Subterms
In the first instalment of Dezeen and SketchUp’s Design Workshops, Uchronia founder Julien Sebban explains how he used SketchUp’s software to create a fictional bar interior characterised by amorphous forms and soft edges. More
Interior designer Akram Fahmi has revamped the Etch restaurant in Hove, East Sussex, creating black and white interiors to reflect its minimalist menu.
Located in a space that was originally a bank, Etch was first renovated and opened as a restaurant in 2017.
It has been reimagined by Fahmi, the founder of interiors studio London Design House, with an open kitchen and subterranean speakeasy bar.
Two modern arches were added to complement the three period arches of the existing buildingFahmi chose the simple colour palette to echo the approach of the restaurant’s menu, where most of the dishes are comprised of just two ingredients.
Wide-plank chalk-washed timber floors and white walls contrast black banquette seating and timber framing.
“We identified, and tried to achieve, three key principles in the design; refinement, texture, and locality,” Fahmi told Dezeen.
Black-framed windows stand in stark contrast to the white interior wallsRough quarry tiles, matte-finished stone and sinuous stretched-fabric lighting were chosen to reflect the textures of the nearby South Downs, the coastline and the urban landscape.
“The balance in texture and tone is key to the guests’ journey through every space in the restaurant and bar,” Fahmi explained.
The renovation involved merging two ground-floor units together and uniting a single space that is flooded by natural light from five arched windows.
The lighting fixtures continue the monochrome themeThe studio kept three original Victorian arched windows on the corner and added two further full-height arches with modernised detailing to create a uniform facade.
This was further united by painting the whole ground-floor facade charcoal grey.
The subterranean speakeasy is decorated all in black with dramatic lighting”You want to feel as though the architecture and interiors that you journey through are as curated and elegant as the food in front of you,” Fahmi said.
Internally, cast iron columns from the old bank were retained and suspended ceilings in the main spaces were stripped out to expose the original high ceilings.
Stretched lampshades recall the nearby coastal landscapeFahmi worked with the local council to find solutions for extract routes and plans that would “retain and respect the fabric of the historic building as much as possible”.
The studio used passive devices, such as tinting the glazing to reduce solar glare, to help control the internal temperature more efficiently.
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New external planting troughs soften the austere facade and hard pavement. The studio chose plants, herbs and grasses that would be suitable for the local coastal environment.
London Design House also worked with local craftspeople and suppliers on the project to reflect Etch’s ethos of sourcing its produce locally and seasonally.
A speakeasy bar is underneath the restaurant”I wanted the restaurant to feel like an extension of the food and service we offer, which I would describe as British contemporary, but also minimalist – mainly using two quality ingredients,” Etch’s chef and owner Steven Edwards told Dezeen.
The monochrome palette “gives a slightly nordic minimalist feel that works completely with my food style,” he added.
“I think the relationship between the food you eat and the setting you eat it in is really important. It’s not just about the food – although it’s hard for me to say that being a chef!”
Other restaurant interiors recently featured on Dezeen include Studio Becky Carter’s “distinctly New York” interiors for Cecchi’s and Otherworlds’ transformation of a Goan villa into restaurant.
The photography is by Justin de Souza and David Charbit.
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French interior designer Dorothée Meilichzon has created the interior for boutique hotel Cowley Manor Experimental, adding chequerboard details and hidden keyholes to the rooms of the former country house.
Meilichzon drew on the history of the Cowley Manor Experimental, which is said to have inspired author Lewis Carroll to write Alice in Wonderland, when designing the interior for the hotel.
According to the hotel, Caroll was walking in the gardens of the then Cowley Manor with Alice Liddell – for whom he wrote Alice in Wonderland – when he saw a rabbit disappear down a hole under a hedge.
Nodding to the chessboard around which the classic story is constructed, Meilichzon designed bespoke chequerboard carpets that were produced by Hartley & Tissier.
The designer added baldachin beds and colourful accents to the bedroom suites”Alice is subtly spread all over the place,” the designer told Dezeen.
“Small doors are hidden in the rooms for the White Rabbit, there are hidden keyholes, rabbit ears, hearts and spades on the checkerboard carpet,” she explained.
“We have used the checkerboard in many ways: hand-painted, tiled, on fabrics and wallpaper.”
Touches of rattan, mixed with strong colour, glossy lacquer and lava stone feature throughout the 36-room hotel. Large bedroom suites have baldachin beds and interiors accented with blurred maple and verdigris.
The games room features chequerboard rugsThe project, which Meilichzon designed for Experimental Group, saw her update an existing hotel at the site, which sits within 55 acres of Cotswolds countryside. The hotel also incorporates a spa, restaurant, cocktail bar, lounge, library and living rooms.
Other than respecting the heritage-listed elements of the property, Meilichzon had full design freedom.
Heritage-listed elements of the existing Cowley Manor were preserved”Historical buildings are something we are used to; we work a lot in Europe and often in very old buildings,” the designer said.
“So we always try to respect them and start from there: the shape of the space, an architectural detail, a listed element.”
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Meilichzon combined classical and contemporary elements, keeping all historical listed elements from the building, such as doors, wooden panels and windows.
However, she added “some modernity through the furniture, the geometric patterns and colours,” she said.
Hearts derived from the Queen of Hearts in Alice in Wonderland are worked into the stair carpet”Colour is everything, I am really not a grey and beige person,” explained Meilichzon.
The hotel also features a restaurant and cocktail bar by chef Jackson Boxer that is focused on Cowley Manor’s kitchen garden, which has increased in size and is growing wider varieties of produce. The cocktail bar features a lacquered blue bar and tables.
The bar has blurred walnut panelling and blue lacquered tablesMeilichzon, founder of Paris-based design agency Chzon, is a frequent collaborator of Experimental Group and has designed the interiors for several of its properties.
“I see my work for Experimental Group as separate pieces but with a common DNA – the same hand. Because they are context-based, a hotel in Menorca cannot look the same as one in Venice or in the Cotswolds,” she said.
Earlier this year, she gave a bohemian refresh to Ibiza’s first hotel, now called the Montesol Experimental, and has also renovated a Belle Epoque-era hotel in Biarritz, France.
The photography is by Mr Tripper.
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French design and interiors studio Dion & Arles drew on the work of 20th-century Italian designers Carlo Mollino and Gio Ponti for the interior of Mayfair restaurant Il Gattopardo in London.
“We envisioned Il Gattopardo to be a salon in which you can dine – not just a restaurant,” the designers told Dezeen.
The studio looked to Mollino’s apartment in Turin for its balance between modernity and heritage.
The inner dining room has curved crushed-velvet seating and a large fireplace”Modernity, heritage and sophistication are the three elements we think together define the Italian sensibility, which we tried to translate into the interiors,” Dion & Arles said.
Il Gattopardo – which is Italian for leopard – is located in Mayfair in central London and aims to “celebrate the golden era of mid-century Italian design in an intimate setting” across five dining spaces, the studio said.
The main dining room and crudo bar lead through to an inner dining area and second bar, which in turn reveals the intimate “salon”, or living room, which seats 10 people in soft-upholstered armchairs.
Banquette seating is complemented by groupings of tables and chairsThere is a separate private dining room on the lower ground level.
The salon room is characterised by crushed-velvet curved seating and a substantial fireplace featuring a bas-relief on its canopy.
Tables are topped with sepia drawings after artist Piero Fornasetti, which complement the muted amber seating.
Blue panthers feature on the walls in the entrance spaceIn the main dining room, banquette seating has been kept to a minimum, with tables and chairs otherwise arranged in close groupings.
A signature leopard print motif appears on rugs, cushions and artworks in various tones ranging from amber to blue.
“Each project should belong to its specific location,” the studio said.
“We do not believe in cloning, as it gives the feeling of being everywhere, anywhere. We are trying to make people feel they are in a unique space that cannot be found anywhere else; ‘somewhere’ that belongs to ‘someone.”
An Italian stone crudo bar sits in the corner of the dining roomThe spaces are decorated with an eclectic mix of free-form sculptures, objets, lamps, picture frames and carpets in vibrant colours.
These “speak to the influence of the master of Italian flair, the interior designer and architect Gio Ponti,” the studio said.
A striped fabric informed by the linings of Italian tailoring covers the ceiling. Panelled walls are intended to mimic the dashboard of a vintage Fiat coupé and, in the corner, Italian stone tops the crudo bar.
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Informed by the eclectic, mix’n’match style of Mollino’s apartment, the private dining room – which features a leopard-print carpet from French interior designer Madeleine Castaing – was designed to feel like a secret refuge.
“We see patterns as a variation of colour which add density to the palette,” the designers said. “We generally prefer to work with a small-scale pattern, which is less intrusive.”
The private dining room has soft lighting diffused through fabricClassical sepia frescoes run around the wall of the private dining room above rich navy blue, textured fabric panels.
Soft lighting is diffused through fabric resting between the ceiling beams, which was designed to mimic a sunset. An illuminated onyx bar adds to the warm lighting scheme.
The crudo bar has a polished wood-panelled ceilingDesigning the interiors of Il Gattopardo was “a dream commission” the studio said, as it gave it the opportunity to work in a style the designers love.
“We are always referring to earlier periods when every house and family inherited antique furniture and juxtaposed it with futuristic pieces,” the studio said.
Reference points for the space also included project by interior designer David Hicks and movies by director Stanley Kubrick.
“We don’t have rules and we like to take inspiration from great painters, as in most recent compositions by Peter Doig, or the way [Pedro] Almodóvar approaches colour in his films,” the studio added.
“Everything can go together; bad or good taste is merely a place of refuge for under-confidence. Walking along the borders of taste is more exciting to us.”
Other restaurant interiors recently featured on Dezeen include GRT Architects’ “vacation Italian” restaurant in New York and Lorenzo Botero and Martín Mendoza’s conversion of a Bogotá residence into a brick-lined restaurant.
The photography is by James McDonald.
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Local practice Fabled Studio has designed the interiors for London’s Socca restaurant, adding hand-painted murals informed by the French Riviera.
Fabled Studio co-founder Tom Strother describes the eatery as “a pocket of Southern France in Mayfair,” with a playful and whimsical interior that complements the French Mediterranean menu.
Socca is a French restaurant in London’s Mayfair”Both the menu and the interior are inspired by the Côte d’Azur and Nice,” Strother told Dezeen. “They have a laidback attitude but with French finesse.”
Fabled Studio restored the original terracotta tiles on the facade of Socca’s Grade II-listed building, as well as maintaining its ornate ceiling mouldings.
Hand-painted murals decorate the wallsThe main dining area, named the grand salon, is decorated with wood panelling on the lower portions of the walls while a warm-toned stucco finish covers the upper portions.
Informed by French painter Raoul Dufy’s depictions of Nice, artist Mark Sands hand-painted blue-toned murals onto the walls to frame the hung artworks.
Dark wood and bronze details feature throughout the interiorDark wood parquet covers the floors and short cream curtains were used to separate the dining room’s navy-blue leather banquette seats.
The curtains are suspended from bronze metal rails, with matching metallic details dotted around the room in the form of fixtures and lights including the whimsical shell-shaped sconces.
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To the side of the dining space is a bar topped with Breccia Violetta marble. This backs onto a trio of arched mirrors in a wooden box frame, stretching up to the same height as the picture rail moulding that encircles the room.
Beyond the grand salon is a second bar space with oxblood leather seating and murals depicting illustrations of leaves and faces.
Breccia Violetta marble tops the barAt the rear of the restaurant is a second dining space named the petit salon, designed to have a cosy, almost residential appearance.
The petit salon is dominated by green hues, found across walls and seats to differentiate it from the other dining space.
“We did this to give it a different identity and unique personality to the grand salon,” said Strother.
Green tones were used in the petit salonMore hand-painted murals by Sands adorn the walls, including curving frames, faces and curling vines informed by artist and poet Jean Cocteau.
Downstairs, the bathrooms were also designed to have a “residential ambience” with striped wallpaper, marble vanities and bronze hardware.
Murals on the walls were informed by French artistsFabled is a London-based interior design practice founded in 2011 by Tom Strother and Steven Saunders. Socca is the sixth restaurant the practice has completed in collaboration with restauranteur Samyukta Nair of LSL Capital.
Other London restaurants recently featured on Dezeen include 20 Berkeley, with Arts-and-Crafts-style interiors by Pirajean Lees, and an Italian restaurant designed to mimic the glamorous atmosphere of a 1980s Italo-American trattoria.
The photography is by James McDonald.
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London design studio Pirajean Lees referenced Mayfair’s pastoral past and created a series of spaces that nod to the idea of a Georgian manor house when designing restaurant 20 Berkeley.
Pirajean Lees aimed to build a story around the space and its sequence of many small rooms, while tapping into the restaurant’s British produce-led culinary approach.
Pirajean Lees has completed the 20 Berkeley restaurant in Mayfair”The restaurant is situated in the heart of Mayfair, a place once on the cusp of the city and countryside,” Pirajean Lees told Dezeen.
“The farming history of the area and its connection to the surrounding rural lands is prevalent throughout the project and paramount to the dining experience.”
The restaurant features a series of cosy rooms on the first floorPirajean Lees wanted to put nature and craft at the heart of this design project to align it with the ethos of Creative Restaurant Group, the restaurant’s founders.
“This led us to build on the strong connection of an imagined Mayfair Georgian manor house and its rural lands, which would have been used to grow produce,” the studio said.
“A central staircase leads to rooms usually found in a traditional family home, such as the drawing room, music room, pantry, orangery and salon. Each room has its own character whilst belonging to the one property.”
Among them is the music roomOn the upper-ground floor are the richly designed reception and main dining rooms.
The lower-ground level houses a 14-seat private room with its own exclusive lounge and dining area, alongside the kitchen, wine cellar and main bar, The Nipperkin.
The design of the interiors references the arts and crafts movement of the late 19th and early 20th centuries.
Stained glass features in the drawing room”At 20 Berkeley, we have developed a layered story of handmade details and tactile finishes that exude elegance,” said Pirajean Lees.
“The project’s expression is rooted in the traditions of craftsmanship and how the process of making decorative objects and furniture should showcase the beauty of both its materials and construction.”
Antique mirrors were used to surround the building’s columnsThe resulting aesthetic is detailed, with a palette of rich, warm tones including ambers, ochres and dark reds, used across upholstery and textural wallcoverings. Floor tiles have been hand-crafted in Wales and feature clay embedded with fossils.
Bespoke joinery work was utilised throughout the space, including for the wall panelling, dowelled ceilings and an English oak staircase.
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The project also features bespoke elements that were added to bring a sense of opulence to the various spaces.
These include a pantry, in painted timber, that provides a strong focal point of the upper floor. Here, chefs prepare dishes on the pantry island, “inviting guests to witness the chefs’ craft, as one would do in one’s home, whilst hosting guests for dinner,” said Pirajean Lees.
In the orangery, a bespoke pickling cupboard, made from sapele wood and marble, serves as “a pleasing curiosity”, used by the chefs to store jars of vegetables for their recipes.
An English oak staircase leads down to 20 Berkeley’s lower ground levelThe bespoke dining tables and chairs were made of oak, while the chairs have been traditionally upholstered for maximum comfort.
“The bespoke and craft elements bring depth to the project, anchoring it in its strong narrative and creating timeless interiors,” said Pirajean Lees.
A private dining room is located on the lower ground floorBespoke stained glass, handcrafted in a North London studio, is another of the restaurant’s features.
Used in the reception and drawing room, the stained glass has been strategically positioned, backing onto the busy central bar to give a sense of movement and energy.
In front of the windows, it warms the light coming into the rooms to create an immersive atmosphere.
Mixed clay tiles are laid across the floor”The stained glass introduces shadows and reflections, which change throughout the day and are different in each room,” said Pirajean Lees.
“As per each of our projects, the tailored finishes, joinery and surfaces here, have been carefully created to ensure optimum use of the space by the restaurateur and their guests.”
Other hospitality projects from the studio include an ornate sushi restaurant in Dubai with interiors informed by 1920s Japan and a members club in London, housed inside the iconic music venue Koko.
The photography is by Polly Tootal.
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Interiors studio Fettle drew on the neo-baroque architecture of this Edwardian building in London’s Soho when converting it into a members’ club, as well as nodding to the area’s colourful history of the 1950s and 60s.
Owned by Maslow’s, the group behind Fitzrovia club Mortimer House, 1 Warwick features mid-century furniture and lighting along with bespoke designs that reimagine the furniture of the period.
Fettle has designed the 1 Warwick members’ club in LondonThe mix includes jaunty elements such as splayed-leg easy chairs and scallop-edged rattan lighting.
“During this period of history, Soho was much grittier than we find it today, so we wanted to underplay the more elevated finishes that you would typically find in a members’ club,” Fettle’s director Andy Goodwin told Dezeen.
“We have referenced the less polished nature of Soho in this period with raw plaster wall finishes and exposed brick.”
The club has a rooftop restaurant called YasminFettle juxtaposes these references with some influences from the neo-baroque mansion itself, reworking its sense of assured comfort in a contemporary way with richly toned wood panelling and elaborate chandeliers.
“We wanted to ensure that we referenced this period within the final design,” Goodwin said. “We simplified a traditional Edwardian baroque skirting and architrave style within the bespoke joinery that was designed for the ground and first floors.”
“Typically, buildings of a similar age had common features, including bold geometric floor patterns within the entrances. And as such we reimagined a pattern from the period in the lobby of 1 Warwick.”
Its wraparound roof terrace offers views across SohoWhile drawing on the history of the building and the area, Fettle worked hard to ensure that the club feels fresh, welcoming and contemporary.
“We have mixed furniture, lighting and accessories from a variety of different eras and curated a space that feels relaxed and residential in its aesthetic,” he continued.
“When designing furniture specifically for the project, we referenced more traditional designs, however. We looked at the details through a modern lens to make the space feel familiar yet contemporary.”
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Set over six floors, the crowning glory of 1 Warwick is the rooftop bar and restaurant Yasmin with its wraparound roof terrace and views across Soho.
Here, pink mohair-upholstered bar stools nestle against a wood-clad marble-topped bar while the menu is Middle Eastern, inspired by executive chef Tom Cenci’s time in Istanbul.
Two lounge spaces – the Living Room and adjoining Den – are at the heart of the club, where Fettle used an earthy-toned palette, along with exposed brick walls and geometric patterned rugs to bring a sense of warmth to the interior.
The club has several co-working areas”We wanted to let the existing architectural features be visible within the final design to create a more neutral backdrop, onto which we layered playful choices across the furniture and fittings,” said Goodwin.
“We used deep, saturated, colourful fabrics for the upholstered pieces and we have looked to mix mohairs and velvets with more vibrant leathers and patterned fabrics to give an eclectic feel to the space,” said Goodwin.
In the daytime, 1 Warwick offers spaces to suit different kinds of working styles, from private studies and rentable desks to the Pied-à-Terre – an open-plan workspace featuring long, library-style tables and comfortable lounge seating.
Members can also work in private meeting roomsAt ground level, there’s the neighbourhood bistro and bar Nessa, open to all and offering a playful take on British classics while the more intimate, horseshoe-shaped bar serves up its own menu of small plates.
With a colour palette of warm, autumnal tones and a material mix of exposed brick, wood panelling and marble-topped tables, the atmosphere here is welcoming and down-to-earth.
The Nessa restaurant is set on the ground floor and open to the publicFounded in 2013, Fettle has a long history in hospitality design with previous projects including the Schwan Locke Hotel in Munich, which was conceived as an homage to early German modernism.
Elsewhere in London, the studio was also responsible for designing The Gessner apartment block to resemble a hotel, complete with a cafe and co-working area.
The photography is by Simon Brown.
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Curved forms and arched openings feature in this cafe, which Seoul studio Sukchulmok has added to an existing building in South Korea’s Gyeonggi-do province.
Named Parconido Bakery Cafe, the cafe is made from red bricks and features playful curved shapes and rounded walls designed to create an illusion-like effect.
Parconido Bakery Cafe was designed by Sukchulmok”The space, created through one rule, was designed to give a sense of expansion and the experience of an optical illusion image,” lead architect Park Hyunhee told Dezeen.
Arranged across three floors including a rooftop level, the cafe was designed by architecture studio Sukchulmok to resemble European public squares in reference to the client’s time spent in Italy.
The studio topped the roof with curving brick volumes”The client who spent his youth living in Italy is a clothing businessman, opening the cafe as a business expansion to provide people with a space for peaceful rest,” said Park.
“These two aspects naturally reminded me of the image of the European square, where people are huddled together talking on a sunny day between red brick buildings and stone pillars.”
The design drew references from nostalgic memories of ItalyOn the rooftop level and terrace, the outdoor dining spaces are punctuated by clay brick columns with arched connections and walls with U-shaped openings.
Built around steel frames that extend into curved forms above the brick walls, the curved elements are coated in bricks cut to two-thirds of their original thickness to lighten their weight.
The walls and floors have curved edgesA long stainless steel table with a curved underside, along with circular stools and planting, is shaded by a removable canopy made from green, orange and white fabrics.
Curved walls lined with white tiles join with the tiled floor and ceiling to create rooms with rounded forms on the interior levels of the cafe.
The rooms are covered in small tiles of travertine limestone, selected for its use in the fountains of European squares.
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Kitchens are built into recesses in the curved walls, while wooden elements, including wall panels and pipes that line a portion of the ceiling, add a feeling of warmth to the interior.
Throughout the spaces, uniquely designed seating areas and bespoke circular furnishings provide spaces for dining.
The interior was covered in different textural materialsComprising twelve different designs, the cafe’s set of furniture was designed to exhibit a variety of shapes, textures, and materials, including leftover finishing materials, wood, overlapping pipes, and concrete castings.
“Although they have slightly different shapes and textures, the pieces of furniture are all in harmony with the space and show good synergy with space as an object,” said Park.
The cafe’s curved edges all have a radius of 600 millimetresTo maintain a sense of uniformity, the studio based the design of each element, including the walls, columns and furniture, around a circle with a constant radius of 600 millimetres.
“A radius of 600 millimetres was used as an act of connecting spaces that were not monotonous,” said Park. “It was simply based on the idea that the distance from the height of the door and window to the ceiling finish is 600 millimetres.”
Furniture was specially designed for the interiorOther South Korean cafes recently featured on Dezeen include a bakery with a curved courtyard designed to act as an “artificial valley” and a Seoul cafe with a vertical farm.
The photography is by Hong Seokgyu.
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The 1930s Montesol hotel in Ibiza has reopened following a full overhaul of its 30 bedrooms and three suites by Dorothée Meilichzon of French interior design studio Chzon.
Set in the old town of Eivissa, the newly renamed Montesol Experimental has been undergoing a multi-stage renovation since 2021, when it was bought by the Experimental hospitality group.
Interior designer Dorothée Meilichzon has overhauled the bedrooms (top image) of the Montesol Experimental hotel (above)Meilichzon was responsible for overseeing the whole project, starting two years ago with the Sabbaba restaurant and rooftop bar before finally turning to the rooms. Her aim was to infuse “a bohemian overtone throughout the interior”, drawing on the hotel’s rich history.
Built nearly a century ago in 1933, the neo-colonial Montesol is widely considered Ibiza’s first hotel, and between the 50s and 80s was known for hosting a roster of hippies, celebrities and royals including the members of rock band Pink Floyd and legendary director and actor Orson Welles.
The rooms are brightened up by Diego Faivre’s Playdough StoolsMeilichzon was keen to tap into this bohemian past, layering up an array of fabrics, patterns, fringes and pompoms, used against light woods and textured plaster walls.
“The hotel is a pool of colour to reflect the joy and open-mindedness of Ibiza,” she told Dezeen.
Shell-patterned walls feature throughout the interiorsWarm yellow hues nod to the building’s iconic yellow-and-white exterior, juxtaposed with a variety of green and blue tones that bring in the colours of the Mediterranean sea.
“Solar colours have been adopted in common areas and lunar colours in rooms,” she said. “Listening to Ayurvedic principles, we used cooling, calming colours inside the hotel to counterbalance the heat outside.”
Moroccan zellige tiles were used to frame the mini bars in the guest roomsTiling, too, brings a cooling element, used in both the rooms and the public spaces.
“Tiles are an important feature in this hotel,” Meilichzon explained. “And we have used traditional zelliges to wrap the niches of the mini-bars in a palette of orange, brown and off-white.”
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A hand-made theme threads through the building, as seen in the many shell-patterned walls that were created by pressing individual seashells into fresh lime plaster.
Arched forms – from room openings to bathroom mirrors to statement headboard – reference the grandeur of the hotel’s exterior but in a more relaxed and low-key way.
Arched headboards reference the grandeur of the hotel’s exteriorCircles are another recurring silhouette, found across rugs, arworks and chair backs.
“I enjoyed shaping a lot of curvy, wavy lines around the hotel to add softness to the design,” Meilichzon said. “Nothing is sharp in Ibiza, it is a very smooth atmosphere.”
The same rounded forms are repeated in the tables and chairsThe circle idea is continued through the use of celestial motifs, with brass suns and iron moons scattered across the hotel calling to mind the sunny days and celebrated nightlife of the island as well as its more spiritual side.
The bedrooms have a playful feel, with chunky Playdough Stools by Diego Faivre, hand-made masks by Mallorcan artist Anna-Alexandra and wardrobe doors informed by jigsaw puzzles.
“These unique and whimsical pieces bring a lot of character to the rooms,” Meilichzon said.
Meilichzon previously completed the hotel’s Sabbaba restaurantSince founding her hospitality design studio Chzon in 2009, the designer has created a number of interiors for Experimental Group including outposts in London and Menorca alongside the Hotel Il Palazzo Experimental in Venice.
More recently, Meilichzon was also responsible for overhauling a departure lounge at Charles de Gaulle Airport, incorporating her hallmark arches alongside fountains referencing iconic Parisian monuments.
The photography is by Karel Balas.
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