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      PSLab’s monochromatic Berlin showroom is a “sacred place for light”

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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.

      JamesPlumb converts Victorian tannery into London HQ for PSLab

      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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      Didier Faustino creates shrink-wrapped scenography for Paula Rego exhibition

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      French-Portuguese architect Didier Faustino has shrink-wrapped a series of wooden blocks to display paintings by the late artist Paula Rego as part of an exhibition in Hanover, Germany.

      The unusual scenography was created for the exhibition titled Paula Rego: There and Back Again at the Kestner Gesellschaft art association and has been shortlisted in the exhibition design category of the 2023 Dezeen Awards.
      Didier Faustino has designed the scenography for Paula Rego: There and Back AgainDidier Faustino and his practice Mésarchitecture created a series of display walls for the show, providing additional surface area inside the building for displaying Rego’s work while referencing her distorted artistic style.
      “The aim of the scenography is to emphasise the contemporaneity of Paula Rego’s work, as well as to echo the violence of the world she describes,” said Faustino.
      The exhibition is spread over four rooms, each painted in a different colourThe Portuguese-British artist, who died aged 87 in 2022, was known for her stark depictions of injustice – particularly against women – and has been heralded as a feminist icon.

      Unfolding across four rooms over two levels, the exhibit comprised 80 works including paintings, drawings, prints and costume designs.
      The scenography consists of a variety of shrink-wrapped blocksTo display some of the larger or more important paintings, Faustino built a variety of freestanding wooden structures with shapes and protrusions that respond to the architecture of each space, as well as the sizes of the specific frames.
      He then wrapped these structures in white thermo-retractable film and exposed the material to heat so it pulled taught over the formwork.

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      “Walls to hang her paintings have been designed with protruding parts, giving them a grotesque appearance resembling the grotesque figures of the artist,” Faustino said.
      “Their wrapping with heat-shrink white film, with its stretched and wrinkled parts, gives a sense of both tension and sensuality.”
      Arched clerestory windows are echoed across the tops of the display blocksFaustino also pulled several colours from Rego’s paintings and applied these to the perimeter walls that surround the sculptural displays.
      More artworks and exhibition texts were presented on these brightly-hued surfaces, which contrasted with the stark white plastic. The exhibition was Rego’s first institutional solo show in Germany and ran from 30 October 2022 to 29 January 2023.
      The shrink-wrapping creates wrinkles and protrusionsFaustino’s work spans both art and architecture, ranging from bright spiky doorways and stages added to historic buildings, to a bar interior in Ghent with pink marble walls and olive green furnishings.
      The photography is by David Boureau.
      Paula Rego: There and Back Again took place at the Kestner Gesellschaft from 30 October 2022 to 29 January 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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      Grzywinski+Pons designs Locke at East Side Gallery to “capture the strange magic” of Berlin

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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.

      Irina Kromayer designs Château Royal hotel to feel “authentic” rather than retro

      “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 Charlottenburg draws on Berlin’s brutalist and art nouveau architecture

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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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      Studio Besau-Marguerre designs colour-block foyer for Hamburg’s MK&G museum

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      German practice Studio Besau-Marguerre has overhauled the entrance hall of Hamburg’s MK&G design museum, using colours to guide visitors through the space.

      The brief was to create new zoning in the foyer for better wayfinding and orientation while setting the tone for the rest of the museum with a friendly and welcoming atmosphere.
      Studio Besau-Marguerre has overhauled MK&G’s foyer”We wanted to create a place that allows visitors to relax and draws them into a world of art and design with a new colour scheme and improved acoustics,” Studio Besau-Marguerre told Dezeen.
      “We wanted it to be a place of tranquillity and warmth, in contrast to the hustle and bustle outside the museum.”
      Deep blue ticket counters were designed to draw attentionThe Museum für Kunst und Gewerbe, or MK&G for short, was built in the late 19th century and previously had a plain white foyer with the ticket office and cloakrooms hidden away out of sight, leading to confusion amongst visitors.

      “Due to the architectural details, the huge emptiness and the reverberant acoustics, the space looked like a large railway station hall and had no quality of stay,” the studio said.
      Rooms are painted in progressively darker shades of terracottaIn order to improve visitor flow and create an inviting atmosphere, the area was reorganised in collaboration with German firm SWP-Architekten, resulting in a straightforward and intuitive guidance system.
      The new interior concept is marked by the use of contrasting, bold colours – a signature feature of Studio Besau-Marguerre’s work.
      For this project, the studio developed a unique colour scheme that structures the space using three main tones: vibrant blue, bright yellow and shades of terracotta.
      Cobalt blue seating features in the lounge areasMK&G visitors are now greeted by two bright blue ticket desks upon entry – with the surrounding walls painted in a matching shade for emphasis – while the rest of the room is finished in white.
      “Here, visitors first arrive, catch their breath and get their bearings,” the studio said.
      From there, museumgoers are intuitively led into the two adjoining lounges and cloakrooms, where walls are painted in progressively darker shades of terracotta to draw visitors into the rooms.
      The media lounge provides a space for reading books and magazinesYellow acts as an accent colour found across curtains, acoustic elements and storage lockers, while blue reappears to highlight the seating areas.
      “For the colour concept, we were inspired by the historic colour scheme of the coffered ceiling in the vestibule that visitors notice before they enter the main foyer,” the studio said.
      “We thought it would be nice to reference the historical colours and interpret them in a contemporary way. In this way, we refer to the history of the building and the colours feel natural.”

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      A selection of soft, warm and tactile materials – including wood, wool and hand-tufted carpets – complements the colourful interiors while improving the acoustics of the open space.
      Studio Besau-Marguerre designed a number of custom furniture pieces for the space, including the checkout counters, but was also keen to source pieces from up-and-coming German designers.
      “It was important for us to use furniture from young manufacturers and designers who work sustainably and with high-quality materials,” the studio said.
      Some of these are displayed on a blue-painted timber table by StattmannThis includes the cobalt-blue sofas and matching pouffes in the lounges, which were made by Berlin design brand Objekte unserer Tage.
      “The sofas harmonise wonderfully with the round arches of the architecture and are a perfect mix of artistic object and inviting, cosy seating landscape,” said Studio Besau-Marguerre.
      Yellow acoustic panels feature in the cloakroomsIn the media lounge, where books and magazines are on display for the reading pleasure of visitors, the oblong table and matching stools are by Frankfurt furniture brand Stattmann.
      “The surface of the tables and stools is treated with a wax that creates a wonderful feel and is very durable,” said Studio Besau-Marguerre.
      “All the furniture plays with the rounded and soft design language, as well as warm, natural materials, thus contributing to a harmonious, cosy atmosphere.”
      Storage lockers are finished in a matching hueNot every detail of MK&G’s original interior was scrapped. The studio also retained the huge glass chandelier in the centre of the foyer that British artist Stuart Haygarth designed specifically for the space in 2018.
      “It was clear from the start that the luminaire had to stay and would fit in wonderfully with our concept,” the studio said. “It is very exciting to see how it benefits from the new interior design.”
      Digital displays advertise the museum’s changing exhibitionsStudio Besau-Marguerre, which was founded by Eva Marguerre and Marcel Besau in 2011, was also responsible for designing the interiors of another key cultural building in Hamburg – Herzog & de Meuron’s £163-million Elbphilharmonie concert hall.
      Elsewhere, the duo created the exhibition design for Christien Meindertsma’s solo show Beyond the Surface at the Vitra Design Museum in Basel, conceived to illustrate the designer’s approach to material research.
      The photography is by Brita Sönnichsen.

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      Crosby Studios uses steel kitchen equipment to create Berlin jewellery store interior

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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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      Forma is a nomadic design gallery popping up around Berlin

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      Contemporary German furniture designs are displayed alongside vintage pieces at this travelling gallery that multidisciplinary designer Vanessa Heepen has launched in Berlin.

      Rather than having a permanent home, Forma will take over different locations across the German capital.
      Forma’s first exhibition was held in a building next to the Spree riverThe gallery’s inaugural exhibition, titled The Room I Walk the Line, was recently on show on the ground floor of a mixed-use building in Friedrichshain, nestled in between fragments of the Berlin Wall on the banks of the river Spree.
      “To be honest, the area is not where I would typically choose to open a gallery,” Heepen told Dezeen. “But when I first saw a picture of it on a real estate website, I was deeply touched by its huge windows, red columns and by the water, of course.”
      It featured German designers including Nazara Lázaro (left) and Studio Kuhlmann (top right)A trained interior designer, Heepen largely left the space in its found state but worked with her team to create a simple mahogany bar counter and storage unit for the gallery.

      She also asked “soft architecture” studio Curetain to create a white latex screen for the corner of the gallery.
      As part of the exhibition, this served as the backdrop for a tall white spectator shelf by Stuttgart-based Freia Achenbach, along with a graphic white stool by local designer Nazara Lázaro.
      This wiggly coat stand was mong the vintage pieces featuredOther pieces in the exhibition included a pigmented concrete chair by Carsten in der Elst and hanging metallic stars by Studio Kuhlmann, both from Cologne, as well as a translucent shelf by Berlin’s Lotto Studio.
      Forma also sourced a number of vintage pieces from Moho – a 20th-century furniture showroom in Prenzlauer Berg – among them an embossed metal cabinet and a wriggly coat stand.

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      One of Heepen’s main motivations for founding the gallery was to carve out a space for showcasing design-led furnishings in Berlin, which she says is something of a rarity in the German capital.
      “It is a discursive topic, and people have always been unsure about the success of it,” she explained. “After Forma’s first edition, I am glad to say it was hugely successful”.
      Contemporary design pieces included a translucent shelf by Lotto StudioThe designer is currently on the hunt for Forma’s next location and will let the new setting inform her selection of furnishings.
      “I’m always open to something new that occurs within the process,” she said. “I hold on to my vision, but I am also open to taking a detour.”
      Also featured was a pigmented concrete chair by Carsten in der ElsElsewhere in Berlin, Swiss architecture firm Herzog & de Meuron is currently constructing a major new museum for modern art.
      The building’s design came under fire at the end of last year, when it was discovered its complex air conditioning system would result in the venue using four times as much energy as a nearby museum from the 1800s.
      The photography is by Matthias Leidinger. 
      The Room I Walk the Line was on show at Mühlenstrasse 63 in Berlin from 15 June to 15 July 2023. For more exhibitions, events and talk in architecture and design, visit Dezeen Events Guide.

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      Irina Kromayer designs Château Royal hotel to feel “authentic” rather than retro

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      Interior architect Irina Kromayer has overseen the design of Berlin’s Château Royal hotel, creating a series of eclectic spaces that reference the heyday of the German capital at the turn of the 20th century.

      The 93-room Château Royal is located in the heart of Mitte, on a street parallel to Unter den Linden boulevard and close to the iconic Brandenburg Gate.
      Château Royal has 93 rooms (top image) as well as a fireside lounge (above)  The hotel comprises two buildings dating from 1850 and 1910, as well as a newer building and roof extension designed by David Chipperfield Architects.
      The renovation project, led by Kromayer with support from Swiss architect Etienne Descloux and interior designer Katariina Minits, aims to reflect the periods during which the heritage-listed buildings were constructed.
      Built-in joinery features in all the guest rooms”Our design goal was to provide the traveller with an ‘authentic’ experience of being in Berlin, using materials and colours that traditionally stand for the city’s heyday,” Kromayer told Dezeen.

      Oak panelling, art nouveau tiles, sisal carpets and hardware in brass and nickel were incorporated into the scheme based on the finishings commonly found in Berlin’s historic buildings.
      This was informed by the storage walls of traditional West Berlin apartmentsKromayer designed much of the furniture herself – as well as in collaboration with Porto-based German designer Christian Haas – in order to achieve a seamless merging of contemporary and classic details.
      “We didn’t want the hotel to be retro but rather to feel classic so we simplified things into less decorative shapes,” she explained.
      In addition, vintage pieces were sourced from all over Europe to give a lived-in “patina” to the interior and explore a more sustainable approach to furniture sourcing.
      Loupiotte pendant lights emphasise the building’s high ceilingsThe pendant lights for the guest rooms were created in collaboration with Berlin-based manufacturer Loupiotte and are intended to emphasise the building’s high ceilings.
      Made from Japanese paper and brass, the lamps are based on a 1920s design from Josef Hoffmann, one of the co-founders of the Wiener Werkstätte art movement.

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      The hotel’s custom-made wooden beds feature headboards crafted from Viennese wickerwork. Kromayer also created outdoor lanterns that reference traditional Berlin street lights and include unique glass panels made by artist Paul Hance.
      Built-in joinery found in each of the bedrooms was informed by the partition walls with integrated storage, which are typical of traditional West Berlin apartments.
      Glazed blue tiles can be found in the guest bathroomsPaintings by early 20th-century artists associated with the expressionist and new objectivity movements influenced the hotel’s bold colour scheme, which is applied across surfaces including tiles and upholstery textiles, along with curated artworks.
      The interior features colourful glazed bricks and tiles similar to those found in Berlin’s underground stations, as well as stained glass and coloured marble.
      Stained-glass panels brighten up the hotel barThe hotel bar is made from tin – a material Kromayer says was widely used at the turn of the century but is rarely found in contemporary German interiors. Nickel and chrome bathroom fixtures were chosen to reference the modernist and Bauhaus design movements.
      Alongside its guest rooms, which include 13 suites and an apartment, Château Royal also accommodates a lobby, bar, restaurant, private dining room, fireside lounge and winter garden.
      A Karl Holmqvist artwork hangs inside the hotel’s Dóttir eateryBuilt-in carpentry used throughout the public areas helps to create a sense of consistency with the bedrooms, while vintage furniture, rugs and lamps made for the hotel by KL Ceramics add to the eclectic feel of the spaces.
      The hotel’s restaurant, called Dóttir, features upholstered oak seating by Bauhaus designer Erich Dieckmann. Artworks including a neon piece by Karl Holmqvist bring character to the ground-floor eatery.
      Other recent renovation projects from Berlin include a pistachio-toned revamp of one of the city’s oldest cinemas and a hotel housed inside an abandoned women’s prison.
      The photography is by Felix Brueggemann.

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