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      GS Design repeats arch motifs throughout Sumei Skyline Coast hotel on Hainan Island

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      Cresting ocean waves served as a blueprint for the arched forms found on the interior and exterior of this beachside hotel that GS Design has created in Sanya, China.

      Located on the tropical island of Hainan, the Sumei Skyline Coast hotel was designed to reference its immediate environment.
      Arches feature on the interior and exterior of the Sumei Skyline Coast hotelThe building’s facade is punctuated by curved windows and balconies that suggest rolling waves, and is painted in a crisp shade of white to contrast the rich blues of the surrounding sea and sky.
      “We worked to craft the space into a timely and sophisticated art piece with a long lifespan of usage by adopting this classic colour,” explained Chinese architecture firm GS Design.
      Sculptural white furnishings decorate the lounge areaOn the ground floor, a series of upside-down arches runs along the wooden decking adjoining the infinity pool.

      More spots for swimming are found on the expansive roof terrace as well as in the first-floor lounge, where stepping stones lead over a curvy-edged indoor pool.
      The light-filled room is otherwise dressed with a couple of potted plants and an array of sculptural white armchairs with matching side tables.
      Stepping stones lead over the curvy-edged poolThe curved shapes seen on Sumei Skyline Coast’s exterior are echoed throughout its guest rooms, which are accessed via vaulted corridors.
      Some rooms have circular skylights or huge round headboards that project over the beds. Others feature arched recesses accommodating cushioned bench seats or vanities.

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      All bathrooms come complete with a standalone tub, positioned next to the windows to give guests optimum views of the island beyond.
      In keeping with the rest of the hotel, the guest rooms are finished completely in white with textural interest provided by tufted beige decorative cushions that are scattered over the soft furnishings.
      Arched or rounded forms are incorporated into the guest roomsGS Design was established in 2014 and is based in Shenzhen.
      The studio’s Sumei Skyline Coast project joins a number of hotels that have recently opened across China. Among them is BAN Villa, which was designed to look like a “floating village”, and Grotto Retreat Xiyaotou, a hotel modelled on ancient cave dwellings.
      The photography is by Ao Xiang.
      Project credits:
      Architecture, interiors and furnishing: GS DesignDesign directors: Liangchao Li, Yuanman HuangDesign team: Chao Li, Zigeng LuoFurnishing director: Yu Feng

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      Linehouse designs Shanghai restaurant informed by New Wave art movement

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      Design studio Linehouse has filled a restaurant in a Shanghai art museum with mirrors and arched details informed by eastern and western art and design.

      Located inside the UCCA Edge museum, the New Wave by Da Vittorio restaurant was named after the original UCCA museum’s opening exhibition The New Wave Art Movement, which also set the tone for its interiors.
      Arched shapes are used throughout the restaurantNew Wave, a 20th-century art movement in China, is renowned for its bold experimentation that brought Chinese art into the modern art world.
      “The concept for the restaurant comes from the collision of these opposing elements and the process of change,” said Shanghai-based Linehouse.
      New Wave by Da Vittorio is located inside Shanghai’s UCCA Edge museumTo enter the restaurant, guests pass through a narrow passage that leads from the public museum space into a more intimate dining area.

      The restaurant, which measures 620 square metres, also holds a bar, private dining rooms and an outdoor terrace.
      Mirrors create an illusion of more spaceA sequence of arches was added to the restaurant in reference to the use of colonnades in classical architecture, while matching arched mirrors create an illusion of spatial progression.
      New Wave by Da Vittorio also features a ceiling installation formed by arches designed in a more eastern style.
      Hanging fabric was cut into curved shapes to match the arches in the interiorThe installation consists of hanging fins made from a Japanese triaxle fabric with a woven texture, which has been cut into vaulted shapes to create a softness that evokes floating clouds.
      The sheets of fabric are placed in a repetitive order with a pattern that only emerges once you see through one sheet to the next. The studio hoped this would evoke the contradiction between order and chaos.

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      “Throughout the restaurant, we seek contradiction in materiality to create qualities of soft and hard, rough to smooth, order to unordered and solid to transparent,” Linehouse co-founder and lead designer Alex Mok told Dezeen.
      The studio used stone for the main bar counter, which it sculpted into a curved, fluid shape to further explore the juxtaposition between soft and hard surfaces.
      Linehouse deliberately chose a stone with a smaller repetitive pattern to create a continuous piece.
      A stone bar is decorated with mirrorsThe bar area also has a floor patterned with different kinds of stone while in the private dining rooms, precision-machined stainless steel and curved lacquered timber were paired to create another form of contradiction.
      “Materials are manipulated as a catalyst for creating disorder, dissipation, fragmentation and surprise,” Mok said.
      Different types of stone create a polka-dot pattern on the floorLinehouse also recently finished a space-theme cafe for Australian chain Black Star Pastry’s first Chinese outpost.
      The studio was named emerging interior designer of the year at the 2021 Dezeen Awards.
      The photography is by Jonathan Leijonhufvud.
      Project credits:
      Architect: LinehouseDesign lead: Alex Mok, Briar HicklingDesign team: Jingru Tong, Inez Low, Aiwen Shao, Leah Lin, Jiabao Guo, Cherngyu Chen
      Dezeen is on WeChat!
      Click here to read the Chinese version of this article on Dezeen’s official WeChat account, where we publish daily architecture and design news and projects in Simplified Chinese.

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      Kelly Wearstler makes “bold and eclectic choices” for Downtown LA Proper hotel

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      American interior designer Kelly Wearstler paired the rich history of Downtown Los Angeles with other colourful global influences when creating this hotel, which features 136 unique types of tile.

      Part of the Proper hotel group, Downtown LA Proper sits between Downtown Los Angeles’ South Park District and the city’s Fashion District.
      Kelly Wearstler designed the eclectic interiors of Downtown LA ProperThe 148-room hotel is located within a former private club that was designed by architecture studio Curlett & Beelman in the 1920s.
      Real estate developer The Kor Group teamed up with Wearstler to transform the building into Downtown LA Proper, with Wearstler spearheading the interior design.
      Morgan Peck created a chunky graphite reception deskAccording to Wearstler, the hotel’s interiors take cues from LA’s “creative scene”, as well as the colours and forms of Mexican, Moroccan, Spanish and Portuguese design.

      “My point of reference for the Proper Hotels is always the location, so Downtown LA Proper really called for bold and eclectic choices,” she told Dezeen.
      Guest rooms feature patterned headboards”As the design of the hotel was greatly inspired by the community and history of the area, I used a deep, warm, colour and feel throughout to speak to this rich culture and history,” added Wearstler.
      “The [hotel’s overall] design comprises 136 unique types of tile, from vintage to custom.”
      Wearstler used a colourful palette throughout the hotelVisitors enter the hotel via the building’s original ornate archway, which is flanked by column-like cacti in rustic pots, where they are met with a graphite reception desk designed by ceramicist Morgan Peck.
      The original pink and white checkerboard floor tiling was retained in this area, while the ceiling is decorated with a hand-painted multicoloured mural designed by Abel Macias, which drew on the flora and fauna of Mexican folktales.
      Caldo Verde includes a bespoke stained-glass doorwayThis eclecticism is also reflected in Downtown LA Proper’s guest rooms. Wearstler blended contrasting elements such as chunkily-patterned headboards with smooth wooden floors, while the walls vary within a spectrum of charcoal, mauve, dusty blue, umber and ecru.
      The building contains three eateries including the lobby-level Caldo Verde restaurant and bar, which Wearstler designed to reflect the rest of the hotel’s interiors.

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      A collection of vintage rugs and seating, cocoa and sandstone tiles and jungle-like plants are set against a bespoke stained-glass installation by Judson Studios that makes up the restaurant’s doorway.
      Other design elements that create Downtown LA Proper’s bright and bold atmosphere include Mexican brutalist hand-carved chairs, woven pendant lights from the south of France and stone mosaic tables.
      Brutalist hand-carved chairs add to the project’s eclecticism”The building itself is a historic-cultural monument, so we wanted to maintain some of the original integrity and fabric, like the window casing and brickwork, while elevating it with contemporary jewel tones, patterns and plasterwork,” said Wearstler.
      “I truly wanted to embark on a spirited exploration of materiality, colour and form, to share with guests a hyper-localised flavour of the city and create a hub for local creatives.”
      The work of emerging artists features throughout the hotelWearstler founded her eponymous interior design studio in 1995 and is responsible for the eclectic interiors of several other Proper hotels including its San Francisco and Santa Monica outposts.
      The designer also recently transformed a 1950s beachfront cottage in California into a bohemian retreat for her family.
      The images are courtesy of Kelly Wearstler.

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      NOA creates tailor-made interior for pied-à-terre in Le Marais

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      Network of Architecture has used curved lines, custom oak furniture and marble details to heighten the character of an apartment in a converted hotel in Le Marais, Paris.

      NOA has created a completely custom interior for Nicolai Paris, located in the former Hotel Nicolai, which serves as a pied-à-terre for an Italian family.
      Nicolai Paris is located in a converted hotelThe renovation involved designing the layout of the two-level home, then adding playful furniture elements that help to optimise the functionality of each space.
      “We started by defining the final atmosphere of the future apartment,” explained architect and NOA co-founder Lukas Rungger.
      The Le Marais apartment has a completely custom interior”It was essential that the space would feel cosy, ‘hyggelig’, and convey a feeling of wellbeing,” he told Dezeen.

      “The choice of interior layout, materials and geometry all serve this purpose.”
      A mix of terrazzo and parquet flooring helps to define different zonesBuilt in the 17th century, the property has plenty of quirks. What’s particularly unusual about this apartment is that it has an L-shaped layout, with most of its windows located at one end.
      As a result, it made sense to locate the family living spaces here, nearest the entrance, and two large bedrooms in the back.
      A curved line is defined by flooring, walls, lighting and furnitureA staircase in the centre of the floor plan leads up to a snug and a third bedroom on the smaller attic floor, which are both lit by skylights rather than windows.
      To avoid creating wasteful corridors, NOA used two different floor surfaces to subtly mark the distinction between rooms and the connecting spaces in between.
      Custom oak furniture pieces include an in-built window seatA strong curve of terrazzo cuts through the living space, which is defined by bleached oak parquet in a chevron pattern, known as French herringbone. This divides the room into two “islands”.
      The larger island contains a lounge, dining area and kitchen, while the smaller one is occupied by a single piece of in-built furniture, providing a window seat and shelving nooks.

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      The terrazzo curve is emphasised by other elements, including a screen wall beside the entrance and a partition wall that encloses a cloakroom, laundry room and toilet.
      It is also matched by lighting fixtures overhead and the organically-shaped staircase.
      A double-curved staircase leads up to the attic”The layout of the interior spaces was definitely the biggest challenge,” said Rungger.
      “We wanted to create a space of comfort within a bigger space,” he explained. “Each island is a space within a space, intimate in itself but in dialogue with the rest.”
      Beds are set on oak platforms and defined by oak wall panellingCustom oak furniture features in every room. The beds are set on tiered platforms, continuing the islands concept, while the dining table is framed by an upholstered L-shaped bench.
      Marble is also dotted throughout. A grey-blue Bardiglio Imperiale features in the kitchen and around the fireplace, and the main bedroom boasts a bathtub carved from a single block of Botticino Fiorito.
      An attic room can be used as a snug, study or home cinema”We wanted to reflect the elegance of the Parisian ambience in the flat,” said Rungger.
      “The colours of the Parisian rooftops influenced the choice of fabrics and marble colours, especially in the living area.”
      Bathrooms and washroom feature mosaic tiles in varying shades of grayNOA has offices in Berlin and Turin, so typically works on projects in other parts of Europe. The studio recently completed a hotel and wellness centre and a glacier-top viewing platform, both in South Tyrol.
      With this project, they hope to show a more craft-focused side to their practice.
      “From the furniture’s roundness to the staircase’s double curvature, we have consistently drawn a line that fluidly touches the whole flat,” added Rungger.
      The photography is by Antoine Huot.

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      Henley Halebrown creates Bauhaus-informed offices in converted London warehouse

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      The colours and craft techniques of the Bauhaus movement were the inspiration behind Laszlo, a century-old warehouse building transformed into workspaces by London studio Henley Halebrown.

      Located in north London, the renovated building now contains five floors of flexible offices, ranging from 482 square metres up to 647 square metres.
      Structural elements are left exposed through Laszlo’s interiorsHenley Halebrown approached the project differently to a standard office conversion.
      Instead of a “shell and core” approach, where tenants have no choice but to complete a fit-out, the architects have made spaces that can be occupied simply as they are.
      They did this by exposing the building’s internal structure – its concrete floor slabs and steel I beams – and bringing order to the elements around. Services are neatly organised, while low-tech materials like concrete and timber are used to make adjustments.

      Offices are designed to require minimal additional fit-outStudio founders Simon Henley and Gavin Hale-Brown describe the approach as seeking “to illustrate how elementary the construction of an office might be”.
      The idea is that companies would only need to add their own branding, plus furniture, which would significantly reduce the amount of waste generated when tenants move out.

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      “Working on adaptive reuse buildings like Laszlo is second nature to us as a practice,” said Henley.
      “It builds on our interest in how you create new layers of life within a city while celebrating both its past and future, and of course, the great thing is that the huge environmental benefits that come through reuse are now more widely understood.”
      Geometric graphics signal the building’s change of useOriginally known as Batavia Mills, Laszlo was built in the early 20th century as a facility for manufacturing and printing, although it also served as storage for gas masks during the second world war.
      The Bauhaus become an obvious point of reference for the renovation; not only does it date from the same period, but its core ethos was about being true to materials and finding beauty in craft.
      A steel and timber joisted roof is now exposed on the fourth floorA painting by Bauhaus artist Laszlo Moholy Nagy – who the building is named after – provided the cues for repairs made to the concrete floors.
      There were various gaps created where partition walls had been removed. Instead of infilling these with concrete, Henley Halebrown chose an earth-coloured screed that highlights these marks as traces of history.
      Doors throughout the interior borrow tones from Josef Albers’ colour studiesThe building refers to the colour studies of Bauhaus teacher Josef Albers with a series of doors painted in bold but complementary shades of green, yellow, grey and blue.
      Another Bauhaus reference can be found on the exterior, where the brickwork and glazing have been subtly decorated with the same graphic shapes and lettering that give the building its brand identity.
      The reception features a desk shaped like an I beamLaszlo offers various amenities to its tenants, including a large outdoor seating area, bicycle parking and showers. There are also shared spaces on the ground floor, including a reception and an area known as the living room.
      Furniture in these ground floor spaces is designed to feel like part of the structure, with highlights including a reception desk and bookshelf that both look like giant I beams.
      A living room with kitchen is shared by all tenants”Within the framework of the original structure, we composed a series of unconventional spaces with conventional building materials, mostly blockwork, lintels and paint,” said Jack Hawthorne, an associate at Henley Halebrown.
      “These spaces are occupied with pieces of furniture that are imagined and made as oversized elements of structure, ‘furniture as structure’, placing them in playful dialogue with the building’s newly exposed frame.”
      One of the office floors has already been furnishedPhotos of the project show one of the office floors already fitted out.
      The light-touch approach includes glazed meeting rooms, a wooden kitchen and mobile shelves that function as room dividers. Desks and seats integrate bold flashes of colour that feel at home with the rest of the building.
      Each floor is similar in layout and finish, although the fourth floor features an exposed steel and timber joisted roof and a balcony terrace.
      The space features colourful desks, open shelves and glazed meeting roomsLaszlo is one of several innovative offices designs recently completed in London, as companies adapt to more flexible working policies following the impact of the pandemic.
      Other recent examples include a co-working office that doubles as a “town hall” and an office with more meeting areas than desks.
      The photography is by David Grandorge.

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      Norm Architects conceives Xiamen's Basao tea parlour as an oasis of calm

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      Danish practice Norm Architects has created an understated interior for the Basao teahouse in Xiamen that was designed to offer a “clear antidote” to the hustle and bustle of the Chinese port city.

      Basao takes its name from Baisao, a Japanese monk who lived during the Edo period and spent the latter part of his life wandering around Kyoto and selling tea.
      The Basao tea lounge is arranged around a Chinese stone counterHis Zen Buddhist writings were a key reference point for Norm Architects in the design for the “tea lounge”, which is meant to evoke a sense of tranquillity.
      “With room for quiet contemplation, the space is a clear antidote to our fast-paced on-the-go culture, instead immersing its visitors in the calming sounds of tea being prepared, poured and enjoyed,” the studio said.
      Seating around the counter provides views of the brewing processAt the heart of the store is a chunky counter crafted from speckled Chinese stone that is positioned beneath a coffered oak ceiling.

      Here, customers can order drinks and observe them being prepared from a couple of high stools.
      A wider variety of seating is assembled on one side of the room, incorporating different tactilities and shapes from suede poufs to wooden benches and a long banquette upholstered in chestnut-brown leather.
      More seating lies at the room’s periphery”Carefully considering the sense of touch, the experience of the space becomes an interplay of textures and temperatures in combination with contrasting polished and raw surfaces,” Norm Architects explained.
      To the other side of the lounge is a retail space, where Basao merchandise is showcased on black steel shelves.

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      More products can be presented on slim metal ledges and pivoting displays built into the tea parlour’s oak-panelled walls.
      Oakwood also covers the building’s facade, which was modified so that its walls are sloped invitingly towards the entrance.
      Black steel shelves display Basao’s products in the retail spaceThe facade is punctuated by huge windows that can be pushed up concertina-style to let fresh air and natural light into the interior.
      Alternatively, customers have the option of sitting outdoors on the terrace, which is decorated with a number of leafy plants.
      A large window allows the tea parlour’s interior to be opened up to the outdoorsBasao is Norm Architects’ first project in China.
      The Copenhagen-based practise has recently completed a number of interiors in its hometown including Notabene, a shoe store with warm industrial interiors, and a bookstore that takes design cues from old-school libraries.
      The photography is by Jonathan Leijonhufvud.

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      Danielle Brustman creates yellow highlights in sunny Melbourne hair salon

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      Yellow-tinted glass partitions and droplet-shaped mirrors give a unique personality to Australian hair salon Mitch Studio, renovated by interior designer Danielle Brustman.

      Mitch Studio is located in a double-storey 1950s building in the Melbourne suburb of Ashburton, in a shopfront that had already operated as a hairdressers for a number of years.
      Danielle Brustman wanted to use Mitch Studio’s brand colour, yellow, in the interior designBrustman’s client wanted to update the space to reflect their brand, which uses yellow as its signature colour. The designer set out to give the space a fresh and modern feel while using the sunny hue as a key part of the colour palette.
      The designer started by gutting the space entirely, leaving only the original concrete floor, which has been polished to achieve its final look.
      The reception area includes a custom-built retail display shelf and a six-globe chandelier by EntlerShe reconfigured the layout across two floors: on the ground floor is the reception and waiting area along with hair washing and cutting stations – the latter separated with the distinctive yellow glass partitions.

      The partitions create privacy and personal space while also, Brustman points out, proving useful when social distancing is required.
      The ground floor area includes hair washing and cutting stationsThe droplet-shaped mirrors at these stations were chosen to give the salon a bespoke touch, while referencing ideas of water and washing.
      “There is something lovely about the way the droplet mirrors create an infinity effect in the space, adding to the spaciousness,” Brustman told Dezeen.
      The space is designed to facilitate an easy flow of movement for the stylists throughout the dayAll the joinery on the ground floor is bespoke, including a reception desk clad in mustard-yellow glass mosaic tiles and a retail display shelf with similar white tiles.
      Most of the surfaces and finishes are in white, as is the sculptural six-arm chandelier by US design studio Entler.

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      Upstairs, there are additional haircutting stations along with bathrooms, a kitchen and a small worktable – meant for customers who want to pull out their laptops while waiting for their hair treatments to take effect.
      The haircutting stations here have a different configuration, facing each other but divided by mirrors. Completed with pale moulded plywood chairs, they give the space an almost cafe-like appearance.
      The upstairs haircutting stations have a different configuration”We wanted to keep the spaces light and airy with a great deal of airflow and enough room for the clients and staff to feel spacious and comfortable in their surrounds,” Brustman said.
      She also paid attention to the employees’ workflow and aimed to design the space to be intuitive and relaxing for them. For instance, there are hair-recycling bins integrated into the joinery, so that stylists can dispose of waste on the spot.
      There is also a worktable that customers can use while they wait for their hair dye to takeBrustman is a Melbourne-based interior designer whose previous work has included the Brighton Street Early Learning Centre – a childcare centre with a different bright colour palette in every room.
      The photography is by Nicole England.

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      h2o Architectes converts storage space into colourful studio for Louvre museum

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      French firm h2o Architectes has designed a brightly-hued educational facility, hosting art classes for young and old inside Paris’s Musée du Louvre.

      Over 1,200-square-metres, The Studio encompasses a common area and nine studio spaces on the lower ground floor of the Louvre’s Richelieu wing.
      The Studio (top image) has nine workshop rooms (above)What was once a storage depot for the Islamic art department is now a space for learning, where anyone from school children to professionals can expand on their own artistic skills and find out more about the artworks displayed in the museum.
      The Studio’s grand arched entrance leads visitors into The Forum, which functions as a reception and plays host to a changing roster of free 20-minute workshops.
      Workshop rooms towards the rear of The Studio are painted in bright huesh2o Architectes designed the interior as “a place for conviviality and exchange”, with a broad bank of tiered wooden seating allowing visitors to perch and chat.

      The cushioned seats can be lifted up to reveal storage boxes for workshop participants to stow away their jackets and other personal items.
      One of the rooms is vermillion teal blueBuilt into the surrounding walls is a series of backlit niches.
      These showcase work by members of the public, as well as small-scale pieces made by the Louvre’s in-house roster of expert guilders, painters, framers, metalworkers and other craftsmen.

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      Towards the back of The Studio are nine rooms for hosting lengthier workshops and training courses in everything from art history to project management.
      These rooms have been painted in bright, punchy colours like lemon yellow, teal blue and vermillion red.
      Another of the rooms is lemon yellowIn contrast, the corridors connecting the rooms are much more neutral-toned and entirely lined in wood.
      Their curved walls meet to form snug corners where visitors can stop and socialise while simple spherical pendant lights cast a warm glow throughout the interior.
      The Forum doubles as a reception area with tiered seatingh2o Architectes was established by Jean Jacques Hubert and Charlotte Hubert in 2005.
      Since then, the studio has completed a diverse array of projects in France including an angular timber wine-tasting pavilion, a nursery extension topped with a fabric canopy and an apartment with hidden space-saving storage.
      The photography is by Maxime Verret.
      Project credits:
      Architect: h2o ArchitectesStructural consultant: Équilibre StructuresConstruction economist: Cabinet PiltéFluid engineering office: INEXLighting designer: Agence OnMultimedia: Labeyrie & AssociésSignage: Wanja Ledowski StudioAcoustics: ABC DecibelFire prevention and safety: CASSO & AssociésSupervision unit: Alpha ContrôleHealth and saftey coordination: Qualiconsult

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