabic letterforms, through references to orange peel, pasta, and the works of Alexander Calder, it concludes with their eventual translation into the technical drawings informing the construction, as well as images of the construction and built.”
    Photo by Paul WarcholSofa and tray table by Zaha Hadid Architects, 1989-90 (remade in 2014)
    “Finally, the exhibition includes a boomerang-shaped sofa from the bar. The furniture for Moonsoon employed intersecting curves and diagonal planes to create an interior landscape. Designed by Michael Wolfson, the differently sized sofas have interchangeable plug-in backrests and tray tables, which came in different colours and finishes.
    “Waiters could set the tables on their stands when delivering the drinks to guests. I am not sure how well this waiting method worked in practice, but it is interesting to think about this furniture as part of a design historical tradition of flexible seating landscapes. We know that Zaha was a fan of Verner Panton’s work, for example.”
    Zaha’s Moonsoon: An Interior in Japan is on show at the Zaha Hadid Foundation in London from 20 April until 22 July 2023. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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    And And And Studio brings 1970s elements to Century City Law Office

    And And And Studio has overhauled the offices for one of LA’s top entertainment law firms, opting for a look that’s “more akin to a hotel lobby”.

    The firm, which represents several Hollywood actors, tasked And And And Studio founders Annie Ritz and Daniel Rabin with designing interiors for its offices in Century City, a commercial district south of Beverly Hills.
    Visitors to the law offices in Century City are greeted by a desk wrapped in glossy oxblood-coloured tilesThe design studio convinced the clients to stay in their current building rather than move – a decision that required a complete redesign of the 22,000-square-foot (2,044-square-metre) space and the gutting of the interiors to make room for a brand-new layout.
    The clients required over 30 private offices within the floor plan, so it had to compromise on the size of the rooms to leave enough area for lounges and other communal facilities.
    The wood-panelled reception area sets the tone for the rest of the interiors”The goal was for Ritz and Rabin to make the space feel airy, open and more akin to a hotel lobby than an office,” said the studio.

    “[The lawyers] traded slightly smaller private offices in order to provide the entire office with inviting and functional communal spaces.”
    And And And Studio drew references from a variety of design styles, most noticeably the 1970sVisitors arriving at the wood-panelled reception area are met by a counter wrapped in glossy oxblood Rombini tiles from Mutina, which also surround curved columns in meeting spaces.
    Bassam Fellows sling lounge chairs and an Angelo M Marble Table from Alinea Design Objects were also placed in reception, setting the tone for the rest of the interiors.
    In the kitchen, green marble forms countertops, backsplash and shelvesFurnishings found throughout pull references from a variety of design styles, including art deco and 1970s, as seen in the Brasilia chairs by Menu, sofas by Arflex, and a Phillipe Malouin sofa for SCP.
    Brown and yellow velvet upholstery in the lounge spaces also nods to the 1970s, while in the kitchen, green marble forms the countertop, backsplash and open shelving.

    Studio Arthur Casas uses books to brighten “austere” law office in Brazil

    “The 1970s-inspired design transcends through warm wood tones, and bold-hued gold and green fabrics,” said And And And Studio.
    Designing and executed during the Covid-19 pandemic, the team was met with various hurdles during the project, which resulted in multiple last-minute changes.
    The red tiles from the reception area are repeated in conference rooms”[Our] approach to the re-design of this office embraces the goals and ethos of this law firm, giving a unique design to the space that is distinct,” And And And Studio said.
    “This goal was met with several challenges due to the pandemic, creating delays and changes, specing and re-specing products, all while balancing a tight timeline.”
    The interior is designed to look more like a hotel lobby than an officeRitz and Rabin’s studio has offices in both Los Angeles and Toronto.
    Other law office designs include one created by Studio Arthur Casas for a firm in São Paulo with a chocolate-coloured space that’s brightened by hundreds of books, while Vladimir Radutny Architects used minimal white partitions to divide a lawyers’ office in Chicago.
    The photography is by Chris Mottalini.

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    The Mint List brings mid-century influences to north London family home

    Interior design studio The Mint List has brought light, space and warmth to this Edwardian house in London with multiple extensions, a hidden playroom and plenty of tactile materials.

    The renovated end-of-terrace house in Kensal Rise belongs to a film-industry couple that wanted a cosy family home with mid-century elements, in particular referencing the work of designers Charles and Ray Eames.
    The Mint List has renovated and extended an Edwardian house in north London”The clients had a leaning towards mid-century style but they didn’t want that to overwhelm the scheme,” The Mint List founder Camilla Kelly told Dezeen.
    “The Eames House was a good mid-century reference in terms of encompassing warm, repurposed textures, a sense of scale and an abundance of light.”
    A new rear extension houses the home’s kitchen and dining spaceThe brief was to open up this formerly dark and “unremarkable” home and create an improved sense of flow.

    As well as adding two bedrooms and a small study in the newly converted loft, The Mint List created a rear extension to house the kitchen-dining space and absorbed the property’s former garage into the house, providing a mudroom, pantry and playroom.
    The custom-built kitchen island has two levelsThe playroom is cleverly concealed behind a bank of new storage in the hallway, which has also been enlarged by opening it up into the former porch.
    “There was huge importance given to light in the design,” said Kelly. “Wherever possible, we created tall windows benefiting from the south-facing aspect.”
    Bookshelves act as room dividers to form a hybrid library and snugThe house is full of custom-designed features and finishes at the request of the client.
    The floor uses unusually slim lengths of oak, laid at right angles to each other in huge grids, while the thresholds were distinguished with slender fins of brass that add subtle visual interest.
    The children’s playroom is hidden inside a wall of storage in the hallwayDrawing on the design language of mid-century furniture, the kitchen was completely custom-built for the space with a clean-lined, yet playfully asymmetric design.
    “We centralised the assembly and used high windows on either side of the cabinets to emphasise the cubic nature of the design,” said Kelly. “The asymmetric cubes that form the cabinets were built using walnut, with cream-painted doors for the covered storage.”

    The Mint List fits out London office with mid-century-style movable furniture

    The material mix includes walnut veneer, reeded glass, olive-coloured door fronts and antique brass detailing, as well as concrete and reclaimed iroko wood worktops.
    “I’m averse to keeping things all in one colour,” the designer said. “It’s a missed opportunity to bring texture, colour and character to a space.”
    The children’s bedroom is located on the first floorThe kitchen island was designed to account for the owners’ love of entertaining, with a section of the worktop raised to bar height to draw guests away from the cooking area.
    “The island is even more asymmetric, with different levels, drawers, shelves and openings that served to show how the geometry of a design can sometimes be off-kilter and still look neatly intentioned, as long as it sits correctly within the scale of the space,” Kelly said.
    A small study now occupies the loft alongside a primary bedrooms suiteThe curved bar provides a visual link to the rounded steps that lead down into the kitchen area, as well as to other curved elements throughout the house.
    “I like to include some curves in my projects through room openings, joinery and countertops,” Kelly said. “They help to soften spaces and improve flow from one area to the next.”
    The main bathroom is held in pale blue and green tonesAdjoining the kitchen is a hybrid library and snug, which is partially enclosed with oak shelving finished in glass and raffia, that double up as room dividers and nod to the Eames House in California.
    “We didn’t want this to be a dead space,” Kelly said. “It’s a quiet spot where you can curl up with a book or listen to music. And when the couple is entertaining, this is a soft space where you come to catch up with someone.”
    Four bedrooms are spread across the home’s upper levels, including a shared children’s bedroom with bunk beds on the first floor and two added bedrooms in the converted loft.
    A baby pink sink provides a pop of colourSince founding The Mint List in 2011, Kelly has completed a number of interior projects in London.
    Among them are the headquarters of music management company Everybody’s in Highbury, which she kitted out with mid-century-style movable furniture.
    The photography is by Dave Watts.

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    Ten gallery interiors that are artworks in their own right

    A subterranean gallery carved into a sand dune and a treehouse-style art museum feature in our latest lookbook, which collects striking gallery interiors from around the world.

    Art galleries are specifically designed as spaces for showcasing artworks such as sculptures and paintings. As a result, they are often characterised by neutral and minimalist interiors so as not to divert attention from the objects on display.
    However, some galleries are defined by statement designs that not only complement the artworks they house, but transform their interiors into masterpieces themselves.
    From a converted Iranian brewery to a Milanese basement, read on for 10 galleries with memorable interior designs.
    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring inviting entrance halls, terracotta kitchens and Crittal-style windows.

    Top: Helsinki’s Amox Rex museum. Above: image is courtesy of IK LabIK Lab, Mexico, by Jorge Eduardo Neira Sterkel
    Curving cement walls and undulating vine floors provide an alternative backdrop for artwork within the gallery at the Azulik resort in Tulum.
    The gallery, which visitors must enter without shoes via a winding walkway, is elevated above the ground and reaches the height of the surrounding tree canopy. Circular windows of various sizes flood the space with natural light.
    The gallery was opened by the resort’s founder and designer, Jorge Eduardo Neira Sterkel, after the great-grandson of the famed American art collector Peggy Guggenheim and a Tulum local suggested the idea.
    Find out more about IK Lab ›
    Photo is by Wen StudioTaoCang Art Center, China, by Roarc Renew
    TaoCang Art Center is comprised of two disused granaries located in the village of Wangjiangjing in China’s Zhejiang province. Shanghai studio Roarc Renew connected the volumes with a pair of sweeping brick corridors that are lined with arches.
    Functioning as distinct gallery spaces, the granaries are characterised by striking arrangements of lotus flowers on their floors – an ode to the village’s lotus-flower industry and a pond adjacent to the site.
    Find out more about TaoCang Art Centre ›
    Photo is by Ye Rin MokMaison Lune, USA, by Sandrine Abessera, Lubov Azria and Gabriella Kuti
    Designers Sandrine Abessera and Lubov Azria, founders of the contemporary art gallery Maison Lune, worked with interior designer Gabriella Kuti to set it within a former private house in California.
    Spread across rooms in neutral hues, the gallery is laid out like a collector’s home featuring a varied cluster of artworks and design pieces. Multiple terraces and internal stepped areas provide plinth-like display units for the objects throughout the property.
    “We want to build an alternative to traditional galleries, which are often perceived as too elitist and intimidating,” explained Abessera and Azria.
    Find out more about Maison Lune ›
    Photo is by Tuomas UusheimoAmos Rex, Finland, by JKMM Architects
    Finnish studio JKMM Architects designed the Amos Rex art museum in Helsinki with a series of domed subterranean galleries, which bubble up through the ground to create a sloping outdoor playground.
    While a portion of the museum is housed in the renovated Lasipalatsi, a functionalist 1930s building at street level, Amos Rex was also extended underground to include the domed galleries. These subterranean spaces feature minimalist monochrome interiors illuminated by large round skylights.
    Find out more about Amos Rex ›
    Photo is by Sergio LopezStudio CDMX, Mexico, by Alberto Kalach
    A multi-purpose artist residency and gallery come together at Studio CDMX, a space in Mexico City designed for Casa Wabi founder Bosco Sodi in which to work and exhibit his pieces.
    Constructed on the site of a former warehouse, the building reflects its location’s industrial roots with concrete, metal and brick elements arranged in chunky formations. Sodi’s sculptural works, finished in materials including stone and ceramic, also influenced the interiors.
    Find out more about Studio CDMX ›
    Photo is by William Barrington-BinnsPrivate gallery, Thailand, by Enter Projects Asia
    A winding rattan installation traces an overhead route through this private gallery in Chiang Mai, Thailand.
    Architecture studio Enter Projects Asia used an algorithm to design the structure, which snakes in and out of the gallery’s various indoor and outdoor spaces.
    “We sought to create an immersive experience, giving the space a warmth and depth uncharacteristic of conventional art galleries,” said studio director Patrick Keane.
    Find out more about this private gallery ›
    Photo is by Duccio MalagambaFondazione Luigi Rovati Museum, Italy, by Mario Cucinella Architects
    Layered stone walls line the new basement of the Fondazione Luigi Rovati Museum, an art gallery housed within a 19th-century palazzo in Milan that was both preserved and expanded by Italian studio Mario Cucinella Architects.
    The basement walls were created from overlapping layers of limestone ashlar, which curve upwards to form domed ceilings. Free-standing and wall-mounted cases designed by the architecture studio display two hundred Etruscan artifacts, including ancient jewellery and cinerary urns.
    Find out more about Fondazione Luigi Rovati Museum ›
    Photo is by Ahmadreza SchrickerArgo Factory Contemporary Art Museum & Cultural Centre, Iran, by Ahmadreza Schricker Architecture North
    US studio Ahmadreza Schricker Architecture North renovated a 1920s brewery in central Tehran to create the Argo Factory Contemporary Art Museum & Cultural Centre, preserving many of the factory’s original industrial features.
    Designed without middle supports, a curvilinear concrete staircase was inserted into the building to connect the museum’s lobby and its six galleries above. The staircase is one of a number of new elements with a rounded shape, created to contrast the uniform brick architecture.
    Find out more about Argo Factory Contemporary Art Museum & Cultural Centre ›
    Photo is by Wu QingshanUCCA Dune Art Museum, China, by Open Architecture
    Carved into a dune on a beach in Qinhuangdao, this coastal art museum is comprised of a network of subterranean concrete galleries.
    Beijing-based firm Open Architecture took cues from caves for the interlinked spaces, which are illuminated by organically shaped openings and feature an irregular texture.
    “The walls of ancient caves were where art was first practiced,” Open Architecture co-founder Li Hu told Dezeen.
    Find out more about UCCA Dune Art Museum ›
    Photo is by Kevin ScottMini Mart City Park, USA, by GO’C
    Mini Mart City Park is a community arts centre with a gallery built on the site of a former 1930s petrol station in Seattle.
    Local studio GO’C referenced the location’s history when creating the design for the centre, opting for classic signage, an overhanging roof and divided metal windows.
    Inside, the gallery space is characterised by exposed wooden rafters and smooth grey-hued floors, providing a neutral backdrop for the exhibition of artwork.
    Find out more about Mini Mart City Park ›
    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring inviting entrance halls, terracotta kitchens and Crittal-style windows.

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    Linehouse designs Hong Kong hotel to evoke the comfort of home

    Shanghai-based interior studio Linehouse used natural materials and a muted colour palette to give the Ying’nFlo hotel in Wan Chai, Hong Kong, the feel of an inviting home.

    The hotel occupies the podium of a 24-story tower on a hilly street in Hong Kong. Its ground floor holds a series of communal spaces that Linehouse designed to provide “home comfort” for guests.
    The ground floor comprises a series of rooms referencing living roomsThe Collectors Room, which greets guests at the entrance of the hotel, has a neutral palette of hand-rendered walls, timber paneling, and linen cabinetry that display curated objects and artworks. A communal oak table serves as a counter where guests can interact.
    This room also connects to an outdoor terrace through sliding glazed doors. Built-in bench seating and an olive tree sit at the centre of the terrace and invite guests to relax and socialise.
    A communal table and outdoor bench invite guests to socialiseA gridded timber screen leads further into the space through to the lift lobby and the Arcade room, where guests can gather to relax and play.

    Soft-rendered walls, timber shutters and an eclectic mix of furniture create a sense of intimacy, while floor tiles in various geometrical motifs add a sense of playfulness.
    The Music Room features ceramic tilesAdjacent to the Arcade is the Music Room, the social hub of the hotel. Here, ceramic tiles, a bespoke oak shelving system, a custom sofa and curated art and lifestyle objects were added to evoke a sense of a residential living room.
    The Music Room opens up to the Garden Terrace, where undulating greenery sits behind circular seating in yellow-striped fabric, a colourful contrast to the overall neutral colour palette of the Ying’nFlo hotel.
    Yellow-striped fabric seating on the terrace adds playfulness”The spaces are designed to have a warm, welcoming and familiar feel,” Linehouse said.
    “Against this backdrop of curated simplicity is an edge of youthful attitude and local context, with vibrant elements giving the hotel its own unique flavour.”

    Linehouse creates tactile restaurant with “Mediterranean soul” in Shanghai

    The guest rooms of the Ying’nFlo hotel are located on the upper floor and feature ceilings painted in a muted green hue, which the same green tone used to frame window seating nooks and for the hand-glazed tiles in the bathroom and kitchen.
    A clean palette of plaster, wood, white-washed oak and canvas add texture to the rooms. Seating nooks and lounge furniture serve multiple functions as spaces where guests can work, relax or dine.
    Muted green and selection of wood furniture create a warm feeling for the guest roomsLinehouse was founded by Alex Mok and Briar Hickling in 2013 and the duo went on to win emerging interior designer of the year at the 2019 Dezeen Awards.
    The studio has recently completed a Mediterranean restaurant with natural, tactile materials, as well as a space-themed cafe decorated with real meteorites, both in Shanghai.
    The photography is by Jonathan Leijonhufvud.
    Project credits:
    Design principle: Briar HicklingDesign team: Ricki-Lee Van Het Wout, Lara Daoud, Justin Cheung
    Dezeen is on WeChat!
    Click here to read the Chinese version of this article on Dezeen’s official WeChat account, where we publish daily architecture and design news and projects in Simplified Chinese.

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    Ember Locke hotel channels Kensington’s decadent heyday

    Warm saturated colours and maximalist touches are combined inside Locke Hotels’ latest outpost in west London, designed by local studios Atelier Ochre and House of Dré.

    Occupying an imposing Victorian mansion block in Kensington, the Ember Locke hotel was designed as a homage to some of the area’s historic architecture.
    Atelier Ochre and House of Dré have designed the Ember Locke hotelAmong the references brought in by the designers were the art deco Kensington Roof Gardens and the now-defunct Biba department store, which rose to popularity in the Swinging Sixties.
    “We wanted to create interiors that are an extension and interpretation of the neighbourhood, a space that reflects the cultural heritage of Kensington but also somewhere that shows the area’s evolution over time,” Atelier Ochre founder Pauline Dellemotte told Dezeen.
    “We wanted to delve into the world of bold patterns, rich colours, eclectic furniture and art deco details, to tap into the sense of opulence that once dominated the Kensington scene.”

    The hotel accommodates 121 serviced apartmentsInstead of traditional guest rooms, Ember Locke accommodates 121 serviced apartments over eight floors, alongside a bakery, restaurant and conservatory cocktail bar, a stage for live performances, a co-working space, a gym and a garden.
    Its interiors were designed to offer a contrast to the hotel’s location on bustling Cromwell Road – home to three of London’s most important museums including the V&A and the Natural History Museum.
    Velvet banquettes in the rooms are trimmed with ultra-long fringingThe building’s original arch-topped windows are mirrored in the arches and curves found in each room, from tubular-backed banquettes and chairs to the sculptural meandering clothes rail of the deconstructed wardrobe.
    “The curved edges of the banquette, the rotating mirror and the wardrobe rail are attempts to combine the unlikely trio of playfulness, comfort and practicality,” said House of Dré founder Andreas Christodoulou.
    “We’ve introduced some bold furniture and sculptural objects to spark a sense of curiosity and playfulness, and to allow guests to interact and reflect themselves within the space,” Dellemotte added.
    Each apartment also has a small kitchenetteThe velvet banquettes are trimmed with ultra-long fringing, echoed by the fringed pendant lights that hang low above the circular table in each room to zone the seating area.
    Brass detailing across coat hooks, wall lights and clothes rails adds to the sense of opulent modernity.

    Fettle designs Schwan Locke Hotel in homage to early German modernism

    An intense colour palette, which layers red, orange and mustard tones, is offset by the deep green of the apartment kitchenettes, highlighting the more practical nature of this area.
    “With the fringing and warm earthy colours, the rooms flirt with maximalism but still possess the calm and contemporary sophistication that one would expect from a Locke hotel,” said Christodoulou.
    The bed is separated from the kitchen via a cotton curtainHeavy recycled-cotton curtains in a claret colour, custom-created by London textile company Yarn Collective, track around the walls and create a flexible room divider, separating the bed and kitchen areas when needed.
    Many of the communal spaces feature art by local and up-and-coming artists alongside specially created works by House of Dré.
    Striped shower curtains jazz up the bathroomsThe project was a close creative collaboration between Dellemotte and Christodoulou.
    “We are old friends who met at a previous practice,” said Dellemotte. “Our friendship grew to include exciting collaborations across hospitality projects, where we combined our passions for design and art.”
    “At Ember Locke, we’ve been given the opportunity to blend the interior aesthetics and art curation of the spaces with the overall branding of the hotel in a holistic way.”
    Surfaces are finished in a salmony peach colourLocke Hotels already has a number of other outposts in London. Among them is one in Bermondsey – with interiors designed by Holloway Li to echo sunny California deserts – and one near St Paul’s Cathedral that is housed in a converted 1970s office block.
    The photography is by Kensington Leverne

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