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    Bachmann Associés gives Belle Époque hotel in French ski resort a modern update

    Bare brick and concrete are exposed in this renovation of a grand hotel at the foot of Mont Blanc by French architecture practice Bachmann Associés.

    Set in the ski resort of Chamonix, La Folie Douce Hôtel Chamonix occupies the former Savoy Palace – an 18,000-square-metre Belle Époque building with 250 rooms and five restaurants that was originally constructed in 1904.
    La Folie Douce Hôtel Chamonix is set in the renovated Savoy Palace hotelIn the 1920s, the hotel hosted lavish balls and tennis tournaments. But it later fell into disrepair and was abandoned by French travel operator Club Med in 2018 after it stated that “the site simply no longer meets our criteria”.
    Commissioned by the hotel’s new operators – hotel groups La Folie Douce and Les Hôtels Très Particuliers – Bachmann Associés wanted to reconnect the hotel with its opulent heritage and create spaces that would appeal to an “eclectic clientele”.
    Concrete and brick are exposed throughout the interiorThe Dinard-based studio, founded by architects Christophe Bachmann and Jérôme Gesret, left many of the hotel’s walls and ceilings intentionally rough, using lighting to accentuate any cracks and uneven textures.

    These raw surfaces are contrasted with opulent antique furnishings and finishes, including velvet-upholstered chaises longues, bespoke patterned carpets and brass fixtures.
    Modern fixtures replace old-school chandeliers in the atriumIn the public areas, dark and intimate spaces are alternated with generous light-filled rooms blessed with expansive Alpine views.
    In the lobby, partitions and false ceilings were stripped out to create a grand atrium with a sweeping staircase and a series of contemporary suspension lights that replace the hotel’s old-fashioned chandeliers.
    On the first floor, a cocktail lounge called Le Janssen is anchored by a brass-fronted bar and surrounded by arched floor-to-ceiling windows.

    Roman and Williams turns historic police station into NoMad’s London outpost

    “For this project, we had an exciting playground,” Gesret and Bachmann explained. “It was demanding because we had to bring an old palace back to life by completely reinventing the codes of the classic hotel industry. But that is really what appealed to us.”
    “We really like to shake up and reinvent places and we had a lot of fun exploiting the volumes, imagining spaces of freedom and conviviality in the very spirit of La Folie Douce.”
    The cocktail lounge has a brass-fronted barWith a similar aim, Snøhetta recently updated another Belle Époque hotel set in a tiny mountain village in Norway, while Roman and Williams converted a historic London police station into the first international outpost from American hospitality chain NoMad.
    The photography is by Gaelle Le Boulicaut.

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    YSG designs playful Sydney penthouse for empty nesters

    Australian studio YSG has added quirky fixtures and furnishings to this penthouse in Sydney’s Darlinghurst neighbourhood to suit the owners’ new post-lockdown design tastes.

    Drawing on references from tiled Spanish tapas bars to the colour palette of surrealist artworks, YSG gutted the apartment’s formerly “sober” interior to make way for a bolder fit-out.
    A fluffy armchair decorates the lounge of the Dream Weaver penthouseThe owners’ newfound freedom as empty nesters, alongside the lifestyle changes brought on by the coronavirus pandemic, played a key part in their wish for more aesthetically striking living quarters, according to YSG.
    “The past year of being sequestered at home amplified their desire for individual expression and more colourful injections regarding final furnishing selections,” the studio explained.
    “As consummate entertainers, they also requested conversational custom pieces.”

    Slabs of blue lapis lazuli stone clad the kitchen prep counterThe living room is now dressed with thick pile rugs, purple patchwork sofas and a shaggy pink armchair.
    A zingy pop of colour is provided by a trio of Murano glass floor lamps with contrasting transparent and metallic gold stripes. Nearby, a sliding door was inset with a matching amber-tinted porthole.
    Lapis lazuli is also incorporated into the custom drinks trolleyAlmost-black cabinetry was fitted in the adjacent kitchen alongside a backlit steel-framed shelf, which YSG said helps to display the owners’ tableware with “museum-like finesse”.
    The space is anchored by a blocky prep counter clad in purposely mismatched lapis lazuli stone slabs. A sculptural white breakfast bar is fitted with a rotating granite platter, on which the owners can present cheese and canapes when guests are over.
    A plum-red bed centres the principal bedroomJust beyond the kitchen is a dining area complete with a wooden table that was made bespoke by YSG and local industrial designer Adam Goodrum.
    There’s also a custom drinks trolley that features a worktop and handles made from the same blue lapis lazuli stone that covers the prep counter.
    At the back of the space is a wall overlaid with glossy off-white Moroccan tiles that reflect light around the room.

    YSG carries out tactile overhaul of Budge Over Dover house in Sydney

    A similar medley of materials and colours can be found in the principal bedroom, which was extended out onto the penthouse’s terrace to make space for a study nook and walk-in wardrobe.
    At the heart of the room is a bespoke wood-veneer bed frame stained in plum red and topped with a Calacatta Viola marble headboard. Berry-hued pendant lights are suspended at different heights directly overhead.
    The adjoining en-suite bathroom features an onyx stone surroundIn the ensuite bathroom, the studio installed a panel of veiny onyx that winds its way around the shower cubicle and beneath a row of mirrored vanity cabinets, at which point it turns into a ledge with two integrated sinks.
    Similar stone fixtures were created in the guest bathroom and the moodier main bathroom, which is entirely clad in deep indigo tiles.
    Indigo tiles create a moodier feel in the family bathroomAround the terrace, YSG added a number of large potted plants and succulents to keep the outdoor area out of sight from neighbouring properties.
    The space is dressed with blue furnishings that create a visual link to the waters of Rushcutter Bay, which can be seen in the distance.
    Tall plants provide privacy to the penthouse’s terraceYSG was established in 2020 and is led by designer Yasmine Saleh Ghoniem.
    The studio has completed a number of projects in its hometown of Sydney, including a family house with tactile interiors and a moody gin bar featuring black walls and juniper berry-blue furnishings.
    The photography is by Prue Ruscoe.
    Project credits:
    Design: YSGStyling: Felicity NgBuilding: Promena Projects

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    Atmosphere Architects creates optical illusion in Chengdu jewellery store

    Geometric grids cover most of the surfaces in this futuristic jewellery store in Chengdu, China, designed by local studio Atmosphere Architects to play with customers’ spacial perception.

    Located in the Jingronghui shopping centre in Chegdu’s Jinjiang district, the 180-square-metre concept store belongs to jewellery brand Kill Via Kindness, abbreviated as KVK.
    KVK is a jewellery store in Chendu’s Jingronghui shopping centreThe store features a dimly-lit entrance lined with green resin panels, which leads through to a windowless display space where the walls are clad in matt black tiles.
    A gridded black framework is installed across the interior’s luminous, frosted acrylic ceiling and matched below by white floor tiles. At one end of the room, a mirrored wall creates the impression that the interior stretches on to infinity.
    Glossy black tiles cover the store’s modular display units”The core concept behind KVK is ‘the reorganised philosophy of art’,” Atmosphere Architects told Dezeen. “Therefore, the client wanted a space that is flexible and easy to reorganise with flexible and adaptable modules.”

    In response, the studio created display units clad in glossy black tiles, which can be divided and joined together to form different modular configurations.
    Drawers hidden in the walls illuminate when openedDrawers integrated into the shop’s tiled walls provide additional storage and double up as adaptable lighting features.
    “When the drawers are pulled out, the light turns on immediately,” said Atmosphere Architects, which is led by designer Tommy Yu.

    Linehouse designs space-themed cafe in Shanghai for creator of “Australia’s most Instagrammed dessert”

    Spiders are a reoccurring motif in KVK’s jewellery. The brand’s concept store nods to this idea via the spindly legs jutting out from the entrance and the black gridded framework that covers the floors and ceilings like a web.
    “There are many elements about conflict, consciousness awakening, aggression and sharpness in KVK’s product concept,” the studio said.
    “In the space, materials and colours with different lights and shades, depths and textures are selected to express the ideology and beauty of collision.”
    The entranced is lined with green resin panelsOther futuristic monochrome interiors featured on Dezeen include a space-themed cafe in central Shanghai by design studio Linehouse.
    The photography is by Chuan He of Here Space.

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    Norman Kelley refreshes lobby of postmodern Chicago skyscraper

    US architecture studio Norman Kelley used materials such as brass and polished quartz to update the lobby in a 1980s skyscraper designed by John Burgee and Philip Johnson.

    The project – formally called the 190 South LaSalle Street Lobby – is located within a postmodern-style office tower in Chicago’s Central Loop. The 41-storey building was originally designed by American architects John Burgee and Philip Johnson and opened in 1987.
    Norman Kelley updated the lobby with materials including brassThe current owners, Beacon Capital Partners, hired local studio Norman Kelley to update the ground-level lobby, which is open to the public.
    “The overall goal of the project was to provide a safe interior public space that encourages community and contemplation, or a space to linger within,” the studio said.
    Rose-hued marble pilasters were kept intactThe lobby has a number of notable features that were kept intact. These include rose-hued marble pilasters, a black-and-white marble floor, and a 50-foot-tall (15-metre) vaulted ceiling sheathed in gold leaf.

    Norman Kelley added a range of new elements, including electric turnstiles, security desks and a cafe. Brass and polished quartz were used for the desks and cafe.
    A black-and-white marble floor was also preservedThe studio also designed new furnishings for the project, including a curvy sofa and long banquette, both in a vanilla hue.
    The seating was inspired by two sources – Vitra’s office furniture and group seating in the now-shuttered Four Seasons restaurant in New York, designed by Philip Johnson.
    A vanilla-hued banquette was designed by the studioThe seating was paired with round, brass-and-marble tables topped with portable LED Carrie lamps by Norm Architects.
    The north apse, which once held a marble security desk, was redesigned as a semicircular amphitheatre measuring 12 feet high and 27 feet wide (3.7 by 8.2 metres).
    The semi-circular amphitheatre has gold seatingThe tiered seating is made of perforated brass risers and honed, off-white marble with gold veining. Railings are made of brass pipes.
    To animate the space, the architects created an “immersive audio experience” in collaboration with the studio iart and sound scenographer Idee und Klang.
    Brass and polished quartz were used for the desks and cafeThe weather-inspired audio installation was designed to be triggered by 81 light sensors and three motion sensors that are located behind the risers.
    “Once the amphitheatre senses one’s presence, a musical score comprising 15 instruments, four tempos, and seven keys and scales play across eight of the nearest 91 speakers,” the team said.

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    “The brass-and-marble amphitheatre is a responsive instrument that uses real-time data inputs, like weather and time of day, to compose an ever-changing sonic environment.”
    The amphitheatre stands in contrast to the southern apse, where a towering bronze sculpture, called Chicago Fugue by Anthony Caro, was installed in 1987. The abstract sculpture is composed of anomalous shapes and alludes to musical instruments.
    A bronze sculpture by Anthony Caro features in the space”Like an aural diptych, the lobby presents two musical sculptures: one figurative, the other literal, to welcome you back to work,” the team said.
    Norman Kelley was founded in 2012 by Carrie Norman and Thomas Kelley.
    The studio’s other projects include an Aesop store in Chicago’s Bucktown neighbourhood, which features reclaimed bricks arranged in pinwheel patterns, and a flagship store for clothing retailer Notre that is housed in a building dating to 1906.
    The photography is by Kendall McCaugherty Ristau.
    Project credits:
    Architect: Norman KelleyOwner: Beacon Capital PartnersGeneral contractor: Power Construction CompanyMedia architecture: iartSound scenography: Idee und KlangAcoustics: Walters-Storyk Design GroupMEP: Kent Consulting EngineersStructural engineering: Klein & HoffmanAudio visual services: Global Service TechniciansMillwork: HuberExpediter: Burnham NationwideFilm: Spirit of Space

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    Pyton Place exhibition shows how the Bauhaus influenced Norwegian design

    Oslo-based collective Pyton showcased more than 50 examples of Norwegian art, design and craft at the Pyton Place exhibition during London Craft Week.

    Pyton Place set out to tell the story of how modernism impacted traditional craft practices created in Norway, and the objects that were produced as a result.
    The exhibition was organised like a homePresented in Cromwell Place from 11-15 May, the exhibition paired the distinctive pine furniture of mid-century Norwegian designer Edvin Helseth with objects and artworks by the likes of Sigve Knutson and Tron Meyer.
    According to Richard Øiestad and Are Blytt, the two Pyton members behind Pyton Place, the aim was to show that the modernist movement was not just a generic style, but also resulted in a range of diverse, highly crafted works.
    A “faux-Norwegian-cabin-style” wall system divides the space into zones”For us, this show is about artists and object makers working primarily with unique pieces,” they told Dezeen.

    “It is the relationship between their chosen materials and their intellectual concepts, and the connections all these have to the world around us.”
    Sculptural stools by Sigve Knutson, Julia K Persson and Sverre Gullesen were featuredThe exhibition references its setting – a Georgian apartment – by organising the objects in relation to the rooms they occupy. There are five zones: sleep, eat, lounge, work and arrive.
    This arrangement references the manifesto of Hannes Meyer, the second director of the Bauhaus school, which set out 12 motivations for how living spaces should be organised.
    Pine furniture by mid-century designer Edvin Helseth features throughoutThe Bauhaus played an important role in Norway’s adoption of modernism, Øiestad and Blytt explained.
    In the early 20th century, when the country had a strong social-democratic political stance, young Norwegian designers were attracted to the innovative spirit of the Bauhaus.

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    Many of those that left to study returned to become professors for a post-war generation of students. Among those students was Helseth, who combined his modernist learnings with carpentry skills taught by his family.
    “Helseth is a designer that all the members of Pyton have been fascinated with for a long time,” said Øiestad and Blytt, “due to his very modern and unique way of making modernist furniture in pinewood.”
    Artworks include a tapestry by textile artist Elisabeth Haarr”His furniture designs have a brutalist appearance, continued Øiestad and Blytt. “At the same time, they have a hint of refined Japanese wood craftsmanship; assembled with no glue or screws, they are held together with only wooden plugs or joints.”
    Helseth’s designs were featured throughout Pyton Place. They included a folding dining table, a modular shelving system, an elaborate desk and a simple tea trolley.
    Lina Viste Grønli’s All The Pens flanks a desk by Edvin HelsethTo complement these works, Øiestad and Blytt designed a “faux-Norwegian-cabin-style” wall system that helps to clearly divide the five different zones.
    They then added a range of sculptural and functional objects and artworks, both historic and contemporary, revealing the scope of creativity that Norway has produced over the past 100 years.
    Works by Henrik Ødegaard and Nebil Zaman dominate the entrance zoneHistoric pieces included a range of pewter objects by Gunnar Havstad, including a bottle described as “perfect in its shape and proportions”, and a tapestry by textile artist Elisabeth Haarr.
    “Elisabeth Haarr’s tapestry from 1973 is something that really bonds with us intellectually; a sharp work of art in itself, but at the same time a historical timepiece of feminist history within the Norwegian art scene,” said the curators.
    Oda Iselin Sønderland presents a watercolour painting, HespetreContemporary works on show included some pieces by Pyton members, including an aluminium television stand with an eye detail by Øiestad, a pair of graphical stools by Blytt and bird-inspired furniture pieces by Henrik Ødegaard.
    Other highlights include a mouth-shaped stool by ceramist Julia K Persson, a pen-covered curtain by artist Lina Viste Grønli and Oda Iselin Sønderland’s watercolour painting, Hespetre.
    “Oda Iselin Sønderland’s mystic motives blend elements of dreams with crafting,” said the curators. “Her works connect with growing up, youth culture, and the life circles through drawing.”
    A trolley by Edvin Helseth displays a tea set by John SkognesThe exhibition was supported by Norwegian Crafts and was one of the headline events during London Craft Week. Øiestad and Blytt hope that visitors left with “a lust for a less-generic-living”.
    “We hope this show could help people to remember that culture should be included in our daily lives,” they added.
    Pyton Place was staged as part of London Craft Week, which took place from 9-15 May 2022. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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    Ten homes with French doors that bring an airiness to the interior

    A home with terrazzo interiors and an apartment that was renovated to include library bookshelves across its walls feature in this lookbook highlighting 10 homes with French doors.

    French doors can be described as a pair of doors that typically open out to outdoor spaces and have glass panes that stretch the height of the doors.
    The doors are often used as exterior doors, as they can bring light into the interior as a result of their largely glass construction. But French doors can also be used in interiors, where they divide and partition spaces without compromising on light.
    The following residential projects show how French doors can be used and incorporated within home renovations, extensions and newbuilds.
    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks including open-plan studies, bedrooms on mezzanine levels, and green living rooms.

    Photo is by Will PryceTower House, UK, by Dominic McKenzie Architects
    Located in the London borough of Islington, Dominic McKenzie Architects looked to lofty structures in rural Italy when designing this brick extension.
    Chevron flooring draws the eye towards black, glass-panelled French doors, which were positioned beneath a rectangular skylight and open out to a sunken garden.
    Find out more about Tower House ›
    Photo is by Santiago Barrio and Shen Zhong HaiBook-lined apartment, China, by Atelier Tao+C
    A white modular sofa was oriented toward white French doors at this top-floor apartment in one of Shanghai’s earliest high-rise residential buildings.
    Atelier Tao+C renovated the apartment to centre the study as the focal point of the house. Floor-to-ceiling smoked oak bookshelves were built around the entirety of the apartment and frame white-painted French doors that lead to an L-shaped balcony.
    Find out more about the book-lined apartment ›
    Photo is by Joe Fletcher PhotographyTehama One, US, by Studio Schicketanz
    Expanses of panelled glass blanket the walls of this home in California, which was designed by US practice Studio Schicketanz. The single-storey home and guest house were positioned around a landscaped courtyard.
    Indoor and outdoor spaces become one through the use of large French doors that provide calming views out to the central courtyard. Textural materials were used throughout the interior.
    Find out more about Tehama One ›
    Photo is by Carlos NaudeCasa Mami, US, by Working Holiday Studio
    Japanese and Scandinavian design as well as the work of architect Luis Barragán informed the design of this holiday home in the Californian desert.
    French doors frame the desert surroundings from within the paired back interior, which houses a sculptural Cylinder Back Armchair by Los Angeles-based furniture studio Waka Waka.
    Find out more about Casa Mami ›
    Image caption: Photo is by Andrew MeredithWhite Rabbit House, UK, by Gundry & Ducker
    Designed by architecture studio Gundry & Ducker, White Rabbit House is a neo-Georgian home in Canonbury, Islington. The studio incorporated green hues and different-shaped windows and openings throughout.
    The kitchen features white terrazzo floors and green-painted double doors that open to its garden. A skylight runs the width of the space above the kitchen and its island-cum-breakfast bar.
    Find out more about White Rabbit House ›
    Photo is by French + TyeAmott Road, UK, by Alexander Owen Architecture
    Curving timber, geometric shapes and bright colours define this home in East Dulwich by London studio Alexander Owen Architecture.
    The kitchen has a wood-lined interior with timber stretching and curving across its ceilings, walls and cabinetry. Deep blue floors lead out to the garden via arched French doors, complementing the home’s modernist and pop-art feel.
    Find out more about Amott Road ›
    Photo is by Charles HoseaGreenwood Road, UK, by Kilburn Nightingale
    Architect Ben Kilburn transformed his own Victorian property in Hackney, London, adding a double-height library beside stretches of pale-wood-lined glazing that opens out to the garden.
    The double-height space is visually connected to both the home’s outdoor space and a living room with a mezzanine-style railing positioned on the floor above. Floor-to-ceiling glass, including French doors, stretches the entirety of the rear brick volume.
    Find out more about Greenwood Road ›
    Photo is by Filip DujardinAntwerp apartment, Belgium, by Bovenbouw
    Large French doors tower above the interior of this Antwerp apartment, located within a residential development set inside three converted 19th-century buildings.
    Bovenbouw Architectuur looked to 19th-century design ideas to inform the design of the apartment, incorporating classical features such as parquet flooring and decorative marble panelling.
    Find out more about Antwerp apartment ›
    Photo is by Marie-Caroline LucatMaison 0.82, France, by Pascual Architect
    An open-plan kitchen, lounge and dining room were positioned on the southern side of this single-storey home in France by Pascual Architect.
    Floor-to-ceiling glazing, which doubles as large French doors, surrounds the perimeter of the living spaces and provides views out and easy access to the exterior.
    Find out more about Maison 0.82 ›
    Photo is by José HeviaHouse 03, Spain, by Lucas y Hernández-Gil
    Spanish studio Lucas y Hernández-Gil overhauled an apartment in Madrid by reconfiguring its layout, installing a new kitchen and adding oak and stone surfaces throughout.
    Orignal joinery was restored throughout the 19th-century apartment. French doors open out from the open plan kitchen and living area and are framed by bi-folding shutters that can remove the light from the interior.
    Find out more about House 03 ›
    This is the latest in our series of lookbooks providing curated visual inspiration from Dezeen’s image archive. For more inspiration see previous lookbooks showcasing open-plan studies, bedrooms on mezzanine levels, and green living rooms.

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    The Hoxton opens Ricardo Bofill-informed hotel in Barcelona

    London-based hospitality group Ennismore has opened a hotel in the Poblenou neighbourhood of Barcelona that draws on the bright colours and architectural style of Spanish architect Ricardo Bofill.

    Named The Hoxton Poblenou, after the neighbourhood in the east of the city that was once a hub for the production of textiles where it is based, the 240-room hotel is The Hoxton first Spanish location.
    Ennismore’s design team looked to the work of the late architect Bofill, whose studio is situated nearby,  for the hotel’s interiors. The Spanish architect, who passed away earlier this year, was known for his use of colourful geometric forms and conversion of a dilapidated cement factory into his own studio.
    The Hoxton, Poblenou has opened in Barcelona”Our chief inspiration for the entire project was the infamous late architectural designer, Bofill,” said Ennismore senior designer Charlotte Flynn.
    “His ingenious way of reframing and reimagining old industrial buildings led to many of the architectural features,” she told Dezeen.

    “The use of simple local materials such as ceramic tile, terracotta and concrete was also something that rang true to us from Bofill’s aesthetic.”
    It is the first Spanish site of The Hoxton hotel seriesAlongside the guest suites, the hotel has a rooftop with a pool and bar, pizza restaurant and a bodega. Three meeting and events spaces make up an area named The Apartment, while a basement space called La Cave hosts local events.
    The Hoxton Poblenou’s lobby was framed by floor-to-ceiling windows and curved doorway arches. The focal point of the space is a curved all-day bar serving coffee and drinks that is fronted by a colourful hand-painted mural.
    The designers used colours and forms associated with architect Ricardo BofillElsewhere in the lobby, potted plants, rattan chairs and other seating upholstered with tactile fabrics and patterns can be found.
    Lobbies at The Hoxton’s range are open twenty-four hours to both guests and members of the public as they are designed to be social, community hubs.
    The hotel also houses a pizza restaurantAccording to Flynn, the designers opted for Mediterranean colours in the common areas, as in the peachy plastered walls and tan-hued leather sofas because The Hoxton Poblenou was their first opportunity to design a hotel in a hot and sunny climate.
    Similarly, material choices such as vivid toned glazed tiling were inspired by local Spanish building materials used for roofs and floors.
    Three meeting rooms are located on the ground floor”Bright, sun-drenched palettes, swathes of sheer materials and Mediterranean planting were an absolute must to provide some exotic escapism,” said Flynn.
    “The colour palette ties all the spaces together; reminiscent of a typically Spanish vista featuring terracotta, ocean blues, sunny yellow hues, olive greens and our own addition of pastel and raspberry pinks.”
    Rooms are furnished with natural materials and vintage sourced furnitureUpstairs in the guest rooms, faded floral prints embellish the soft furnishings while bespoke tapestries handmade in India hang above every bed in a nod to Poblebou’s fabric-making past.
    In many of the rooms, the designers departed from their usual choice of timber flooring, which can be found in The Hoxton Southwark. Instead, they opted for terracotta, in an echo of traditional Spanish homes.

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    “Typically, we’ve always designed bedrooms with a timber floor, but it felt like an appropriate and natural departure point for us given the location,” explained Flynn.
    “We layered the space with plenty of rugs in natural Jutes and a deep saturated jewel-toned blue natural wool,” she added.
    “Earthy and oceanic tones are chief in the fabrics and artwork sat against a breezier green and white backdrop.”
    Bedrooms have a muted colour palette and faded floral furnishingsNatural materials like wool and rattan were used throughout the suites in the furniture and lighting, as an ode to Esparto weaving – a traditional Spanish craft. In the bathrooms, several of which have bathtubs, terracotta tiles line the floors and walls.
    A large majority of the furniture and lighting at The Hoxton, Poblenou was designed in-house and produced in Spain and Portugal.
    The hotel bathrooms have terracotta-tiled floorsKey vintage items were sourced from around Europe such as a pair of woven armchairs from the Dutch department store Vroom & Dreesman and a floor lamp from the 1960s by Vico Magistretti for Artemide.
    Contemporary items include a Gustaf Westman Blob Table coffee table and Tino Seubert’s Corrugation Pendant light.
    The first hotel in The Hoxton series was opened by Ennismore in 2006 in London. The Hoxton now has 11 locations across Europe and the US, three of which are in London.
    For The Hoxton Portland, Ennismore transformed a historic building in Portland, Oregon, into a hotel with refreshed modernist-influenced interiors while The Hoxton Chicago which is located on the site of an old meatpacking facility references the industrial nature of its past.
    The photography is by Heiko Prigge.

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    Frederick Tang Architecture transforms New York loft into light-filled wellness studio

    Interior architecture and design studio Frederick Tang Architecture (FTA) has updated Moxi, a wellness studio and acupuncture centre in Soho, New York by re-arranging its interiors around an expansive oval skylight.

    Frederick Tang Architecture, based in Brooklyn, was tasked with reordering and redesigning the open-plan, top-floor studio into a space that accommodates a reception area, six treatment rooms, offices, bathrooms, herb dispensary and pantry.
    Frederick Tang Architecture wanted to capture natural lightThe studio took the 1901 mercantile building’s skylight as the starting point for the refurbishment of the rectangular-shaped space.
    Its dense urban context required an innovative solution to increase the floor area while introducing natural light throughout.
    Moxi is arranged around a central skylight”Architecturally we wanted to organise the many different components in a plan that felt logical and complete which was difficult with space constraints,” said Frederick Tang, director of design and principal architect at Frederick Tang Architecture (FTA).

    “We started by organizing the plan around the sources of natural light,” he told Dezeen.
    An office space has been added to the interiorVisitors enter the wellness studio and arrive at a reception area framed by four arched windows overlooking Broadway.
    Here, a custom bench crafted from white oak slats and copper detailing curves along two walls while sculptural pendant lights hang from the ceiling.
    To maximise space and take full advantage of the natural light, this area doubles as a site for gatherings and classes.
    The reception is flanked by four arched windowsFTA reconfigured Moxi’s rooms as well as softened corners and created arches that echo some of the existing architecture of the space for the client who wanted the interior to feel “holistic, natural, calm and inspiring”.
    A single corridor leads to all six treatment rooms, which were also coloured in shades of green.
    The walls were lime-washed in a soft cypress green, with wainscotting wooden panels painted in a darker shade of the same hue.

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    FTA wanted the colour to contrast traditional wellness studios which are often white and feel more clinical.
    “The predominant colour was green –lime washed in a cypress and deep forest – chosen for its property to heal, critical at the front where the patron first experiences the space,” said the architects.
    Each acupuncture treatment room has a different wallpaperThe treatment rooms, which are the most intimate sections in the studio, contain two bedrooms and a bathroom arranged around the lightwell.
    The green was offset by hints of pale peach throughout the interior and natural finishes including terrazzo, concrete, boucle and ribbed glass add depth and texture.
    A kitchenette is located at the end of the central corridorAt the end of the corridor, a second archway opens into a back-of-house area, where FTA has inserted a new office, herb dispensary, staff pantry, and bath.
    Other design-focused wellness spaces include the Shelter wellness centre in Sydney, which is located in a former restaurant and Yoko Kitahara spa in Israel, which was transformed from an Ottoman-era home.
    The photography is by Gieves Anderson.

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