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German studio Batek Architekten has designed the T7.2 dental clinic in Berlin using saturated colours and tactile materials to give the space an “inviting, artful atmosphere”. More
Spanish practice Plantea Estudio has completed the interior of Acid bakery in Berlin, which features a palette of austere and functional materials chosen to echo its urban context.
Acid Berlin is located on a corner lot in the city’s central Mitte district, with large ground-floor windows looking out onto Rosenthaler Strasse and Auguststrasse.
Plantea Estudio has designed the interior of the latest Acid bakery in BerlinHaving previously designed the bakery’s original outlet in Madrid, Plantea Estudio opted for a similar pared-back style with nods to Mitte’s gritty urban character.
The main materials used throughout the public areas include chestnut wall panelling and red Ferrés tiles, which contrast with the more austere sections finished in stainless steel and grey paint.
The interior is reflective of Mitte’s gritty urban character”The aim was to achieve a frank and efficient German ambience and at the same time a temperate refuge, a Mediterranean ‘nativity scene’ in the harsh urban territory of Berlin’s city centre,” said the designers.
The premises are located on the ground floor of a residential building, with large wood-framed windows providing a visual connection to the streets outside.
Orange resin flooring reflects on the surfaces of stainless-steel machineryThe L-shaped internal plan is organised with the workshop area on the longer side towards Auguststrasse and the cafe space facing Rosenthaler Strasse.
Ovens, fermenters, mixers and office equipment are arranged along the bakery’s back wall in front of stainless-steel panels that produce gentle reflections of the goings-on.
Tables for kneading and rolling are positioned in the centre of the room facing the windows, so passers-by can observe the bakers at work.
The cafe counter is clad entirely in stainless steelThis space also features a robust orange resin floor that complements the tonality of the tiled public areas and is reflected on the surfaces of the stainless-steel machinery.
The cafe area is organised around a six-metre-long counter containing a glass display case for pastries and space for coffee-making equipment.
The counter is clad entirely in stainless steel, giving it a utilitarian aesthetic that ties in with the materiality of the bakery.
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Behind the counter is a steel worktop and shelving system where bread is displayed in front of semi-opaque panels with a subtle orange-white gradient that allows a partial view through to the work area.
Tables, benches and stools by Copenhagen brand Frama are arranged along the facades and back walls so customers feel immersed in the cityscape.
Semi-opaque panels allow a partial view through to the work area at the backPlantea Estudio drew directly from the restrained forms, materials and tonality of the urban surroundings to design a space that feels raw yet refined.
“It is simple and austere, practical and functional, like the city but in no small measure warm and welcoming, bold and spontaneous like its inhabitants,” said the studio.
Tables, benches and stools are arranged along the facades and back wallsWoodwork, ceiling panels and bare brick walls are painted a unifying shade of light grey that echoes the simplicity and functionality of the adjacent mid-rise apartment buildings.
The panelled walls and red-clay tiles used for the flooring and built-in bench seating introduce warmer tones and bring an expressive touch of handmade quality to the space.
The tables feature white polyethylene tops set on chrome bases that add a further reflective element, while the birch stools provide another natural detail alongside the grain of the chestnut panelling.
Simple lighting fixtures includes wall sconces from Santa & ColeSimple lighting including wall sconces from Spanish brand Santa & Cole and a classic Japanese-style paper lantern provide gentle illumination.
Ceramic works by female artists Raquel Riola, Wendy Taylor and Saeam Kwon were chosen to add textural highlights that complement the character of the interior.
Decorative ceramic works add textural highlights that complement the interiorPlantea Estudio was founded by brothers Lorenzo and Luis Gil in 2012, with Carla Morán joining in 2017. Much of the studio’s work focuses on smaller projects including hotels, family homes, restaurants, cafes, shops and offices.
The studio’s output is characterised by a careful consideration of materials and fabrication, with previous examples including a store for footwear brand Veja featuring raw finishes and brutalist details, and a minimalist restaurant that uses plywood and chipboard to create a light and warm ambiance.
The photography is by Marina Denisova.
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An old bookshop in Berlin is now home to the studio of architecture and interior design practice Gisbert Pöppler, which incorporates the building’s grand arched doorways and other original features.
The office is situated on Karl Marx Allee, a major boulevard lined with buildings designed in the socialist classicism architectural style of the 1950s.
Staff desks in the Gisbert Pöppler office sit near the building’s entranceGisbert Pöppler’s workspace had previously been located in Berlin’s Kreuzberg neighbourhood, set above a row of nightclubs.
“We had an amazing view of the city up there and enjoyed being in the midst of it all,” the practice told Dezeen.
Archways offer views of the showroom at the building’s rear”We outgrew our space though and coincidently our landlords decided to completely renovate and add-on to the building, so we would have had to leave for a while anyway,” the studio added. “This was when we discovered that the former bookstore was available.”
The bookstore had been left in a “depressing” state.
But as soon as the Gisbert Pöppler team moved in, they sought to find ways to transform it into an efficient office and show space for their range of furnishings and textiles, all while preserving the site’s original features like its arched doorways and terrazzo flooring.
Furnishings are displayed on carpeted platformsA formal work area with desks and computers has been created directly beside the office’s entrance, allowing staff to greet and interact with visitors as they walk in.
Shelving here that originally stored books now holds material samples, image mood boards and other project-related paraphernalia.
Meetings can be held in the next room along, which is centred by Gisbert Pöppler’s reflective aluminium Cherry table.
The office’s literature corner has been painted bright pinkThen follows the showroom, where pieces are displayed on purple carpeted platforms that the practice created in collaboration with Swiss rug makers Rückstuhl.
“Preservation regulations were intense for this place, so our solutions are somewhat unconventional,” the practice said. “We built platforms to define spaces and solve technical situations without harming the building’s fabric.”
Hanging utensils decorate the office’s kitchenTwo further spaces branch off from here: a conference area for larger staff gatherings, and a “literature corner” filled with inspirational reading material.
Unlike the rest of the office, which is painted an icy-blue shade, this corner has been completed in a vivid pink hue to offset the lack of natural light in this area.
A dresser in the kitchen contains porcelain handed down from Pöppler’s grandmotherAdditionally, there’s a kitchen on-site where staff can prepare and eat their meals at lunchtime, featuring simple white cabinetry and hanging utensils.
To one side of the room stands an ornate dresser, restored by Gisbert Pöppler’s eponymous founder as a young man. Inside, the cabinet is filled with an array of Meissen porcelain tableware collected by his grandmother.
There’s also a basement where the practice keeps more materials and client orders before they’re shipped out.
More materials and furnishings are stored in the office’s basementGisbert Pöppler has worked on a number of residential projects around Berlin.
One such example is an apartment in the city’s Mitte borough, designed to be like a “tailor-made suit” with one-off furnishings and bespoke fixtures that suit the owner’s particular needs.
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Modular furniture, app-operated doors and a self-serve bar are among the experimental ideas being trialled at MM:NT, a mini-hotel in Berlin that will constantly evolve in response to feedback from guests.
Australian hotel group TFE Hotels worked with design strategist Philippa Wagner to develop the concept for a compact apartment hotel featuring interiors by architecture firms ACME and BWM that will operate in an ongoing beta mode.
MM:NT is an experimental hotel in BerlinThe hotel operators describe MM:NT Berlin Lab as “a first of its kind mini-hotel laboratory, allowing guests to shape their own stay and actively change hospitality trends”.
Occupying a renovated building in Berlin’s Hackescher Markt, the hotel has six standalone bedrooms and several shared spaces including a lounge in the foyer and a kitchen with a self-pour bar, all of which guests can access without the need for on-site personnel.
The hotel has a self-service barInstead, guests use a concierge smartphone app to check in, check out and communicate with staff. The app also unlocks doors at the touch of a button and provides access to secure storage throughout the hotel.
ACME was the lead interior designer for the project, working on the communal areas and four of the bedrooms, while Austrian architecture office BWM designed room 00.02. The rooms range in size from 11 to 28 square metres and are intended to act as prototypes for use across future locations.
Lockers can be accessed via an appThe remaining bedroom 00.03 was created by project partner and fittings manufacturer Häfele to showcase furniture and digital technologies aimed at personalising the guest experience and enhancing operational efficiency.
MM:NT’s design sought to optimise the compact spaces and create the most convenient experience for guests, whether they choose to spend time in their rooms or the public areas.
In keeping with the hotel’s focus on reducing resource consumption, these spaces are furnished with vintage items or products made with recycled materials.
ACME designed most of the bedroomsACME’s design for the bedrooms aims to create a sense of a home away from home, using a palette of tactile materials to bring layered texture to the compact spaces.
“Calm, uncluttered spaces are essential to the MM:NT Berlin Lab experience,” said studio director Friedrich Ludewig.
“Modular construction and using natural and recycled materials were essential to creating this. Compact rooms with smart storage solutions and built-in features to make the most of the available square metres.”
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ACME also designed the communal spaces at MM:NT Berlin Lab, which include a snug with an area for lockers containing additional amenities that help to reduce clutter in the rooms.
A multipurpose lounge space called The Counter allows guests to serve themselves coffee and sandwiches during the day, and drinks including locally sourced beers and wines in the evening.
A co-working area beside the bar features a bespoke table made by materials design and manufacturer Smile Plastics. The table is surrounded by chairs designed by Snøhetta and manufactured using recycled ocean plastic.
BWM designed one of the Middle roomsGuests at MM:NT can have groceries, laundry and meals delivered to secure lockers housed in an area called The Hub that can be controlled via the hotel’s app.
The hotel offers three different room types, defined as Little, Middle and Big. The smallest rooms contain a double bed, shower room and modular storage, with the middle size adding a compact kitchenette.
The smallest room takes up just 11 square metres and was designed by ACME to feel cosy and uncluttered. The sleeping area is wrapped in wood panelling and features smart lighting that can be adjusted throughout the day.
Mint green details feature in the kitchenViennese studio BWM designed one of the Middle rooms, which features pull-out seating and foldable wall panels that enhance the adaptability of the 19-square-metre space.
The hotel’s only Big room measures 28 square metres and is designed as a mini apartment, with a small kitchen and open-plan living and dining area. A fold-out bed provides space for an additional guest.
Materials that recur throughout the guest rooms include bamboo flooring, recycled tiles and birch veneer furniture. The bathrooms feature Durat sinks made from post-industrial plastic waste and Foresso worktops made using waste generated from furniture production.
Green tiles also feature in some of the bathroomsMM:NT Berlin Lab launched with a two-month experiment where guests stayed for free and were asked to provide feedback on the hotel’s rooms, services, atmosphere and ethos.
The hotel will begin taking bookings in summer 2024 but will continue to operate in “beta mode”, with comments from guests helping to shape the spaces and service offering.
Founded in London in 2007, ACME’s previous projects include a shopping centre wrapped in a latticed concrete facade and a modern family home that references a traditional Kentish oast house.
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A former department store that became a famous artists’ squat is now home to Fotografiska Berlin, a photography museum featuring interior design by German designer Werner Aisslinger.
Once the second-largest shopping arcade in Berlin, the building is best known as the Kunsthaus Tacheles, home of the Tacheles artist collective, who occupied it from 1990 to 2012.
Fotografiska Berlin is located in the former Kunsthaus Tacheles. Photo is by Patricia ParinejadAisslinger’s Berlin-based office, Studio Aisslinger, has transformed the former artist spaces into a new location for Fotografiska, which also has venues in New York, Shanghai, Stockholm and Tallinn.
This follows a major renovation overseen by architects Herzog and de Meuron, which included a pyramid-shaped roof extension and the addition of apartments and office spaces.
The venue combines exhibition galleries with hospitality spaces. Photo is by Patricia ParinejadAs a for-profit organisation, Fotografiska’s model is different from other museums and galleries in that it blends exhibition space with hospitality.
Fotografiska Berlin stays open until 11pm, allowing visitors to combine an exhibition visit with dining or drinks.
The design responds to this with spaces designed in the spirit of a members’ club. There are seven floors, including a restaurant, two bars, a cafe, a bakery, a shop and a ballroom.
Historic graffiti is preserved throughout the interior. Photo is by Nicoló Lanfranchi”It’s a complex cosmos that reminds one of a large hotel, only with exhibitions rather than overnight stays,” explained Aisslinger.
“A house like this doesn’t live from ticket sales alone. If you wanted that, you would have to calculate with state aid,” he continued.
“But that’s not what’s supposed to happen here. That’s why the many catering and event areas play a very important role.”
A ground-floor cafe and bar features velvet seating booths. Photo is by Patricia ParinejadAisslinger said the aim was to create interiors that weave together the building’s different layers of history.
Located on the corner of Oranienburger Strasse and Friedrichstrasse, the building was first inaugurated in 1909 as the Friedrichstrasse Passage.
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It was repurposed many times over the following decades – during the Nazi regime the building served as the headquarters for the party’s German Labour Front and its SS corps – and was due to be torn down before the Tacheles group moved in.
As the Kunsthaus Tacheles, the building became a symbol of the post-reunification era, filled with large-scale graffiti works that are now protected by preservation orders.
The department store’s original floor tiles are retained in the museum shop. Photo is by Patricia Parinejad”We tried to let the historic substance shine through a new use,” said Aisslinger.
“It was important to give the substance room to breathe. But that doesn’t mean that we frame the old walls and graffiti-like pictures and illuminate them with spotlights. It was more a question of proceeding carefully.”
Studio Aisslinger’s design aims to balance old and new. Photo is by Nicoló LanfranchiMany spaces are characterised by a careful balance between raw, industrial materials and more comfortable, luxurious elements, including decorative lamps and heavy, patterned fabrics.
The Verōnika restaurant on the fourth floor is a key example of this.
Verōnika is a restaurant organised around a central bar. Photo is by Nicoló LanfranchiThe space incorporates one of the building’s best-known artworks – depicting former German chancellor Angela Merkel with a mohawk hairstyle – in a private dining room featuring solid wood furniture and velvet upholstery.
The ground floor has more of a casual, public feel. The cafe bar has fluted tiles and curving leather and velvet banquettes, while the shop features both original floor tiles and steel and wood shelving systems.
Industrial materials are paired with soft lighting and patterned fabrics. Photo is by Patricia ParinejadThe level of intervention varies throughout, depending on the nature of each space.
A light touch was adopted for the grand double-height ballroom, known as the Golden Hall, which was used as a theatre venue by the Tacheles.
A different approach was required for Bar Clara, which is located under the new pyramid-shaped roof. Offering a panoramic view of the city skyline, it combines mirrored walls with shades of smoky grey, light blue and purple.
The ballroom space was previously used as a theatre. Photo is by Nicoló LanfranchiFotografiska Berlin opened in September, although some of the bar and restaurant spaces came later.
Some critics have questioned whether a private museum is an appropriate use of a building that had become synonymous with Berlin’s underground creative scene after the fall of the Berlin Wall.
Aisslinger, whose previous projects in the city include the 25hours Bikini Berlin Hotel, believes the new model brings back the social spirit that came to define the Kunsthaus Tacheles.
Bar Clara is a rooftop space offering panoramic views. Photo is by Nicoló Lanfranchi”The Tacheles was always an event space as well,” he said. “It was always a bit more. In this respect, one can say that this social aspect already existed in the house and that it is being brought back to life right now.”
“We want to look ahead to the future whilst embracing the past, and to do so in a casual way,” he added. “That is very Berlin.”
Main image is by Nicoló Lanfranchi.
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A pared-back palette of raw materials creates a calm backdrop for PSLab’s lighting products inside the brand’s Berlin workshop and showroom space, designed in collaboration with Belgian firm B-bis architecten.
The newly opened studio occupies the ground floor and basement of a 1907 residential building in the city’s Charlottenburg district.
PSLab has opened a new workshop and showroom in BerlinPSLab, which designs and manufactures light fixtures for architectural projects, set out to create a showroom where customers can experience lighting effects in a home-like environment.
“PSLab is not a digital platform where clients pick and buy products,” the company’s founder Dimitri Saddi told Dezeen. “Therefore the physical space as a ‘home’ is most important for one-on-one communication.”
“In Berlin, as with all our studios, we wanted to design a canvas to show the quality of our light and to show the process of our bespoke design approach by integrating a material library of endless opportunities and possibilities.”
The space includes a materials library with a movable ladderWorking together with B-bis architecten, the design team looked to create a contemporary space that contrasts with Charlottenburg’s classical architecture whilst retaining references to common elements like colonnades, arches and symmetrical forms.
The entrance takes the form of a large zinc-and-glass sliding door that is set into the facade of the building on Niebuhrstrasse. Moving the door aside reveals a full-height opening that welcomes visitors into the studio.
The interior was designed to present the brand’s lighting to its best advantageInside, a double-height space with a six-metre-high ceiling allows lighting products to be hung in various heights and configurations.
Arched openings on either side of the staircase void lead through to a garden room that looks onto a leafy courtyard. Daylight streams into the space through large windows to create a tranquil atmosphere.
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The workshop space includes a materials library where visitors can touch and explore the physical qualities of the brand’s lighting products. A movable ladder provides access to items on the library’s upper rows.
The cosy basement level is a place for informal conversations with clients. A projector in this parlour space also allows the team to display the company’s extensive digital library.
The basement serves as a cosy loungeThroughout the studio, PSLab chose materials and finishes including lime wash, concrete, zinc and textiles that focus attention on how the space is lit rather than its architectural features to create a kind of “sacred place for light”.
“It is all about monochromatics and textures, which are specific to the location,” said Mario Weck, a partner at PSLab GmbH. “The atmosphere lets people focus on our approach.”
Gantries provide support for various light sourcesOn the ceiling of both the front room and garden room is a grey-steel gantry that helps unify the spaces whilst supporting various light sources as well as technical elements, much like on a theatre stage.
Furniture is mostly built in, with simple cushions providing casual seating while cylindrical wooden side tables and coffee tables offer somewhere to place a cup or catalogue.
The showroom is set in Berlin’s CharlottenburgPSLab has studios in Antwerp, Bologna, London, Stuttgart and Beirut, where the firm originated. For its UK headquarters, the company commissioned JamesPlumb to convert a Victorian tannery into a space that evokes the “quiet brutalism” of the former industrial building.
Previously, the lighting brand has collaborated with Parisian studio Tolila+Gilliland on the design of an Aesop store in London featuring felt-covered walls and slim black pendant lights.
The photography is by Nate Cook.
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Glass screen doors, bespoke furniture and natural textures draw on the waterside location of Locke at East Side Gallery hotel in Berlin by architecture studio Grzywinski+Pons.
Located in the inner-city Friedrichshain district, Locke at East Side Gallery contains 176 studio apartments equipped with kitchenettes and living areas, for short stay through to longer tenancies as part of the Locke group’s “home-to-hotel” format.
Rooms at Locke at East Side Gallery feature sliding doors with bespoke glass panelsFor the interiors, Matt Grzywinski of Grzywinski+Pons told Dezeen he wanted “the look and feel to be expressive and aspirational, but also comfortable and even quietly nurturing”.
“I wanted to see if it could be exciting and calming all at once,” he said.
Raw concrete walls catch the grazing light from the River SpreeThis dualism is reflected in the location of the hotel which, in one direction, faces the River Spree and overgrown riverfront lots on the opposite bank in Kreuzberg. The other side of the building, facing onto a busy road, looks out to the Mediaspree skyline of offices and hotels.
The interior design takes its cues from the building’s microlocality. Bespoke kiln glass was made for glass panels in the rooms, which have the same character as the surface of the River Spree in grazing light. Most suites have private balconies with river or skyline views.
“The Spree is a pretty placid river, and the light reflecting off of its gently textured surface is a major component of the views from the hotel,” Grzywinski told Dezeen.
Rattan screens separate sleeping and living areasRaw concrete walls echo the remains of the Berlin Wall, which are directly in front of the hotel on the Friedrichshain side.
“I try to employ texture to provide comfort and warmth in spaces or, conversely, contrast that with sleek or glossy surfaces,” the designer said.
Calming colours and textures contrast with pops of colourIn the rooms, the palette of wood, concrete and textured glass was enlivened with pastel coloured soft furnishings, including turmeric chairs, pastel mirrors, braided grass rugs, suede and rattan headboards and screens.
“Colour for me is intuitive,” Grzywinski explained. “Blush, mint, buff – powdery tones that I thought were a nice foil to the largely neutral and monochromatic, even industrial, context.”
Jacques Biny bedside wall lights were incorporated into custom suede and rattan headboardsGrzywinski+Pons designed the majority of the furniture for the rooms, but also specified lighting and some other pieces including Jacques Biny bedside wall lights, which were integrated into custom bedheads, and BRDR Krueger chairs to complement the studio’s dining tables.
The ground floor features complimentary co-working area for guests and locals, including a coffee shop and audiophile bar, as well as the Anima restaurant.
Intended as a dedicated space for music lovers, the eating, drinking, listening concept of Anima was informed by Japan’s “kissaten” hi-fi cafes, which preceded affordable home stereos.
ANIMA is an audiophile bar focussed on musicThe restaurant said they hope to help guests “connect to music and one another in a warm setting”.
The social spaces on the ground floor resemble a gallery space that is used for art exhibitions and community events.
Greenery in brick planters soften the concrete industrial spaceBuilt-in seating and planters were fabricated from locally-sourced bricks comprised of recycled sand and lime. Furnishings echo the wider design treatment in a palette of timber, cane, fabric and cord.
“As furnishings and installations get closer to the touch level, I introduced colour and texture that hopefully was harmonious, and in contrast to the otherwise raw public spaces,” Grzywinski said.
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“The wall curtains literally transition from grey to blush with an ombre print,” he continued.
“I wanted the hotel to capture some of that strange magic Berlin has, where you can feel like you are in the centre of a vast and dynamic avant-garde metropolis, which simultaneously presents like a tranquil retreat.”
Curtains in the lobby feature a subtle ombre fade from grey to blushSince its first location opened in 2016, Locke has expanded to include 14 sites across the UK and mainland Europe, with Zurich, Copenhagen, Lisbon and Paris locations due to open in the next year.
Other hotels recently featured on Dezeen include The Hoxton Charlottenburg by AIME Studios in Berlin and Cowley Manor Experimental in the Cotswolds, UK, designed by Dorothée Meilichzon.
Photography is by Nicholas Worley.
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The Hoxton hotel has opened its first German outpost in Berlin’s Charlottenburg, with interiors designed to blend the contrasting architectural styles that rub shoulders in the affluent neighbourhood.
Located just off the Kurfürstendamm shopping street in West Berlin, the 234-room hotel was styled on a cross between the area’s Jugendstil mansion blocks and the comparatively rugged concrete buildings of the brutalist era.
The Hoxton has opened a hotel in BerlinThe result is an aesthetic concept that the company’s in-house design team AIME Studios has dubbed “rough nouveau”.
“By drawing inspiration from the surrounding area and celebrating the contrasting styles, we were looking to create a unique interpretation of this corner of the city, which will be recognisable to locals and let visitors get a sense of the area,” AIME Studios design associate Charlie Cruickshank told Dezeen.
Vintage mid-century furniture features in the lobbyBrutalist influences can be seen in the oversized concrete columns that run through The Hoxton’s lobby, which is finished in a textured plaster to match.
This provides a rough backdrop for more elaborate decorative touches, ranging from mosaic flooring to bespoke Murano glass chandeliers with botanical-inspired forms that draw on the art nouveau ironwork and tiling found in the surrounding buildings.
Patterned tiles were used to decorate some of the joinery”One of the features we noticed many times while walking around Charlottenburg were the tiled doorways with elaborate designs,” Cruickshank said.
“Tiles are used in many decorative and creative ways throughout the area and they are also integrated into some of our joinery pieces.”
The lobby is defined by an airy blue and green colour paletteAt the back of the blue- and green-toned lobby with its vintage mid-century furniture sits the Winter Garden bar, finished with patterned mosaic tiles to create a conservatory-meets-courtyard atmosphere.
Here, a Delft-inspired tiled fireplace nods to traditional Swedish stoves while fostering a cosy atmosphere during Berlin’s frosty winters.
“The references to the beautiful tiles in the local area were emphasised wherever possible, and the finely painted botanical designs echo classic art nouveau motifs,” Cruickshank said.
The Winter Garden bar features mosaic flooring and a tiled fireplaceAlso on the ground floor are the House of Tandoor restaurant and the Teahouse cafe and bar, both designed to fuse the elegant Charlottenburg aesthetic with Indian influences, taking design cues from the grand palaces of Kolkata and Mumbai in the 1920s.
In the cafe, shell-patterned mosaic tiles pick up the subtle green hues in the bar’s marble countertop while oversized windows flood the space with light.
“The show-stopping scalloped marble floor tiles feature colours inspired by Indian spices and herbs that are used for the cocktail menu,” said Cruickshank.
A curved bar with a scalloped countertop features in the Teahouse cafeIn the next-door restaurant, an open-plan copper-and-wood kitchen takes centre stage alongside richly upholstered banquettes.
Framed vinyl covers and vintage-style gramophones reference India’s jazz era, representing the fusion of Indian and Western cultures.
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“The concept for the restaurant is to emulate the vibrant colour palette of the spices and textiles found in the markets of Mumbai as well as the quirky curiosities often found within the markets, such as gramophones,” said Cruickshank.
“This also has a nod to the theatricality of the 1920s Weimar era and the cultural importance of jazz during this time.”
The House of Tandoor restaurant serves modern Indian fareThe “rough nouveau” concept continues in the 234 bedrooms, where a restrained take on the whiplash curves of art nouveau can be seen in features such as the headboards while the lighting brings a raw, unpolished element to each room.
A muted colour palette of soft pinks and greens provides a sense of warmth that is amplified by the vintage furniture, herringbone flooring and patterned rugs.
The hotel has 234 guest roomsBuilding on the hotel’s links to its locale are the illuminated room numbers.
“Illuminated house and apartment number signs are a quintessential feature you see all over West Berlin,” Cruickshank said. “Using these signs references this distinctive design marker of the neighbourhood.”
A curved headboard nods to the swirling lines of art nouveauA top-floor party and event space, The Apartment, includes three flexible private rooms arranged around a central kitchen.
The Apartment’s aesthetic was informed by the life and work of Mary Wigman, a German dancer and choreographer who pioneered expressionist dance and lived in West Berlin in the early 20th century.
The Apartment offers a space for hosting private parties and events”We imagined the space to be like a 1920s apartment looking out over the vibrant city with art nouveau influences in the floral and botanical wallpapers and the soft pastel colour palette,” Cruickshank said.
“The location of The Apartment on the top floor of the hotel adds to the residential feel of the space.”
The space features homey furnishings reminiscent of an apartmentThe Hoxton’s other outposts include a hotel informed by the work of Spanish architect Ricardo Bofill in Barcelona and one housed in Chicago’s old meatpacking area.
The photography is courtesy of The Hoxton.
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A faux industrial kitchen and yellow camping furniture feature in this store in Berlin by Crosby Studios for jewellery brand Avgvst.
The studio put the space together from scratch using repurposed furniture and fittings including office blinds, camping chairs and kitchen equipment.
The store’s colour scheme is dominated by grey, silver and yellowThe space is situated on the ground floor of a 19th-century building and retains a conventional glazed shop front. In contrast, the interior aims to distance itself from traditional jewellery stores.
“The main idea was to create a new sense of retail in a non-traditional commercial way,” Crosby Studios told Dezeen.
Cookers, storage and washing stations have become jewellery display casesThe store draws on the concept of a dark kitchen, a fast food outlet that provides food for deliveries and takeaways but doesn’t have a dedicated area for in-house dining.
“We purchased all the steel appliances and shelving from the kitchen supply store in Berlin,” the studio said. “We needed sturdy stainless shelves with sliding drawers, which is why we decided to repurpose restaurant equipment.”
Splashes of yellow animate the store’s interiorThe interior scheme is unified by its use of yellow paint, which is Avgvst’s signature brand colour.
Yellow details at the front of the store include a kitchen sink, a rinsing tap with a coiled arm and numerous small display stands for jewellery.
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The back of the space features yellow storage cabinets, curtains and foldable furniture, as well as yellow and green flowers and plants that soften the space’s industrial feel.
“Yellow is associated with gold, which is reflected in Avgvst’s jewellery,” the studio said.
Yellow details are picked out in display stands, seating, signage and wiringAside from the dominant use of yellow, other features include the space’s original exposed brick walls and wooden door lintels that have been lined with slats from repurposed office blinds.
Foldable camping tables, chairs and stools are set up as permanent furniture to add to the interior’s playful atmosphere.
Yellow flowers and green foliage soften the industrial aesthetic of the shopJewellery has been laid out on top of stainless steel equipment in the spots once dedicated to food preparation, replacing ingredients and dishes with high-end jewellery.
To celebrate the store’s opening, Avgvst designed a range of pieces that mimic the shape of knives, forks and spoons.
The tattoo studio is situated towards the back of the spaceAs well as a jewellery shop, the space houses a tattoo studio and a garden area.
“The tattoo studio works as a pop-up space for the artists, whose style and aesthetics we like,” the studio said.
“They make their own tattoos, as well as the flash sets inspired by the designs of our jewellery. The garden will host yoga classes, meditation sessions and pop-up dinners.”
Other retail design projects published on Dezeen include a clothing boutique in Shanghai that incorporates oversized buttons and an Aesop store in London piled high with sage green books.
The photography is courtesy of Crosby Studios.
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