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    Colour-drenched coffee shop by Uchronia references “sunsets in the Tunisian desert”

    Gradated lava stone flooring and suspended planet-like orbs feature at the Cafe Nuances coffee shop in Paris, which was created by Dezeen Awards-nominated studio Uchronia.

    Located on the city’s Rue de la Tremoille, the coffee shop is the third Uchronia-designed branch for Parisian coffee roaster Cafe Nuances.
    Cafe Nuances’ latest branch has a bright white facadeThe one-room shop is fronted by a bright white facade in stark contrast to its vivid-hued interior.
    Studio founder Julien Sebban was informed by the landscapes he experienced on a recent trip to Tunisia when creating the cafe’s walls and lava stone flooring, which are decorated in ombre swathes of red, orange and blue.
    The colorful interior was informed by sunsets in Tunisia”They reminded him of the sunsets in the Tunisian desert – a veritable ode to the gentleness of summer days,” said the studio, known for its playfully eclectic designs and shortlisted in the emerging interior designer category at this year’s upcoming Dezeen Awards.

    The coffee shop’s entrance is flanked by two bright red benches topped with metallic-effect fabric – one curved, and the other straight.
    Uchronia crafted the counter from stainless steelLow-slung interlocking tables, which can double as stools, can be reconfigured to suit customers’ needs.
    Uchronia placed a chunky stainless steel counter at the back of the intimate cafe, which is overlooked by deep orange lacquered shelving – a design element found in the other two Cafe Nuances outlets.

    Beata Heuman designs colour-drenched Hôtel de la Boétie in Paris

    “This new address picks up on the codes present in the second shop, accentuating the [coffee] brand’s colourful, futuristic retro universe,” explained the studio.
    A cluster of striking, spherical objects were finished in the same colours as the rest of the space and suspended from the reflective ceiling.
    Planet-like orbs add decoration to the space”Unlike [this branch’s] two big sisters, whose interiors feature striated shapes, here, the poly mirror tiles are complemented by half-spheres in saturated colours, accentuating the dreamlike feel of the coffee shop,” continued Uchronia.
    “They create the illusion of floating balls, which could be mistaken for Saturn.”
    Bespoke interlocking tables also function as stoolsThe studio previously livened up a Haussman-era Paris apartment for a pair of jewellery designers with furniture crafted to nod to the appearance of precious stones.
    Elsewhere, Canadian design duo Julia Jamrozik and Coryn Kempster created a sky-blue coffee shop in a century-old house in Buffalo, New York, with an optical illusion staircase.
    The photography is by Félix Dol Maillot.

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    Traditional design techniques are “alive and well” in Le Salon de Septembre exhibition

    Old and new blurred together in this exhibition at Paris’ GSL Gallery, which celebrated contemporary creatives who observe design traditions of the past.

    Le Salon de Septembre was the inaugural exhibition to be held at GSL Gallery, a factory-turned-arts space in Paris’ Patin neighbourhood run by creative collective The Guild of Saint Luke.
    Guided by the motto “Remastering The Past”, the collective thought it fitting for the show to highlight the fact that traditional design techniques are “very much alive and well”.
    The exhibition showcases contemporary designers who observe design traditions of the past”These techniques are being adopted by young avant-garde artists and designers around the world to create new forms that can also be read in the context of decorative art history,” the collective’s founder, John Whelan, told Dezeen.
    “This is a subjective opinion but I think that artworks and design pieces that reference the past are drawing upon our roots, the very foundation and life force of our culture – works that attempt to break free from the past can often look ‘deracinated’ and meaningless despite their valiant effort to create a new language.”

    Pieces include this stainless steel daybed by Olivia BossyA mix of established and emerging creatives contributed pieces to the exhibition, which was curated by Whelan and interior architect Edgar Jayet.
    On the gallery’s ground floor, an ebonised blackwood and stainless steel daybed by Australian designer Olivia Bossy sat beside a lustrous aluminium lamp from designer Max Copolov.
    This drew on the work style of Weiner Werkstätte – a modernist Austrian design studio established in 1903 by painter Koloman Moser, the architect Josef Hoffmann and patron Fritz Waerndorfer.
    A glass vitrine contains a curule-style stool by Edgar Jayet and a 19th-century bento boxA glass vitrine in the same room contained an ornate bento box from 19th-century Japan and a raw aluminium stool by co-curator Jayet.
    This offered a reinterpretation of the curule seat, used in Ancient Rome by powerful magistrates.

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

    Upstairs on the gallery’s mezzanine, a chair by Seoul-based designer Kim Byungsub was on display.
    While its seat was made from hairline-finish steel, its backrest featured najeonchilgi: a historic Korean handicraft technique in which mother-of-pearl motifs are inlaid into lacquered surfaces.
    The gallery’s mezzanine featured this najeonchilgi chair by Kim ByungsubOther items on this level included a walnut-veneer lounger by London-based artist EJR Barnes, designed to emulate “turn-of-the-century European grandeur”.
    There was also a blackened ash, steel, and felt-laminate suspension light by London-based designer Joe Armitage, which took its cues from a floor lamp created in 1952 by his grandfather, architect Edward Armitage.
    Nearby is a walnut-veneer lounger by EJR BarnesAn array of paintings, prints and reliefs served as a backdrop to the pieces in the gallery. These nodded to the exhibition design of the 1903 edition of Salon d’Automne, an art show that takes place in Paris every year.
    “My co-curator Edgar Jayet and I were particularly interested by the avant-garde spirit of the original Salon d’Automne, which was controversial in its day, showing the Fauvists, Cubists and Futurists, as well as Charlotte Perriand and Le Corbusier in design,” explained Whelan.
    “Archival images of the original exhibition in 1903 heavily influenced our scenography, with an ebonised oak vitrine and shelf above which artworks are hung in a ramshackle, fin-de-siecle style.”
    This suspension light by Joe Armitage also comes as part of the exhibitionLike Salon d’Automne, Le Salon de Septembre will now become an annual event at GSL Gallery.
    “We hope to provide an annual snapshot of the zeitgeist in art and design, showing artists and designers that explore heritage as a means of contemporary inspiration,” concluded Whelan.
    Prior to opening GSL Gallery at the beginning of 2023, The Guild of Saint Luke specialised in reviving historic interiors and designing new ones.
    Previous projects include Nolinski, an art deco-style eatery in the French capital, and Maison Francois, a chic brasserie in London that riffs on Ricardo Bofill’s architecture.
    The photography is by Celia Spenard-Ko. 
    Le Salon de Septembre took place at 27 Rue Jacques Cottin, Pantin, Paris, from 15 September to 6 October. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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    Beata Heuman designs colour-drenched Hôtel de la Boétie in Paris

    Saturated greens and blues contrast pale pink sheets and playful flower details at Hôtel de la Boétie in Paris, which Swedish designer Beata Heuman created to be “a bit like a stage set”.

    Set in a 19th-century building, the 40-room hotel in Paris’ 8th arrondissement was designed with Heuman’s signature colourful interior style.
    Beata Heuman’s Dodo Egg Light hangs in a lounge area at Hôtel de la BoétieWhile it was a renovation of an existing hotel, the designer was able to make large changes to the interior as the building had been altered numerous times since it was completed.
    “The building didn’t have any original features left and has been re-configured over the years,” Heuman told Dezeen. “We spun off the simplicity of the bones that were there, working with strong, simple ideas.”
    The hotel’s reception area has a warm red colourGuests are met by a reception room with a vibrant, bright-red nook for the front-of-house staff and two lamps designed like winding red-and-yellow flowers. A dark-blue leather seat complements the room.

    Next to the reception area, Heuman created an all-silver lounge that was designed to have a theatrical feel and is brightened by an orange velvet sofa and a forest-green coffee table.
    Guests can relax in a silver lounge areaThe colour palette was very deliberately chosen by Heuman, who thought about the wider impact it would have on the space.
    “It’s about contrast and balance,” the designer said. “When you work with rich colours my instinct is to off-set that using simpler materials around it to complement and enhance.”
    Woven headboards create striking centrepieces in the bedroomsThe bedrooms have a saturated colour scheme, with lower-level floors that feature dark blue walls, which change to shades of brown on the ascending floors.
    The two top levels have pale, airy blue hues, with classic French cast-iron balconies providing views of central Paris from the top floor.
    A grassy green carpet was used throughout the hotel to create a vibrant contrast to the blue and brown hues.
    The bathrooms feature pale pastel coloursSome bedrooms have been decorated with oversized headboards that were woven as rugs and then upholstered, creating an unusual and eye-catching centrepiece.
    These were informed by the inlaid marble floor of the Medici Chapel in Florence and sit above the solid-ash beds, which have been made with pale-pink satin sheets that add to the vibrant feel of the room.
    In the bathrooms, Heuman used pale blue and green pastel hues juxtaposed with pink towels to give the rooms a luxurious retro feel, while checkerboard-patterned tiles in yellow and green add a fun touch.
    bedrooms on the lower levels have dark-blue wallsThe designer also used her own products to decorate the hotel, including her Dodo Egg Light – an egg-shaped light with green fittings designed to resemble planet leaves.
    This decorates one of the ground floor lounge areas, which also features posters for art exhibitions by artists Pablo Picasso and Paul Klee.

    Luke Edward Hall stirs print and colour inside Hotel Les Deux Gares in Paris

    The designer used mainly natural materials for the hotel, including wood and brass.
    “The solid ash furniture used in all the rooms have a humble quality which anchors the more theatrical elements of the schemes such as the headboards, ensuring the expression stays true to the nature of the building,” she said.
    Heuman aimed to use natural materials throughout the spaceHeuman also created the branding for the hotel, which was made for French hotel group Touriste.
    “A hotel is about having an experience for a day or two, which means that we have been able to explore a concept and a mood to a greater extent,” Heuman said.
    “We can treat it a bit like a stage set, which is not the approach I would take when it comes to someone’s home.”
    Flower lamps decorate the reception areaThe project fulfilled a long-time dream for the designer, who had previously never designed a hotel and works more on private home interiors.
    “I’ve been wanting to do a hotel for ages and it has been a fantastic experience,” Heuman said.  “I am drawn to the theatrical, although that is often not appropriate for a residential setting.”
    “A hotel is an experience for a few nights, therefore you can exaggerate and do more of a ‘look’,” she added. “In a residential project the design is centred around the personal preferences of an individual client.”
    Previous hotels by Touriste include Hotel Les Deux Gares in Paris, which has an interior that was created by British designer Luke Edward Hall. Also in Paris, local studio Uchronia created a colourful Haussmann-era apartment as a “chromatic jewellery box”.
    The photography is by Simon Brown.

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    Frederik Molenschot presents debut solo sculpture show at Carpenters Workshop Gallery

    Sculptures crafted from recycled BMW airbags and oak railway sleepers feature in artist Frederik Molenschot’s Atlas 2000 exhibition, which is on display at Carpenters Workshop Gallery in Paris.

    Marking the Dutch artist’s first solo exhibition, Atlas 2000 features hand-sculpted works that are directly influenced by natural landscapes, Molenschot said.
    The show’s title refers to the visual diary the artist has created since his studies at Design Academy Eindhoven in 2000.
    Buoy Airbag is a sculpture made from recycled BMW airbagsSpread across the minimalist ground floor at the Paris branch of Carpenters Workshop Gallery, the sculptures were crafted from various materials and range from functional to abstract.
    Buoy Airbag is an amorphous, pale blue-hued hanging sculpture created from recycled airbags sourced from BMW vehicles.

    Frederik Molenschot’s debut solo show is on display at Carpenters Workshop Gallery”The piece delves into the intricate connection between cargo transport and climate change, with recycled airbags symbolising a melting arctic ice rock floating in the sea,” the artist told Dezeen.
    “I want to explore how luxury materials are used and how they become what they are,” he added. “[So] I processed the used airbags in a ‘couture’ way, to get a very high-quality finish.”
    Gingerblimp is a bronze LED light sculptureMolenschot also designed Gingerblimp, a bulbous bronze LED light sculpture characterised by a silver patina and a gold-brushed interior.
    The artist explained that the sculpture is a playful take on ginger root from the natural world and also nods to the manmade blimps that form part of New York City’s annual Thanksgiving Day Parade.
    Recycled oak railway sleepers were salvaged to create furnitureRecycled oak railway sleepers were salvaged to create a chunky dining table and chair, which were named Bridge Beat to “pay homage to the captivating structure of bridges”.
    Also part of this series is a black bronze desk and chairs formed from gridded lines arranged in triangular formations.

    Carpenters Workshop Gallery presents design exhibition on heritage, place and identity

    “Each material was selected purposefully, offering unique properties and textures that complement the conceptual aspects of the artworks,” explained Molenschot.
    “Every piece is hand-sculpted in our studio.”
    Molenschot also created oversized clothingAccording to Molenschot, the pieces’ forms vary as much as their material palettes. In one corner of the gallery, a bobbly bronze glove was positioned underneath a branch-shaped textured lamp while oversized clothing also features in the exhibition.
    “This solo show holds a special place in my heart, as it represents my entire artistic journey since my time at the Academy,” reflected Molenschot.
    “It’s an invitation to explore my vision of our world. My ‘atlas’ is a compendium of research, pictures, designs, and sketches that have shaped me as an artist.”
    The exhibition runs until mid-SeptemberKnown for his large-scale bronze sculptures, Molenschot has been represented by Carpenters Workshop Gallery since 2008. The galley, which also has locations in London and the US, previously exhibited an all-denim furniture show by designer Harry Nuriev.
    The late fashion designer Karl Lagerfeld also debuted his first sculpture exhibition at the Paris branch.
    Atlas 2000 is on display at Carpenters Workshop Gallery from 1 June to 16 September 2023. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

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    Uchronia conceives Haussmann-era Paris apartment as “chromatic jewellery box”

    Multifaceted furniture pieces crafted to mirror the appearance of precious stones feature in this opulent Parisian apartment, which was renovated by local studio Uchronia for a pair of jewellery designers.

    Located on Paris’s Avenue Montaigne, the one-storey apartment is housed within a building designed as part of Georges-Eugène Haussmann’s famed reconstruction of the French capital during the mid-19th century.
    Uchronia renovated a Haussmann-era apartment in ParisUchronia maintained the apartment’s original boiserie, mouldings, parquet flooring and tall ceilings, which are hallmarks of Haussmann-era architecture.
    This quintessentially Parisian backdrop was updated to include bright and textured furnishings designed to mimic pieces of jewellery.
    The dining room features a modular resin table”The space had great bones – a classical Haussmanian layout,” said Uchronia founder and architect Julien Sebban. “That being said, it felt cold, pretentious and beige.”

    “For a change, we avoided structural work and focussed on the decoration,” he told Dezeen.
    A trapezoid lacquered cabinet was positioned in the living roomCreated as a home for two jewellery designers, the apartment features an amorphous resin table in the dining room that is divided into seven modular parts and patterned with a motif informed by the green gemstone malachite.
    “The table’s custom-designed, beaten steel legs echo the principle of claws holding a solitaire diamond to its ring,” explained Sebban.
    Coloured light refracts from a squat stained-glass chairMulticoloured light refracts from a squat stained-glass chair in the sizeable living room, which features a trapezoid lacquered cabinet and curvy jewel-like furniture finished in vivid hues and contrasting textures.
    Uchronia suspended a milky blue Murano glass chandelier overhead and wrapped the room’s floor-to-ceiling windows in sheer ombre curtains.
    Uchronia created a bespoke bed frame for the apartment”The walls echo the curtains and are also treated – and this is a technical feat – in gradations of colour,” the architect said.
    Tucked into an alcove, towering silvery shelves display a selection of ornaments and were designed to give the impression of an open jewellery box.
    “If the apartment’s shapes are reminiscent of the jewellery world, its materials and colours are also borrowed from it,” Sebban said.

    Six renovated Parisian apartments in historical Haussmann-era buildings

    In the single bedroom, the studio took cues from the undulating striations of onyx when creating a bespoke bed frame, finished in plush upholstery to blend in with the room’s patterned carpet while alabaster lamps were positioned atop its two posts.
    Elsewhere in the room, Uchronia paired a dramatically carved Ettore Sottsass dressing table in book-matched marquetry with an egg-shaped chair defined by gleaming red plastic and “space-age lines”.
    An Ettore Sottsass dressing table was also included in the bedroom”It’s very hard to pick a favourite place in this flat because each space has its own identity and colour,” Sebban said. “But if there’s one thing I really love about this apartment, it’s the vitrail that leads to the kitchen.”
    The curving window was an existing feature of the apartment, which the studio customised with candy-coloured glass panes.
    “It creates a place of passage that is quite timeless, like a little sanctuary,” said the architect.
    Coloured glass appears throughout the apartmentColoured glass is a motif that appears throughout the apartment, including the asymmetrical pastel-hued wine and cocktail glasses that look like precious stones.
    “Playful and contradicting combinations of colour, organic and geometric lines and a rich combination of textiles and glass come together to form a chromatic jewellery box filled with gems,” said Sebban. “Every detail has been thought out, polished and cut.”
    Asymmetrical pastel-hued glasses looks like precious stonesElsewhere in Paris, French architect Sophie Dries previously renovated a Haussmann-era apartment for clients who are “really into colour”, while Hauvette & Madani added a sumptuous wine-red kitchen to a dwelling in the city’s République area.
    The photography is by Félix Dol Maillot. 

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    Ramy Fischler blends contemporary and historic for Moët Hennessy’s first cocktail bar

    Belgian designer Ramy Fischler has collaborated with Moët Hennessy and cocktail creator Franck Audoux to create the Cravan cocktail bar in the heart of Paris’ Saint-Germain-des-Prés.

    Named Cravan, the bar for luxury drinks group Moët Hennessy was a collaboration between architect Fischler and restaurateur, author, historian and cocktail aficionado Audoux.
    Ramy Fischler designed the Cravan bar for Moët Hennessy”The objective of the design was to amplify a story by Franck Audoux originating from his small bar in the 16th arrondissement of Paris and transforming it into a cocktail house over five levels in the centre of the capital – to imagine the creation of a new house of the Moët Hennessy group,” Fischler told Dezeen.
    “This is not a one-shot but the beginning of a long adventure. It was therefore necessary to define a harmony, a coherence, between all the ingredients of the project, whether it is the decoration, the service, the music or the lighting.”
    The building features three separate barsThe space takes its name from the avant-garde poet-boxer and sometime art critic, Arthur Cravan, a free-spirited figure greatly admired by Audoux, with whom Fischler worked closely on this project.

    “We share a common vision, based essentially on cultural references from literature and cinema, and above all a taste for scenic impact, framing a context, point of view, or narrative,” said Fischler.
    “We started with the desire to freely assemble codes, eras, and styles to craft a new repertoire which made sense to us and expressed the essence of Cravan.”

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    Set in a 17th-century building in the heart of this historic and literary district, the space was arranged over five floors, with a small invitation-only space on the roof.
    The building has separate bars, each with its own distinct character on the ground, first and third floors, while the second floor hosts the Rizzoli bookstore-cum-library, where guests can come with their drinks to leaf through and buy books. On the fourth floor, there’s another invitation-only atelier-style space.
    Each of the spaces was designed to combine modern elements with the building’s historic fabricAccording to Fischler, the whole project took its cues from the concept of the cocktail.
    “I would never have imagined this project in its current state if it were not a question of drinking cocktails” he said.

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    “There are a number of ingredients that we blend together to create a unique whole, that seems offbeat but is actually very controlled,” he continued.
    “I thought of the spaces as cinematic scenes, hence the individual atmospheres on each floor which form different sets. You can sit in front of the stage, on the stage, or behind the stage, depending on the experience and viewing angle you prefer.”
    The bar is Moët Hennessy’s firstTo create these different scenes, the project makes use of a wide range of materials, often reclaimed salvaged pieces including parquet floors, stone floors and wood wall coverings, painstakingly installed by a large team of craftspeople.
    In Ramy Fischler’s projects, the textiles always play an important role and the practice features its own in-house textile designer.
    “For Cravan, we tried to use as much re-used material as possible, and in particular textiles from Nona Source, a start-up that makes available leftover, unused fabrics from the fashion houses of the LVMH group.”
    Historic elements were retained throughout the spaceThe practice strived to create a contrast between the warm and natural colours of the historic fittings, and the colder and metallic colours of the contemporary furniture and fittings, “which cohabit one alongside the other”.
    “Depending on the level, the colour palette is totally different, and since no room is alike, and each colour has been chosen according to the universe we have sought to compose,” said Fischler.
    Fischler also designed glasses for the barAll of Cravan’s furniture was custom designed and Fischler’s holistic approach extends to the cocktail glasses, which the practice designed for Cravan and which are displayed in the library.
    “Rather than creating new shapes, we preferred to select, from the history of glassware over the past 300 years, the models that we liked and that we wanted customers to rediscover,” explained Fischler.
    Other recent bars featured on Dezeen include an eclectic cocktail in Los Angeles designed by Kelly Wearstler to feel “like it has been there for ages” and the Ca’ Select bar and distillery in Venice.
    The photography is by Vincent Leroux and Alice Fenwick

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    Ronan Bouroullec creates pared-back furnishings for 17th-century chapel in Brittany

    Following the wildfires that ravaged Brittany’s Arrée mountains last summer, Ronan Bouroullec has reimagined the interior of the region’s historic Chapelle Saint-Michel de Brasparts as part of a full restoration.

    Originally built at the end of the 17th century, the chapel is a modest building without lighting or electricity, perched on top of a prominent hill that rises above the surrounding moorland.
    Chappelle Saint-Michel de Brasparts has undergone a full restorationBreton businessman François Pinault, founder of luxury group Kering, financed the chapel’s restoration after it was damaged during the wildfires, patching up its metre-thick stone walls, rammed-earth floors and the exposed oak frame supporting the slate roof.
    Bouroullec, who was born and raised in Brittany, remembers the chapel from his childhood and was compelled to design a new altar and several furnishings for the building as part of the refurbishment.
    Working in collaboration with local artisans, he used a trinity of roughly-hewn materials – granite, steel and glass – that would stand the test of time while reflecting the building’s rugged rural location.

    Ronan Bouroullec designed a new altar for the chapel”Heavy enough not to be moved, sturdy enough not to be damaged, rough enough not to require cleaning, the elements that Ronan Bouroullec has placed in the chapel must succeed, despite or because of these characteristics, in creating a sensory experience,” wrote Martin Bethenod, former CEO of Pinault’s Bourse de Commerce museum, in an introductory text for the project.
    “The bush-hammered granite, blurred glass, hammered steel, the choice of a galvanized finish to soften the contrast of the cross and candlesticks with the whiteness of the lime-rendered walls – each intervention combines sensations of roughness and softness, of force and tremor.”
    The granite altar is topped with a simple hammered-steel crossNuit celtique de Huelgoat granite – quarried less than 15 kilometres away from the chapel – was cut into three pieces before being worked by local stone mason Christophe Chini to create an altarpiece, its horizontal base and a console table for candles and offerings.
    Bethenod compares the dark stone, studded with shards of white, to “the starry night sky over the chapel, virtually devoid of light pollution”.

    Álvaro Siza combines geometric forms for white-concrete church in Brittany

    The metal elements – a simple cross and a group of three tall candle holders, all in hammered steel – were the result of another collaboration, this time between Bouroullec and Roscoff-based metalworker Mathieu Cabioch.
    Some of the candles stand directly on the altar while the rest are integrated into the Brutalist console table, which consists of a long slab of granite, seemingly supported by several of the steel candle holders.
    A mirrored glass disc is mounted centrally behind the altarThe final element in Bouroullec’s material trinity is glass, in the form of a large mirrored disc that hangs centrally behind the altar.
    Made by glassmakers from the Venice area, with whom Bouroullec has worked for several years, the piece was designed to create a dialogue with the two stained-glass windows in the apse, which are the chapel’s only surviving decorative element.
    “More than a mirror, more than an object, it is a light source without physical substance, as if a round hole had been made in the wall to reveal daylight, unpredictable and constantly changing,” said Bethenod.
    Steel candleholders are also integrated into a wall-mounted consoleBrittany is home to some of the world’s oldest standing architecture. Other projects making use of the region’s historic buildings include this conversion of a 17th-century barn into a printmaker’s studio.
    The first new church to be built in Brittany in the 21st century was completed by Portuguese architect Álvaro Siza Vieira in 2018, featuring a sculptural composition of intersecting concrete forms.
    The photography is by Claire Lavabre courtesy of Studio Bouroullec.

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    Dorothée Meilichzon reimagines historic Biarritz hotel with nautical nods

    French interior designer Dorothée Meilichzon has renovated a Belle Epoque-era hotel in Biarritz, France, blending maritime and art deco motifs to add contemporary flair to the historic building.

    The Regina Experimental sits on a clifftop overlooking the Bay of Biscay in the French seaside city, which was once a royal getaway and is now a popular surfing destination.
    Nautical designs decorate the corridorsConstructed in 1907 by architect and landscape designer Henry Martinet, the grand building features a 15-metre-high atrium, large bay windows, a glass roof, and hints of art deco throughout.
    The majority of its spaces were well preserved, so Meilichzon’s input involved modernising the furnishings and decor – adding colour and pattern to enliven the spaces while playing on the hotel’s coastal location.
    Totemic sculptures were used in the hotel’s atriumIn the light-filled atrium, dark red and green sofas were arranged to create intimate seating areas within the expansive room.

    Totemic wicker sculptures form a line down the centre of the room, and cylindrical paper lanterns by designers Ingo Maurer and Anthony Dickens hang from the columns on either side.
    Guest rooms feature geometric, art deco-influenced headboards and striped upholsteryGuests in this space are served cocktails from a bar top shaped like an ocean liner, designed as an homage to modernist architect Eileen Gray, while listening to live piano music.
    While the bar top nods to Gray’s designs, the sofas in the room play on the shapes of the Itsasoan footbridge in nearby Guétary.
    Mirrors wrapped in rope continue the maritime theme in the roomsCarpet patterns vary between the different areas of the hotel – in the corridors, they carry a nautical motif, while the markings are reminiscent of fish scales in the guest rooms.
    The hotel’s restaurant, Frenchie, offers Basque-inspired cuisine within a bright room that features more nautical references, such as rope-hung shelves and shell-shaped sconces.
    Shell-shaped sconces decorate the dining roomHighly patterned tiled floors and furniture contrast the restaurant’s neutral plaster walls and ceiling, which are punctuated by arched niches and curved plywood panels.
    The dining area spills onto an outdoor terrace, populated by red cafe tables and chairs lined up against pale blue banquettes, around the corner from a swimming pool.

    Ibiza’s first hotel gets bohemian refresh from Dorothée Meilichzon

    The hotel’s 72 guest rooms are accessible from corridors that wrap around the atrium, and face either the ocean or the Golf de Biarritz Le Phare golf course.
    Shades of blue and green dominate the art deco-influenced bedrooms, which feature glossy geometric headboards and marine-striped upholstery.
    A cool palette of greens and blues is used in the bathroomsSmall lamps extend from rope frames that wrap around the mirrors, and red accents on smaller furniture pieces pop against the cooler hues.
    “Bedrooms are awash with Japanese straw and rope combined with marine stripes and plaster frescoes with aquatic motifs,” said the hotel. “Evocative of an ocean liner, each bedroom incorporates curved forms and long horizontal lines.”
    Built in 1907, the hotel overlooks the Bay of Biscay from a clifftopMeilichzon, founder of Paris-based design agency Chzon, is a frequent collaborator of the Experimental Group, and has designed the interiors for several of its properties.
    Earlier this year, she gave a bohemian refresh to Ibiza’s first hotel, now called the Montesol Experimental, and previously completed the Hotel Il Palazzo Experimental in Venice.
    The photography is by Mr Tripper.

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