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    Hollywood puppet theatre becomes Chief LA members' club

    A clubhouse for women in business now occupies a 1940s theatre in Los Angeles, following renovation work by JM|A+D and TAP Studio, with interiors by AvroKO.

    The three studios collaborated to rehabilitate the former Hollywood puppet theatre to create the Los Angeles flagship for Chief, which offers memberships to women in leadership roles.
    Like Chief’s other locations, the LA flagship clubhouse is designed to have a residential feel”Designed as a space for the most powerful women in business to connect and find community, we re-conceptualized the historic structure as a modern pied-a-terre, reinterpreting the best elements of traditional member’s club environments with a bold, lush palette,” said the team in a joint statement.
    JM|A+D and TAP Studio – both based in California – worked on restoring the theatre building while updating the spaces for their new purposes.
    The former theatre was converted to include two bars, five conference rooms and multiple lounges”From scattered wet bars and mothers’ rooms to carefully scaled seating and meeting areas, our goal was to develop a female-focused environment that brings the membership network’s mission to life,” the team said.

    “We dovetailed original building elements with new millwork, pathways, and technology to create an enfilade of communal and enclosed zones designed to host large events, lingering, chance encounters and focused work.”
    Conference rooms are each identified by a different colourThe interiors incorporate some of the design elements in Chief’s New York and Chicago locations, the latter of which was also designed by AvroKO and was named Large Workspace of the Year at the Dezeen Awards 2021.
    The visual threads between the different outposts include the use of rich colours and mix of furniture styles to create a residential feel, and incorporating many pieces by female artists and designers among custom millwork and vintage finds.
    Nods to the building’s former use include framed signatures of those who performed thereThe 14,000-square-foot (1,300-square-metre) LA clubhouse is split over two levels and includes two bars, five conference rooms, multiple lounge areas, and smaller private rooms for meetings or focused work.
    An outdoor patio is also available for members to sit among the trees or around a fire pit.

    AvroKO creates residential feel inside Chief members club in Chicago

    Inside, another fireplace is clad in narrow, glossy ceramic tiles and forms a focal point at the end of the bar.
    Each of the conference rooms is identified by a different colour, such as a large room with a sienna-hued ceiling and another that’s painted dark blue.
    A mix of furniture styles includes custom pieces, vintage finds and many designs by womenOchre yellow, dusty rose and various shades of green can also be found in upholstery, rugs, artwork and styled accessories.
    Nods to the building’s previous use are also scattered throughout. “We integrated a wall with celebrity signatures from roasts hosted at the theatre into the design,” said the team.
    Chief LA also has an outdoor patio for members to enjoyJM|A+D was founded by architect Jeffrey Miller and also has an office in Oregon. The studio has previously collaborated with TAP principal Tanya Paz on several residential projects.
    AvroKO is best known for hospitality projects and also designed the Mortimer House members’ club in London.
    The photography is by Aubrie Pick.
    Project credits:
    Architecture: JM|A+D and TAPInterior design: AvroKOCivil engineer: KPFFMEP consultant: Interface EngineeringAudiovisual consultant: VanWert Technology DesignLighting consultant: Focus LightingFood and beverage consultant: Sam Tell

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    Luca Nichetto transforms Swedish villa into his own studio and showroom

    Luca Nichetto has converted a 1940s villa in Stockholm into a studio to display his designs in a domestic setting and provide a comfortable working environment for his team.

    The Italian designer’s studio was previously based out of an apartment in the city’s Midsommarkransen neighbourhood. But when the landlord wanted to raise the rent, Nichetto decided to relocate to a larger property in a nearby suburb.
    Luca Nichetto has turned a 1940s villa into his own studio”I didn’t really need to look for another space in the city centre because it’s not that important for us as we work globally,” Nichetto explained.
    “A week after beginning to search, I saw on the real estate market what is now the Pink Villa. It was simply perfect and I made the offer.”
    A blush-pink staircase leads up to the first floorThe Pink Villa is a typical 1940s wooden house with a gabled roof and a large garden. Nichetto bought the property in 2021 and began adapting the interior to make it suitable for use as a studio.

    “I didn’t want a conventional studio space but rather a space that could be a studio, a showroom and a domestic property to be used on the weekends by my family and during the week by my team,” the designer told Dezeen.
    Nichetto’s Banah sofa for Arflex sits in the living areaThe villa takes its name from its distinctive pink exterior, which was given a fresh coat of bubblegum-pink paint to maintain its characterful presence on the street.
    The property’s existing three bedrooms were transformed into a private office for Nichetto on the first floor and a meeting room and tailor’s workshop on the ground floor, which his wife uses on the weekends.
    La Manufacture’s Soufflé mirror helps to bring character to the spaceA corridor leads from the entrance to a bright living room that looks onto the garden. An opening beyond the stairs up to the first floor connects with the simple custom-built kitchen.
    Along with Nichetto’s office, the upper floor contains a second bathroom and a large open workspace that facilitates flexible use rather than incorporating dedicated workstations.
    Bright and bold colours were used throughout the interiorThe interior features a pared-back palette of materials and colours that provide a neutral backdrop for a selection of products and furniture designed by Nichetto for brands including Offecct, Cassina, Arflex and Bernhardt Design.
    “I wanted to give a touch of warmth and I did that using colour and volumes,” the designer said. “I particularly chose materials culturally connected with the south of Europe and very deliberately mixed them with Scandinavian features.”

    Watch our talk with Ginori 1735 and Luca Nichetto about their new collection of home fragrances

    In the living area, pale-pink walls and white-painted floors contribute to the light and airy feel. Nichetto’s Banah sofa for Arflex and Soufflé mirror for La Manufacture are among the playful designs that bring character to this space.
    Upstairs, the main office spaces feature furniture such as Nichetto’s Torei low table for Cassina and Nico armchair for Bernhardt Design. His office contains the Railway table for De Padova and Robo chairs by Offecct.
    Walls in the living area were painted a light pinkOne of the key qualities that attracted Nichetto to the property is the spacious garden, which includes a terrace furnished with his Esedra table and Pluvia chairs for Ethimo.
    The basement garage was converted into a self-contained guest suite called the Chalet, which includes a living room, bedroom and bathroom with a Swedish sauna.
    The house also has a self-contained guest suiteSince the renovation was completed in April 2022, the Chalet has hosted international visitors including art directors, photographers and designers.
    The property’s location close to a park and to the water was another reason it appealed to Nichetto, who said he enjoys the proximity to nature and the good relationship he has established with his neighbours.
    Ceramic tiles provide a pop of colourA housekeeper was hired to look after the studio and to prepare meals for the team, adding to the sense of it hybrid space that is both domestic and designed for work.
    “It’s like being in a family: we all have lunch together and there are no fixed workstations to work,” he explained. “Moreover, whoever comes to visit us, if he wants, can stay and sleep. The idea is to create a sense of community.”
    Ethimo’s Esedra table and Pluvia chairs decorate the terraceLuca Nichetto established his multidisciplinary practice in Venice, Italy, in 2006 and continues to run a studio there alongside his main office in Stockholm. Nichetto Studio specialises in industrial and product design as well as art direction for design brands.
    Nichetto’s recent work includes a series of home fragrances for Ginori 1735 and his first foray into fashion accessories in the form of the apple-leather Malala handbag.
    The photography is by Max Rommel.

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    GSL Gallery takes over disused Parisian factory with “punk” interiors

    Weathered walls and concrete floors feature in this design gallery that creative collective The Guild of Saint Luke and architecture firm Studio ECOA have set up inside a former factory in Paris.

    Spread across one storey and two mezzanines, GSL Gallery provides a mixture of studio and exhibition space for the group of architects, artists and artisans that make up The Guild of Saint Luke.
    GSL Gallery sits inside an old factoryThe gallery occupies a disused factory in Pantin, a neighbourhood in northeastern Paris with a growing arts and culture scene.
    In recent years, the building operated as a classic car garage but was purchased by art dealer and gallerist Hadrien de Montferrand during the pandemic with the aim of transforming the site into a gallery.
    The building’s concrete floors were retainedDe Montferrand enlisted locally based Studio ECOA to carry out all the necessary architectural changes and asked The Guild of Saint Luke (GSL) to steer the building’s design and become its first tenant.

    “We were charmed by the space and found the patina and raw walls to be punk and accidentally on-point,” GSL’s creative director John Whelan told Dezeen.
    Clean white panelling was added to give the space the look of a typical gallery”Working in close collaboration with Studio ECOA, we proposed a project that retained all of the rawness of the spaces with very minimal design interventions,” he continued.
    “We felt that it would be criminal to interfere with the existing mood, which is melancholic and eerily beautiful.”
    Studio ECOA restored the building’s facade and aluminium roof, as well as preserving its original concrete flooring.
    A live-work space can be found on GSL Gallery’s first mezzanineBoxy storage units were built on either side of the front door to form a corridor-like entrance to the ground floor, where white panelling was added across the lower half of the patchy, time-worn walls to emulate the look of a typical gallery.
    This ground-floor space will be used to display a changing roster of avant-garde installations, which GSL hopes to finance by using the gallery’s workspaces to produce more commercial projects for design brands.

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    “Commercial endeavours will help to fund more proactive ‘passion projects’, where we will exhibit GSL’s own designs along with designers and artists that we admire,” Whelan said.
    “Our chief motivation is creative freedom, as we hope to produce installations that do not necessarily adhere to a commercial brief.”
    Bathroom facilities are contained in a mirrored volumeThe building’s two existing mezzanines were cut back to create a central atrium, which draws natural light into the gallery’s interior.
    The lower mezzanine now houses a hybrid live-work space where GSL members or visiting artists can stay the night.
    This space is centred by a large Donald Judd-style wooden table and also accommodates a bed, kitchenette and a bathroom concealed within a mirrored volume.
    Metal sanitary ware reflects the light in the bathroomExtra exhibition space is provided on the secondary mezzanine that sits beneath the building’s roof, directly under a series of expansive skylights.
    Prior to now, GSL has largely specialised in hospitality interiors – restoring historic brasseries across Paris and devising opulent restaurants such as Nolinski near the Musée du Louvre and Maison Francois in London.
    The lower mezzanine also houses a bed and a large table”We hope that the gallery will be an extension of the aesthetic that we are trying to develop, embracing new ideas but never abandoning the pursuit of beauty,” Whelan explained.
    “It feels like a good time to do so, as Covid has cleared and a mood of optimism in design has emerged. This bracing, minimal space feels almost like a clean slate and invites a multitude of possibilities.”
    The second mezzanine sits directly underneath the building’s skylightsOther recent additions to Paris’s cultural landscape include a major extension of the Musée Albert Kahn by Kengo Kuma and Associates, which made room for a historic collection of 72,000 photographs.
    Elsewhere in the French capital, Bruno Gaudin Architectes just completed a 15-year renovation of the National Library of France, incorporating a number of new circulation routes and public spaces.
    The photography is by Oskar Proctor. 

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    Julia van Beuningen adds spiral stair in Dutch barn conversion

    A spiral staircase made from plywood is the showpiece of this thatched barn in Gelderland, the Netherlands, which architectural designer Julia van Beuningen has converted into a residence.

    Van Beuningen has overseen a complete transformation of the late 19th-century building, named Barn at the Ahof, turning it into a rental home with four bedrooms and a large open-plan living space.
    The plywood staircase was produced by manufacturer EeStairsThe plywood staircase, produced by manufacturer EeStairs, sits at the heart of the floor plan. With its precise curved geometry and slender components, it offers a playful contrast with the barn’s rustic wooden columns and beams.
    “We thought, if we’re going to do something, we have to do it properly,” Van Beuningen told Dezeen.
    The staircase leads up to a new first floor within the converted barn”This is very different and very unusual in a barn like this,” Van Beuningen added. “It’s something you either love or hate, but it’s definitely a statement.”

    Barn at the Ahof is one of several buildings on an ancient farming estate named Landgoed Appel that Van Beuningen inherited from her family.
    She is planning to overhaul the entire site through a mix of rebuilds and refurbishments and create a series of low-energy houses that can be used for either long-term or holiday rentals.
    An open-plan living space occupies the ground floorAs the barn had been previously renovated approximately 10 years ago, it didn’t require as much work as some of the other properties on the estate.
    Van Beuningen is not a qualified architect – she is primarily a cellist and works in architecture part-time – so she enlisted local studio Flip Wentink Architecten to oversee the planning stages.
    However, she decided to manage the detailed-design phase herself, adding in extra details like the spiral staircase and some built-in joinery elements.
    The first floor provides two bedrooms and bathroomsOn the ground floor, the staircase creates a divide between a dining area and a lounge with a wood-burning stove. A minimal steel kitchen island runs along the side of this space.
    Also on this storey is an accessible bedroom and bathroom suite.
    The newly added first floor, which is much smaller in size, accommodates two additional bedrooms and bathrooms.
    Bespoke joinery provides in-built storageVan Beuningen tried to use simple natural materials wherever possible.
    As well as the plywood staircase and joinery, the renovated barn features walls of flax and lime plaster.

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    “It’s quite a proud building,” said the designer, “and it’s quite strong and industrial.”
    “I wanted to respect this industrial nature, which is not easy when adding in a new floor that is quite a heavy element. So I thought we should be quite humble in terms of materials.”
    Glazing skirts the edge of the first-floor bedroomsClever glazing details help to elevate the design.
    Highlights include large glass doors that can be concealed behind stable-style shutters, tall and slender skylights, and a narrow strip of glazing that skirts the edge of the first floor.
    A third bedroom is located on the ground floorExternally, the building has a more traditional appearance thanks to its thatched roof and red brick walls.
    Barn at the Ahof is the second completed building at the Landgoed Appel estate, following the refurbishment of the former bakehouse. Still to come is the overhauled farmhouse, revamped sheep shed and a new-build barn.
    Large glass doors are fronted by stable-style shuttersEnvironmental sustainability is a key concern for Van Beuningen, so all of the buildings are being designed to incorporate solar panels and ground-source heat pumps.
    Some sections of the estate have been rewilded, while ancient wetlands have been reinstated.
    Skylights puncture the traditional thatch roofVan Beuningen hopes the project can pave the way for more sustainable tourism in Dutch rural communities. At a time when the government is restricting the farming industry, in order to reduce greenhouse gas emissions, she hopes to show farmers can explore other revenue streams.
    “It’s really a long-term project in that sense,” she added.
    Other recent barn conversions featured on Dezeen include the stone Woodthorpe Stables in Surrey by Delve Architects and North River Architecture’s extension of an 18th-century farm building in New York.
    The photography is by Alex Baxter.
    Project credits
    Client: Landgoed AppelArchitect: Flip Wentink ArchitectenInterior architect: Julia van BeuningenStructural engineer: Peter Rommers/Luuk van Doeveren ArchitektuurM&E consultant: Peter RommersQuantity surveyor: Peter RommersLighting consultant: Julia van BeuningenStaircase engineering/fabrication: EeStairs

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    Alexander & Co maintains residential feel inside self-designed Sydney office

    Australian architecture practice Alexander & Co has created its own office inside a Victorian-era property in Sydney.

    Situated a stone’s throw from Bondi Beach, Alexander House acts as a “design laboratory” where Alexander & Co’s team can meet, collaborate and find space to work independently.
    Alexander & Co’s self-designed office has a double-height kitchenThe homely office occupies a semi-detached property that dates back to the Victorian period. Though the practice decided to preserve the building’s original facade, its interior was completely remodelled to function as a modern workspace.
    Staff enter the office via a ground-level vestibule with rammed-earth walls before climbing a flight of stairs to reach the open-plan living and dining area on the first floor.
    A “cafe-style” area provides seating for staffOne half of the space is dressed with an angular olive-green sofa, a glossy coffee table and a puffy grape-coloured armchair.

    The other half of the room is occupied by a double-height kitchen. At its centre is a chunky breakfast island crafted from pink-hued concrete, around which the team can congregate for meals, client catch-ups or company events.
    Construction waste was used to make furnishings in the courtyardAdditional seating is provided in a “cafe-style” area at the edge of the room, which features a custom leather seating banquette, cane chairs and a couple of tables.
    Concertina glass doors at the rear of the kitchen open up onto a courtyard. This houses a pool and an ice bath alongside a collection of mottled stools and side tables that were custom-made out of waste generated from the building’s renovation.
    A cosy library can be found on the building’s mezzanine level”Beauty can be found in the irregularities and developing patinas that have resulted from incorporating handmade and natural materials throughout our new space,” explained the practice.
    “Blemishes, cracks and connections – they are all magic and inform our storytelling through scale and detail.”

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    Directly above the ground floor is a generous mezzanine level that accommodates a cosy library space where Alexander & Co can host more intimate meetings.
    The room’s bookshelves and kidney-shaped table are crafted from walnut wood, while chocolatey leather curtains are suspended in front of the doorway.
    Visiting team members from other offices can stay over in the bedroom suiteThe narrower end of the mezzanine was turned into a quiet work area for up to five people, finished with a thickset concrete ledge for laptops.
    The upper floor of the building was made into a bright loft-esque space. Here there’s an events room and a bedroom suite, where visiting team members from other offices can stay.
    Down in the basement is the practice’s materials libraryTraditional workstations can be found down in the basement along with Alexander & Co’s materials library.
    From this level of the building, you can also access the landscaped back garden, which will be used during the summer for alfresco gatherings.
    A concrete staircase runs through all four levels of the buildingAll four levels of the building are connected by a concrete staircase with brass balustrading and a dramatic seven-metre-long pendant light dangling through its central void.
    Alexander House is one of six projects shortlisted in the small workspace interior category of this year’s Dezeen Awards.
    Others in the running include F.Forest Office by Atelier Boter, which sits within a glass-fronted building in a Tawainese fishing village, and Samsen Atelier by Note Design Studio, which also serves as a wine bar.
    The photography is by Anson Smart.

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    Victorian warehouse in London transformed into Greencoat Place office

    British architecture practice Squire and Partners and office design firm Modus Workspace have retained the ornate cast-iron columns and glazed tiles of a 19th-century warehouse in London while turning it into a contemporary workspace.

    Located in London’s Victoria, the Greencoat Place building was originally used as a warehouse, storeroom and food hall for the Army & Navy Stores – a military cooperative turned department store that was acquired by House of Fraser in 1973.
    Greencoat Place is a warehouse-turned-office in LondonNow, the building belongs to serviced office provider Fora and houses a mix of workspaces and amenities including a fitness studio, a colourful terrazzo bar and a vertical farm on the lower-ground level, where fresh produce is grown for workers to take home or eat for lunch.
    Two historic halls sit at the heart of the building – one serving as a flexible communal space for events or casual meetings, while the other is a workspace flooded with natural light from a skylight above.
    The building’s original brickwork was exposed in several placesReferences to the building’s past can be found throughout its interiors. This includes carefully preserved mouldings and glazed tiles, some featuring marine details in a nod to Army & Navy Stores’ history as a military cooperative, which supplied officers and their families with price-controlled goods.

    The building’s cast-iron columns and original steel doors were restored along with the vaulted ceilings on the lower ground level. In places where the original brickwork was exposed, the design team deliberately left layers of paint behind to visualise the renovation process.
    Its decorative glazed tiles were also retainedModus Workspace chose a soft, calm interior palette to contrast with the building’s industrial shell. Lime-washed oak was paired with richly textured fabrics and arch-shaped details, which echo the arches in the original halls.
    Colourful mosaic tiling unearthed in neighbouring residential buildings was reinterpreted in the flooring of the office’s communal spaces, introducing colour and pattern.

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    Open lounge spaces provide a calm environment to relax and collaborate while a series of video call booths are equipped with integrated lighting designed to show people in their best light.
    Video call facilities are also available in every meeting room to cater to hybrid working patterns, while secure cycle storage, changing facilities and showers promote an active commute or lunch break.
    Well-lit booths provide private spaces for video callsIn line with biophilic design principles, the interior combines plenty of planting, daylight and natural materials in a bid to enhance occupants’ wellbeing.
    To make the Victorian building more energy efficient and minimise its operational emissions, the architecture firm installed new glazing, sensor-controlled lighting and a variable refrigerant flow (VRF) system, which only circulates the minimum amount of refrigerants needed during a single heating or cooling period.
    The building’s concrete shell is softened with biophilic design elementsGreencoat Place has been shortlisted in the large workspace interior category of Dezeen Awards 2022.
    Two former industrial buildings are also in the running for the title – Dyson’s global HQ housed in a Singapore power station and a shared workspace, which is set in the generator building that once supplied Bristol’s tram system.
    The photography is by Jack Hobhouse.

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    Fourteen Stones Design revamps Tokyo warehouse into “coffee gastronomy” cafe

    Tokyo-based Fourteen Stones Design has designed the Koffee Mameya Kakeru cafe for barista Eiichi Kunitomo in a former water transportation hub in Kiyosumi Shirakawa.

    Set in the Kiyosumi Shirakawa area of Tokyo, the coffee shop occupies a warehouse which Fourteen Stones Design renovated and extended “to preserve the appearance of the old warehouse as much as possible”.
    Koffee Mameya Kakeru is in an old warehouseThe studio removed the shutters from the front of the warehouse, adding a glass facade. The rest of the building, including the interiors, remains as it was – with minimal repairs made to the walls.
    It aimed “to make everyday coffee an extraordinary experience” with a full “course of coffee” served by baristas and the renovation has been designed to facilitate this.
    The white oak structure frames the coffee barA staggered rectangular frame of white oak at the entrance of the cafe, which echoes the coffee package design, dominates the interior space and provides a central visual motif for the scheme.

    This frame divides the entrance space from the main cafe where a U-shaped bar surrounding the barista workstations was placed.

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    The barista’s workbenches, which were made from black granite, were deliberately placed at the centre of the space to create “a stage set-up, which enables baristas to fully demonstrate their skills”.
    Besides the new seating area, restrooms, a kitchen, a laboratory and office space have all been renovated.
    Baristas work at black granite counters
    The service and bar countertops were made from “Jura Yellow” limestone. Featuring fossils from the Jura period, it was chosen for its texture and also for allusions to the passage of time – not only echoed in the coffee growing, roasting and brewing processes but also the journey of the brand from its inception 10 years ago.
    Fourteen Stones Design’s Yosuke Hayashi designed the custom furniture for the cafe in the same white oak as the frame structure. It was manufactured by Japanese company E&Y for the project.
    The space aims to create a “gastronomic experience” for coffee drinkersThe cafe’s owner Kunitomo believes baristas “act as a bridge between the customer and the roastery” and should be given “a social status comparable to that of a sommelier”.
    Baristas at Koffee Mameya Kakeru will serve single cups of coffee through to full courses of coffee, “elevated by the newly designed space to the realm of gastronomy”, according to the practice.
    Fourteen Stones Design has been shortlisted in the restaurant and bar interior category of this year’s Dezeen Awards. Other projects in the running include a rattan restaurant in Bangkok by Enter Projects Asia Co. and YODEZEEN’s Japanese restaurant in Kyiv’s city centre.
    The photography is by Ooki Jingu.

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    The Quoin hotel by Method Co opens in historic Delaware bank

    US hospitality firm Method Co has turned a Gilded Age-era bank building into a boutique hotel in Wilmington, Delaware, which boasts the city’s first rooftop bar.

    The Quoin offers 24 guest rooms within a four-storey Victorian Romanesque brownstone that was constructed as the Security Trust and Safe Deposit Company Building.
    The lobby at The Quoin features a mixture of contemporary and Shaker-influenced furnitureCompleted in 1885 by Philadelphia architect Frank Furness, the downtown building features original arched windows and mouldings that were preserved during the renovation, which Method Co’s in-house team undertook in collaboration with Stokes Architecture.
    “Pronounced ‘coin’, the name is derived from the Old French word meaning ‘corner’ or ‘angle’, honouring the legacy of the original building, while also referencing the legacy of the original banking house — connecting the building’s history, location, and architecture through a single thread,” said Method Co.
    The hotel’s main restaurant and bar is located just off the lobbyThe building’s time period influenced the colour palette for the hotel’s interiors, based on paints dating back to 1820.

    Natural motifs were also introduced through hand-drawn illustrations, and various patterned wallpapers found throughout the communal areas and the bedrooms.
    Patterned wallpapers with natural motifs are used throughout the interiorsIn the lobby, an eclectic mix of contemporary and Shaker-influenced furniture forms a cosy lounge area around a black fireplace.
    Three food and beverage spaces have been given distinct identities.
    Bedrooms on the top level have extra character thanks to the original arched cove windowsJust off the lobby, The Quoin Restaurant and Bar serves wood-fired fare based on the cuisines of southern France and northern Italy and features wood panelling and banquette seating that create an intimate setting.
    A craft cocktail lounge, named Simmer Down, has an original brick ceiling and a mural painted by Reverend Michael Alan.

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    The bar on the rooftop, billed by Method Co as the city’s first, is designed as a happy hour spot with cushioned rattan seating and offers light bites on the menu.
    Bedrooms are simply decorated, with wallpaper used to create feature walls behind the headboards, as well as wooden furniture and herringbone parquet flooring.
    The rooftop bar is billed as Wilmington’s firstThose on the top level have extra character thanks to the cove-arched windows and walls that curve to follow the roofline.
    Method Co’s other hotel properties include the Roost East Market in Philadelphia and the Whyle in Washington DC, which was longlisted for the 2021 Dezeen Awards. Both were designed with Morris Adjmi Architects.
    The building was constructed in 1885 as Security Trust and Safe Deposit Company BuildingThis is the company’s first venture in Wilmington, the largest city in the small coastal state of Delaware, which is known for its beach houses.
    Examples of these include an oceanfront residence by Robert Gurney and a single-family home built using wood reclaimed from a nearby agricultural structure by DIGSAU
    The photography is by Matthew Williams.

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