Markus Andrews

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    BIG opens Los Angeles office in renovated 1920s building

    Danish architecture studio BIG has opened an office in Santa Monica in a renovated 1928 Spanish revival building designed by iconic Los Angeles architect Paul R Williams.

    The 1928 building was refurbished by the team, many of whom will be joining the freshly minted BIG Los Angeles team – recruited both from the New York office and from the local “talent pool”.
    BIG has opened an office in a 1928 Paul R Williams building in Santa MonicaBIG, the architecture studio established by Danish architect Bjarke Ingels, will be anchored in the Californian city by partner Leon Rost.
    For the renovation, the studio kept many of the original Spanish revival details of the original structure including the expressive reliefs on the facade.
    Some of the plaster detailing was kept, but the office largely has an unfinished lookSome of the interior plasterwork was maintained as well. The primary second-floor workspace was opened up, and much of the walls were peeled back to reveal the wooden structure and enhanced mechanical system.

    Unfinished concrete columns are located in th middle of the space, with thick wooden rafters intersected by skylights.
    The office layout is open, with large spanning desks and folded Roulade chairs by KiBiSi, which Ingels is also a partner of.
    The office will help expand the studio’s West Coast presenceAccording to Rost, the studio plans to continue to update the space with samples of technology such as solar panels from the studio’s local projects, many of which are in late states. These projects include Claremont McKenna College Robert Day Sciences Center.
    “We’ve also designed an interior layout that preserves the original interior plasterwork from 1928 and intentionally chose a location that is close to public transport,” Rost told Dezeen.
    “As a Japanese Californian I am excited to root BIG on the Pacific Coast. In the city of storytelling, big dreams and a pioneer spirit, I am certain LA will be a fertile frontier for continued experimentation. You could say BIG – though born in Copenhagen – has always been an Angeleno at heart.”

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    The office is the studio’s second in the United States, after its New York office opened in 2010.
    The studio has a significant presence on the West Coast, and is currently in the process of completing a large mix-used development on an industrial site in Downtown Los Angeles and is working with British studio Heatherwick on a Google headquarters in the San Francisco Bay area.
    The studio will be under the direction of partner Leon RostBIG New York partner Kai-Uwe Bergmann told Dezeen that the move has come from the “considerable” amount of West Coast work the studio has had since opening in the United States.
    “Having also once called Los Angeles home – I attended UCLA in the 1990s – I am super excited to bring ‘Scand-American’ thinking to our future work within the Pacific Rim region,” said Bergmann.
    Other significant projects on the West Coast by BIG include the impressively massed Vancouver House skyscraper in Vancouver, Canada.
    The photography is by Pooya AleDavood.  

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    Works by Fernando Laposse and others showcased in beachside Mexican pavilion

    Works by Mexican designers Fernando Laposse and Claudina Flores were among those shown in a remote seaside house near Puerto Escondido, Mexico, during Mexico Design Fair.

    Dozens of works were placed throughout the house, called Casa Naila, which was designed by Mexican architect Alfonso Quiñones – who used techniques gleaned from his work with Japanese architect Tadao Ando on the nearby Casa Wabi arts centre.
    Mexico Design Fair took place in a seaside home made up of pavilions. Photo by Jaime NavarroCasa Naila’s concrete foundations, wooden structure and thatched walls and ceilings were at risk because of the erosion, so their was turned into a pavilion and used for years as a location for the invite-only fair.
    According to the fair, the purpose of the exhibition was to execute a “long-term vision that foresees better conditions for the design disciplines in the country through critical dialogue, production and quality exhibition contents”.
    Furniture was displayed throughout the house’s multiple structuresArranged throughout the different pavilions of Casa Naila were furniture and decor objects.

    As visitors entered the structure there was an arrangement of colourful stools by Oaxaca City-based designer Jaime Levin, with sculptural legs, woven nylon tops and multiple seats on some of the stools.
    Directly across, in the kitchen area, was an arrangement of glassware by Mexican company Xauixe – noted for its use of recycled glass in its products and recycled cooking oil used to heat its ovens.
    Glassware from Xauixe was featuredThe other furniture installations filled the ground and second levels of the other two pavilions.
    These included works by Mexico City and London-based designer Laposse, who uses materials like agave fibres to create material with applications for rural communities. His works included the small, white and “hairy” Pup bench and wall panels with marquetry made from corn husks.
    Laposse was named Designer of the Year award from the fair.

    The programming included a pyrotechnic installationArranged in tandem with Laposse’s pieces were intricately constructed cabinets by Guadalajara-based designer Claudina Flores, who recently featured in our round-up of design studios in Guadalajara.
    The show also included a colourful set of outdoor metal furniture by César Ponce and Carlos Torre Hütt, wooden chairs draped with plush leather cushions by Brooklyn studio Prime Project, as well as floor rugs by Indian firm Odabashian with designs by American designer Little Wing Lee and Argentinian Pilar Zeta.

    Ten noteworthy exhibitions from Design Week Mexico 2023

    On the beach was a spindly structure by artist and producer David Sánchez, which became a pyrotechnic installation at the end of the one-day showcase.
    Many of the guests and designers were housed in Hotel Escondido, an hour’s drive north from the fair’s location.
    Mexican designer Fernando Laposse showed his material experimentations and was awarded the Designer of the Year honour. Photo by Jaime NavarroSelect programming took place in the architecturally significant homes around Hotel Escondido – including the temple-like Casa Monte by Carlos Matos.
    At Casa Malandra, a beachside home designed by Taller Alberto Calleja, visitors were treated to traditional tamales made in a massive basalt oven designed by artist Julio Martinez Barnetche.
    A massive basalt oven was shown as part of the satellite programmingWhile the fair showcased a wide array of designers, some of the participants commented on the remoteness of the venues, and the invite-only status of the guests meant that the participants were limited but that the visitors did become tight-knit as the programming went on.
    Other small-format design fairs in Latin America included a showcase in a monument in Santo Domingo, Dominican Republic organised by Galerie Philia last year.
    Photography by Gerardo Maldonado unless otherwise stated. 
    Mexico Design Fair took place from 24 to 26 May in Puerto Escondido. For more fairs, exhibitions and talks in architecture and design visit the Dezeen Events Guide.

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    Crafting the Present reveals manufacturing techniques behind mid-century furniture classics

    The 3 Days of Design exhibition from Danish furniture brand Fredericia reveals how iconic designs by Hans J Wegner and Børge Mogensen have been subtly adapted in line with today’s standards.

    On show at the Fredericia headquarters in Copenhagen, Crafting the Present showcases the craft processes, tools and makers behind the brand’s furniture.
    Crafting the Present is on show for 3 Days of DesignCurated by designer Maria Bruun, the exhibition shows how designs including Wegner’s Ox Chair and Mogensen’s Spanish Chair have been carefully reworked in line with modern manufacturing technologies and environmental standards.
    Rasmus Graversen, CEO of Fredericia, believes it is important for design classics to move with the times.
    The exhibition reveals the processes behind designs including Hans J Wegner’s Ox Chair”We sometimes need to challenge the way we do things; something that was good 50 years ago isn’t necessarily good now,” he explained during a tour of the show.

    “If you don’t have a culture of craft in your company, you might think the way that something was done in the past is the only right way.”
    Leather upholstery techniques are showcased in the exhibitionGraversen, who is also the grandson of brand founder Andreas Graversen, wanted the exhibition to highlight how this culture of craft is at the heart of Fredericia’s approach.
    The company has a specialist upholstery workshop in Svendborg, south Denmark, a facility that was established by Erik Jørgensen in 1954 and acquired by Fredericia in 2020.
    The show includes live demonstrations from makersThe exhibition includes live demonstrations from both the workshop production team and from artisans at leather manufacturer Tärnsjö Garveri.
    Crafting the Present also showcases the tools used in these production processes, alongside models that reveal how the furniture pieces are assembled.
    “We wanted to showcase the talented craftsmen and women whose hands touch every piece of furniture,” Bruun said.
    “Here, craft is not a marketing gimmick. It is not a layer added onto the furniture afterwards. It is the heritage of this company and has an influence on everything.”
    Tools are presented alongside models”All of the tools you see are used for real,” added Graversen. “Nothing was picked just because it’s pretty.”
    “These are all used in the actual production; it’s an extraordinary experience to see what happens.”
    Rasmus Graversen, CEO of Fredericia, wanted to celebrate the brand’s culture of craftTextile curtains suspended from the ceiling provide a scenography that divides the space into different sections.
    Metal trolleys create multi-level displays, while larger models are raised up on trestles.
    The Maria Bruun-designed Pioneer stool provides seatingThe Pioneer, a design developed by Bruun for Fredericia in 2023, is also featured.
    Dotted through, the stool provides seating so that visitors can spend time watching the artisans at work.
    Crafting the Present is on show for of 3 Days of Design, which takes place in Copenhagen from 12 to 14 June. For more events, exhibitions and talks in architecture and design visit Dezeen Events Guide.

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    Teki Design creates Kyoto cafe as hub to “learn about the future of coffee”

    2050 Coffee is a minimalist self-service coffee shop in Kyoto designed to raise awareness about sustainability issues surrounding the future of the drink.

    According to architecture and interiors firm Teki Design, the coffee shop aims to interrogate “the 2050 coffee problem” – the fact that there could be a global scarcity of coffee the year 2050.
    Teki Design created the interiors for 2050 Coffee in Kyoto”Climate change might lead to a decrease in areas suitable for coffee cultivation,” Teki Design founder Tatsuya Nishinaga told Dezeen.
    “The current practice of enjoying the drink at coffee shops may become more of a luxury,” added the designer.
    The cafe features self-service machinesIn response, Teki Design wanted to create a stripped-back interior for the cafe, where customers come and “learn about the future of coffee”.

    2050 Coffee is spread over two open-plan levels and features large rectilinear windows on its facade, which reveal a monochrome interior.
    Polycarbonate counters display the machinesInside, smooth grey walls create a backdrop for curved and illuminated counters made from corrugated polycarbonate sheets, chosen for their “inexpensive and familiar” qualities.
    “While this material is often used for shed roofs due to its low cost and accessibility, it reflects light beautifully,” said Tatsuya.
    A small seating area features at one end of the ground floorThe counters display brightly lit self-service screens connected to sleek silver taps that produce five types of “sustainable” drip coffee in around 10 seconds.
    Polycarbonate was also applied to the cafe entrance to create a large, rounded sign emblazoned with the 2050 Coffee logo, which acts as a beacon when seen from afar.
    Upstairs, shelves display various coffee paraphernaliaA small seating area at one end of the ground floor was formed from understated black benches.
    Upstairs, more dark-hued seating was arranged next to a series of low-lit, chunky frame-shaped shelves displaying various coffee paraphernalia.
    The shelves are reflected in floor-to-ceiling mirrors, selected to add to the coffee shop’s futuristic feel.

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    As well as a cafe, 2050 Coffee is used as a space for various pop-up events that investigate coffee and sustainability.
    Tatsuya warned that despite these issues, drinking coffee is becoming more popular worldwide, adding to the problem.
    “As coffee consumption increases, particularly in Asian countries where tea has been the traditional choice, the balance between demand and supply may become disrupted,” he explained.
    “Creating a place where people can first learn and then think together is what we consider our approach to problem-solving.”
    2050 Coffee is positioned on a Kyoto street cornerPreviously completed coffee shops in Japan include a Tokyo cafe in a former warehouse and another in Kyoto clad in rapidly oxidised copper.
    The photography is by Kenta Hasegawa. 

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    Pirajean Lees draws on Japanese and Spanish design for Kioku restaurant and bar

    Studio Pirajean Lees paired oxblood tiles with intricate wooden joinery at the Kioku sushi restaurant and sake bar, within central London’s OWO hotel, to reference the head chef ‘s travels.

    Kioku consists of a bar on the ground floor and a restaurant on the top floor of the hotel within the Grade II*-listed Old War Office on Whitehall, which once housed the British government’s military departments.
    Pirajean Lees created Kioku, meaning “memory” in Japanese, to capture sushi master Endo Kazutoshi’s recollections of living and working in Japan and Spain.
    Kioku bar is located on the ground floor of The OWOLocated on the ground floor of the hotel, the single-room bar is accessed via a door framed with smooth timber joinery informed by the traditional Japanese carpentry technique Sashimono.
    Guests are greeted by a bespoke oak reception desk featuring embroidered floral textiles and mesh detailing as well as a light-controlled sake cellar clad with patchwork cork panels.

    All of Kioku’s furniture was custom-made by Pirajean Lees, explained studio co-founder James Lees.
    The bar features a light-controlled sake cellar”We share a passion for storytelling and an obsession with details, from the way your hand touches the backrest of a chair, to the height of the table,” said the designer.
    “From the outset, we knew that the level of attention to detail in the interior had to match that found in the food being served.”
    Japanese records can be played on a bespoke turntableThe bar’s floor plan was subtly stepped to provide “elevated views” for each of its intimate seating areas, rather than relegate guests to hidden corners of the room, said Lees.
    A wide selection of sake is served at an oversized and curved central bar designed with knobbly timber cladding.
    Kioku restaurant is located on the hotel’s rooftopHandcrafted tiles and a gridded carpet finished in oxblood red were used to create the flooring, while deep red dado and natural clay walls also nod to the space’s Spanish influence.
    In one corner, a bespoke turntable is positioned for guests to play a selection of Japanese records from Endo’s personal collection.
    Bow details were carved into the dining chairsThe Kioku restaurant is contained within a long room on the north side of the hotel’s rooftop, with panoramic views of central London. Entered through timber double doors, the eatery features similar design accents to the bar.
    Wooden frames and boxy mirrored “portals” were used to delineate spaces within the main dining area, which includes L-shaped banquettes and oak dining chairs upholstered with Japanese embroidered silk.
    The chef’s table was positioned opposite the open kitchenBow details were carved into the chairs to emulate the seating at Endo’s favourite hotel in the city of Yokohama. Subtle versions of the bow motif are echoed downstairs on the bar’s wooden tables.
    Pirajean Lees constructed a private dining room with a chef’s table at one end of the restaurant, built above an intimate outdoor cigar terrace that overlooks The OWO’s central courtyard.
    Panoramic views of central London can be seen from the main terraceEncased by a curved glass roof, the extension was positioned opposite the open kitchen to allow guests to watch their dishes being prepared. Retractable mesh screens were also fitted for privacy.
    The main terrace includes timber dining tables and chairs with Mediterranean-style terracotta and mustard upholstery surrounded by lush plants.

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    At the end of the terrace, a historic turret overlooking St James’ Park and Horse Guards Parade features another eight-seat private dining room with soft linen curtains and an oak table illuminated by an oversized rice paper pendant light.
    Pirajean Lees chose a striking yellow rug for the circular floor to reference the sun, while the round ceiling was hand-painted with an inky indigo mural by British artist Tess Newall in an ode to the contrasting moon – recognisable motifs found in Japanese mythology.
    A historic turret houses another private dining space”We design to create emotional spaces grounded in their story, rather than interiors purely driven by aesthetics,” reflected studio co-founder Clémence Pirajean.
    Founded in 2017 by Pirajean and Lees, the studio has applied its eclectic style to various other London projects – from the “timeless” interiors of music venue Koko’s members’ club to a Mayfair restaurant with an Arts and Crafts-style design.
    The photography is by Polly Tootal.

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    Venetian palazzo informs “elegant and unexpected” interiors of Hotel Bella Grande

    Bold red-and-white checkerboard tiles and colourful upholstered banquettes lend an Italian feel to the atrium of this Copenhagen hotel designed by local studio Tonen.

    Malene Bech-Pedersen and Mette Bonavent of Tonen oversaw the design of Hotel Bella Grande, which occupies a historic building close to Copenhagen City Hall.
    Constructed in 1899, the five-storey building retained many characterful features but was in need of refurbishment to maximise its potential and bring it up to modern standards.
    Tonen has refurbished a hotel informed by a Venetian palazzoTonen aimed to create interiors for the 109-room hotel that are timeless yet contemporary and combine a sense of nostalgic charm with modern sophistication.
    “For the interior of Hotel Bella Grande we had two important pointers,” said the designers. “First of all to create a design hotel that is a true treat to the eye, and second to highlight the historic and very classic architecture of the building.”

    “The hotel rooms should be luxurious, with high-quality materials and references to midcentury Italian design,” they added. “The interior design plays with a nostalgia that is utterly elegant, but also unexpected.”
    The hotel occupies a historic building close to Copenhagen City HallInspiration for the project came from a trip to Italy, where Bech-Pedersen and Bonavent were impressed by a Venetian palazzo with an open-air central courtyard and peach-coloured walls.
    The atrium at Hotel Bella Grande has a roof light that allows natural light to flood into a bright and welcoming space containing colourful furnishings, floral arrangements and marble-tiled floors that enhance the al-fresco feel.
    Marble tiled floors feature in the bright atrium”We went for ‘wow’,” said the designers of their approach to the interiors, and particularly the reception and courtyard areas that are the first guests encounter upon entering the building.
    “This should be a very one-of-a-kind experience, and nothing like you would normally experience in the centre of Copenhagen.”

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    The atrium was previously a dark and underused space that required significant upgrades to become a prominent focal point within the scheme.
    Soundproof windows were added to all the rooms that overlook the courtyard. All four internal walls were covered in acoustic foam which, along with the soft furnishings, helps to reduce sound reverberation within the space.
    Tonen looked to give the hotel’s rooms and suites a calming atmosphere through the use of muted colours and sophisticated details, such as the coordinated upholstered armchairs and fabric lampshades from Danish brand Oi soi oi.
    The hotel also contains a restaurantThe hotel also contains an Italian restaurant called Donna, with a lively and vibrant interior defined by its use of moody red and pink hues.
    The dining room’s dark red ceiling is complemented by blood-red couches and pink curtains that were designed to create an atmosphere of romance, but have a touch of mystery for the space to take on a nightclub vibe later in the evenings.
    Guests can choose to dine in the main restaurant or in the atrium space, while a laid-back cocktail lounge provides a cosy spot for pre-dinner drinks or late-night conversations.
    An internal courtyard is overlooked by the hotel bedroomsTonen was involved in every detail of the hotel’s interior fit-out, sourcing vintage objects and artworks to sit alongside contemporary pieces including furniture from &Tradition, bedside lamps by Tom Dixon, side tables from Polspotten and bespoke vanities made by by Københavns Møbelsnedkeri.
    “Both Bella and Donna are very much unmistakable expressions of our style,” claimed Bech-Pedersen and Bonavent. “We love the historic references, mixing vintage with new design and the use of materials that age beautifully.”
    The restaurant interior is defined by red and pink huesHotel Bella Grande is owned by Copenhagen Food Collective, a Copenhagen-based group operating 18 restaurants around the city. Tonen has worked on interiors for several of Cofoco’s properties, including Coco Hotel and Restaurant Delphine.
    Other recent restaurant interiors on Dezeen include a steel-and-mirror space in London’s Mayfair area and a Frankfurt restaurant with lime-wash walls.
    The photography is courtesy of Tonen.

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    Crina Arghirescu Rogard adds “eccentric design” to historic penthouse in Tribeca

    Architect Crina Arghirescu Rogard has updated a penthouse apartment in a historic New York City building, injecting an array of designs into an already eclectic collection.

    Arghirescu Rogard was tasked by a friend, Mexican artist Claudia Doring Baez, to reimagine her family home in just six weeks.
    Located in the American Thread Building, the penthouse’s grand living room was formerly a ballroom for The Wool Club societySharing “a mutual passion for eccentric design pieces,” the pair set about finding and installing a mix of art, textiles and custom contemporary pieces that would add to the home’s assemblage.
    “The primary challenge was to establish a dialogue between the old and the new, the strong historical architectural shell of the apartment and a decidedly contemporary new interior,” said the architect, who has offices in both Paris and Brooklyn.
    Decorative black walnut panelling is contrasted by contemporary furnitureThe penthouse is located in Tribeca’s American Thread Building, built in 1890 in the Renaissance Revival style.

    Its grand living room was formerly the ballroom for The Wool Club, a society of fabric industry leaders who would gather on the building’s top floor.
    Custom-designed pieces for the apartment include the pale-blue dining table by Liz HopkinsOriginal details such as highly decorative black walnut panelling, ceiling mouldings and a large open fireplace form a backdrop for the contemporary furniture.
    Baez’s extensive collection of art, which includes works by Pablo Picasso, Robert Motherwell and Roy Oxlade, helped to inform the interior refresh.
    The eclectic mix of furniture and artwork continues in the kitchenPaintings, photographs and sculptures by her mother Lucero Gonzales, her brother Adolfo Doring and her daughter Alexandra Zelman also cover the walls of the kitchen and hallways.
    “A poetic assemblage of strong pieces that could stand on their own was what was needed to echo the spirit of the art,” Arghirescu Rogard said.
    For the primary bedroom, Crina Arghirescu Rogard custom-designed a curvaceous headboard wrapped in dark green velvetA large-scale triptych by Rose Wylie that hangs behind the custom dining table informed the colour palette and bold gestures chosen for the living space.
    Among the pieces added are the curved asymmetric sofa that separates the sitting and dining areas, and the pale blue Conversation chairs by artist Liz Collins that are tied together with draping fabric.

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    Contrasting one another, a bi-colour Franco Albini Fiorenza lounge chair and a white Lympho Contemporary chair by Taras Zheltyshev are positioned by the fireplace.
    The bright yellow coffee table comprising stackable resin cubes was custom designed by Liz Hopkins, who also created the blue-tinted dining table – both taking their colours from Wylie’s paintings.
    Paintings, photographs and sculptures by the homeowner’s family line the corridorsFor the primary bedroom, Arghirescu Rogard custom-designed a curvaceous headboard wrapped in dark green velvet and added her yellow raku and bronze coffee table.
    With these pieces, the architect was able to “transform the Baez apartment into a poetic contemporary retreat that is audacious and yet warm and familial, in keeping with the owner’s own sense of life, creativity and whimsy”, she said.
    The updated interiors reflect the owner’s “sense of life, creativity and whimsy”Tribeca is a popular neighbourhood for artists and creatives, who reside in the spacious lofts and penthouses of former industrial buildings.
    Others that retain their historic features include an apartment with “secret spaces” that was renovated by Andrea Leung and a pied-à-terre that doubles as a showroom for Danish design company Vipp.
    The photography is by Chris Mottalini.

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    Eight interiors embellished with imperfect zellige tiles

    Our latest lookbook rounds up eight projects where handmade Moroccan tiles cover everything from chimney breasts to mini-bars, adding a sense of traditional craftsmanship to otherwise modern interiors.

    Zellige tiles are traditional glazed terracotta tiles, originating from the 10th century in Morocco, that are made using unrefined local clay that is kneaded, shaped and cut by hand.
    As a result, every tile is unique, with slight variations in shape and colour that reveal the hands of their maker.
    In recent years, interior designers have liberated zellige tiles from the confines of the kitchen or the bathroom and used them to bring depth and texture to modern interiors.
    Among the projects featured below are a members’ club in Nashville, the renovation of Ibiza’s first hotel and a Sydney penthouse belonging to a couple of empty nesters.

    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration, see previous lookbooks featuring platform beds, living rooms with 70s furnishings and bathrooms that combine colours and patterns.
    Photo by Karel BalasMontesol Experimental, Spain, by Chzon
    French interiors studio Chzon aimed to bring “a bohemian overtone” to her renovation of the 1933 Montesol Experimental in Ibiza, widely credited as being the island’s first hotel.
    A hand-made theme threads throughout the rooms, as seen in the irregular Moroccan tiles that wrap the mini-bars and the shell-patterned walls, created by pressing individual seashells into fresh lime plaster.
    Find out more about the Montesol Experimental ›
    Photo by Megan TaylorDesign House, UK, by 2LG Studio
    Pastel hues were mixed with whimsical details such as scallop-edged doors and a pale-pink tiled chimney in the London home and workspace of 2LG Studio, founded by Russell Whitehead and Jordan Cluroe.
    “The glaze is uneven and so the tiles create a stunning dappled light bouncing off them,” the duo said.
    Find out more about Design House ›
    Photo by German SáizConde Duque apartment, Spain, by Sierra + De La Higuera
    With many of the dividing walls in this apartment removed to usher in more natural light, Spanish architecture studio Sierra + De La Higuera relied instead on emerald, ruby and mustard-yellow tiles to define different spaces.
    The home in Madrid’s bohemian Conde Duque neighbourhood belongs to a well-travelled couple that wanted to fuse its Galician and Mexican heritage in the interior.
    Find out more about this Conde Duque apartment ›
    Photo by Prue RuscoeDream Weaver penthouse, Australia, by YSG
    Glossy off-white zellige tiles cover an entire wall inside this Sydney penthouse, helping to bounce light around the home belonging to a couple of empty nesters.
    Local studio YSG was brought on board to reflect the owners’ post-lockdown joie de vivre in the interior, incorporating an eclectic mix of references from surrealist artworks to tiled Spanish tapas bars.
    Find out more about the Dream Weaver penthouse ›
    Photo by Sean RobertsonThe Malin Nashville, USA, by The Malin design team
    The design team of The Malin designed the Nashville outpost of the work-oriented members’ club to feel more like a hotel than a traditional co-working space.
    The rooms feature an eclectic mix of vintage and contemporary furniture alongside a rich material palette including tasselled velvet upholstery, four different types of marble and Moroccan tiles offset with white grouting.
    Find out more about The Malin Nashville ›
    Photo by Francis AmiandBeefbar Milano, Italy, by Humbert & Poyet
    Interior design duo Humbert & Poyet created a new home for the Beefbar steakhouse inside the former chapel of a 500-year-old seminary on Milan’s Corso Venezia.
    Glossy oxblood-red tiles provide a subtle splash of colour atop the restaurant’s wooden wall panelling and a more dramatic focal point at the back of the space, where they clad a curved wall.
    Find out more about Beefbar Milano ›
    Photo by Megan TaylorRixo Marylebone, UK, by Cúpla
    Interiors studio Cúpla sought to reflect the hand-painted prints that decorate Rixo’s fashion collections when designing the London brand’s Marylebone boutique.
    This idea was realised via colourful murals and illustrations by artist Sam Wood and a mosaic of tiles, accentuating the interior’s classical archways and mouldings.
    “Every line of the mural or the ‘random’ coloured zellige tile layout was methodically composed to ensure a right balance between the colours was struck,” Cúpla founder Gemma McCloskey told Dezeen.
    Find out more about Rixo Marylebone ›
    Photo by The IngallsAustin Proper Hotel, USA, by Kelly Wearstler
    Different types of tiles, from simple to ornate, feature throughout the public spaces of the Austin Proper Hotel designed by Kelly Wearstler.
    This includes The Mockingbird cafe, where Moroccan tiles are arranged into a chequered pattern across the walls, providing a counterpoint to the dramatic stone counter.
    Find out more about the Austin Proper Hotel ›
    This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration, see previous lookbooks featuring platform beds,  living rooms with 70s furnishings and bathrooms that combine colours and patterns.

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