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      Keiji Ashizawa Design and Norm Architects create “honest” Trunk Hotel in Tokyo

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      An exposed raw concrete facade fronts the Trunk Hotel Yoyogi Park, which Japanese studio Keiji Ashizawa Design and Danish firm Norm Architects conceived as a minimalist retreat in the heart of the city.

      Marking the third location in a trio of Trunk hotels in Tokyo, the design of the boutique hotel was rooted in the concept of “urban recharge”, according to Trunk chief creative officer Masayuki Kinoshita.
      Trunk Hotel Yoyogi Park features a raw concrete facadeThe hotel group said the idea was to balance the opposing elements of tradition and modernity as well as nature and the city and the melding of both Japanese and European craft.
      Keiji Ashizawa Design created a textured concrete aggregate facade for the seven-storey building, which is punctuated with steel-lined balconies and overlooks Yoyogi Park’s lush treetops.
      Guest rooms feature a muted colour and material paletteThe studio worked with Norm Architects to design the minimalist interior, accessed via a copper-clad entrance.

      A total of 20 guest rooms and five suites were dressed in a muted colour and material palette featuring hardwood flooring and plush Hotta Carpet-designed rugs informed by traditional Japanese architecture.
      Paper-cord chairs and tapered washi pendant lights contribute to the minimalist designDelicate rattan partition walls delineate spaces within the rooms, which open out onto the building’s balconies that were fitted with slanted ceilings in order to encourage sunlight into each room “as if mimicking the gentle transitions of a day”.
      “It’s been an interesting journey for us to find the right balance between a space that is relaxed and vibrant at the same time,” said Norm Architects co-founder Jonas Bjerre-Poulsen.
      The interiors were designed to be both “relaxed and vibrant”The rooms are also characterised by paper-cord chairs and tapered washi pendant lights as well as abstract artworks, amorphous vases and grainy floor-to-ceiling bathroom tiles.
      On the ground floor, oak seating designed by Norm Architects for Karimoku features in the hotel restaurant, which includes a striking copper-clad pizza oven and the same rattan accents that can be found in the guest rooms.
      Rattan accents can also be found in the hotel restaurant”It is a very unique and gratifying experience in the sense that the architecture, interior and furniture, as well as the attention to detail, have created a space with such a strong sense of unity,” said Keiji Ashizawa Design.
      An open-air pool club is located on the sixth floor of the hotel.

      Keiji Ashizawa and Norm Architects design tactile interiors for “hotel in the sky”

      Sand-blasted concrete flooring was paired with thin bluey-green tiles that make up the infinity swimming pool, which overlooks the park below.
      A “glowing” firepit can also be set alight after dark, intended to create a soothing contrast with the bright Tokyo skyline.
      The Trunk Hotel features a rooftop infinity poolThe city’s first Trunk Hotel opened in Shibuya in 2017, while the second location is an offbeat one-room hotel in the metropolis’s Kagurazaka neighbourhood featuring its own miniature nightclub.
      The photography is by Jonas Bjerre-Poulsen.

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      Patricia Urquiola converts historic palazzo into Six Senses Rome hotel

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      Milan-based designer Patricia Urquiola has converted a palazzo in Rome into a hotel and spa, filled with circular elements and traditional Italian materials.

      The Six Senses Rome is located within the Palazzo Salviati Cesi Mellini, close to historic sites like the Pantheon and the Trevi Fountain in the city centre.
      The lobby of the Six Senses Rome is an open social space with multiple seating areasAdjacent to the Church of San Marcello al Corso, the building was first constructed in the 15th century before being updated in the 18th-century baroque style by architect Tomaso De Marchis.
      An impressive central staircase and the building’s main UNESCO-listed facade, which overlooks the bustling Via del Corso, are among the period details that were restored during the renovation works led by Studio Urquiola.
      The Bivium restaurant connected to the lobby offers all-day diningThe entrance to the Six Senses Rome from Piazza di San Marcello leads into an open lobby and social area, furnished with a variety of sofas and lounge chairs from Urquiola’s oeuvre alongside classic Italian designs.

      These are positioned in groupings with tables and decorative objects on circular rugs, between potted plants spread across the travertine floors.
      Circular elements appear throughout the hotel, including rugs and tables in the lobby”At every turn, the craftsmanship, the finishes, the materials and the graphics create a union with nature while staying true to both Roman classicism and Palazzo Salviati Cesi Mellini’s rich history,” said Urquiola.
      A curved green marble bar is positioned near the windows, forming an incomplete circle with the matching counters in the courtyard, which are visible through the glazing and follow the shape of earth-toned steelwork overhead.
      In the courtyard, a green marble bar counter continues from insideThe courtyard also features benches built into planters along the back wall and additional seating, where diners can enjoy food and drinks from the trattoria-style Bivium restaurant.
      Circular forms and motifs continue throughout the hotel, including in the Six Senses Spa and Roman baths on the first floor.
      The spa waiting area features seating within sheer curtain enclosuresHere, sheer curtains encircle small seating areas for those waiting for treatments or preparing to enter the travertine-lined bathhouse, which offers multiple pools for soaking and relaxing.
      Bedrooms across the central levels have “quirky” layouts and a soft neutral decor, including tambour panelling, patterned rugs and a variety of spherical light fixtures.
      Travertine lines the walls and ceiling inside the spa and Roman bathsSeveral of Six Senses Rome’s 96 guest rooms and suites have balconies, and all enjoy either a courtyard or city view.
      Plasterwork in the rooms is made from an ancient Roman material known as cocciopesto, which comprises fragments of earthenware or brick mixed with lime and sand.

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      “The legacy of antiquity is also honoured with the choice of cocciopesto, which decorates the plaster of the rooms and gives a nod to Roman architect Vitruvius,” said the studio.
      The hotel also features a roof terrace and bar called Notos that offers views across the city and serves botanical cocktails and light bites.
      The bedrooms at the Six Senses Rome have a soft neutral decorArtworks such as watercolours, sculptures, textile works and canvases throughout the interior are curated by art advisor Federica Sala and are all unique to the hotel.
      Six Senses Rome is shortlisted in the hotel and short stay interior category of Dezeen Awards 2023, while Studio Urquiola is shortlisted for interior designer of the year.
      Plasterwork in the bedrooms and suites is made from cocciopestoOriginally from Spain, Urquiola is one of Europe’s most sought-after designers and has released furniture and product collections with brands like Moroso, Cassina, Kettal and Boffi among many more.
      Other hotels designed by her studio include the Haworth Hotel in Michigan, the Hotel Il Sereno on the shores of Lake Como and the Room Mate Giulia in Milan.
      The photography is by Luca Rotondo.
      Project credits:
      General contractor: CDS HoldingArchitecture: Starching and professor Paolo MicalizziInterior design: Patricia Urquiola

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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.

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      “The wall curtains literally transition from grey to blush with an ombre print,” he continued.
      “I wanted the hotel to capture some of that strange magic Berlin has, where you can feel like you are in the centre of a vast and dynamic avant-garde metropolis, which simultaneously presents like a tranquil retreat.”
      Curtains in the lobby feature a subtle ombre fade from grey to blushSince its first location opened in 2016, Locke has expanded to include 14 sites across the UK and mainland Europe, with Zurich, Copenhagen, Lisbon and Paris locations due to open in the next year.
      Other hotels recently featured on Dezeen include The Hoxton Charlottenburg by AIME Studios in Berlin and Cowley Manor Experimental in the Cotswolds, UK, designed by Dorothée Meilichzon.
      Photography is by Nicholas Worley.

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      Ten rustic Italian interiors that evoke the history of the Mediterranean

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      This lookbook collects 10 interiors in Italy with a distinctly rustic feel, including homes and hotels replete with wooden beams, cool stone and other rich textures.

      As well as being known for its contemporary furniture and lighting design, Italy is home to some of Europe’s oldest buildings and has numerous historic cities and villages.
      From a 17th-century house in Puglia to a hotel in a 1,000-year-old castle, below are 10 examples of projects that pay homage to the Mediterranean country’s history while catering to modern tastes.
      This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring chequerboard floors, lime plaster walls and Mediterranean-style interiors.
      Photo courtesy of Monteverdi HotelMonteverdi Hotel, Tuscany, by Ilaria Miani

      Restoration specialist and interior designer Ilaria Miani helped transform several crumbling buildings in Val d’Orcia into a boutique hotel that aims to balance the history of the area with contemporary design influences from Milan and Rome.
      In the bedroom suites, chunky exposed beams made from salvaged wood are complemented by natural colours and textures, while nearly all the furniture is handmade by local artisans.
      Find out more about Monteverdi Hotel ›
      Photo by Francesca IoveneCascina, Piemonte, by Jonathan Tuckey Design
      London-based Jonathan Tuckey Design was tasked with returning this 19th-century farmhouse in northern Italy to its original state following a heavy 1980s renovation.
      Stone walls and wooden beams now feature prominently, with a cool chalky palette offset by brass lamps and chestnut panelling and furniture.
      Find out more about Cascina ›
      Photo by Salva LópezCasa Soleto, Puglia, by Studio Andrew Trotter and Marcelo Martínez
      Parts of Casa Soleto in Puglia are more than 400 years old. Architecture firm Studio Andrew Trotter and its studio manager Marcelo Martínez renovated the building without making any structural changes, leaving the irregular walls in place.
      To give the interiors an authentic, natural feel, the designers used lime plaster for the walls, linen fabrics for the sofas and curtains, jute rugs, terracotta ceramics and antique furniture.
      Find out more about Casa Soleto ›
      Photo by Alex FilzMonastero Arx Vivendi, Trentino-Alto Adige, by Network of Architecture
      Network of Architecture applied rippled antique-effect plaster to the walls of this 17th-century ex-monastery near Lake Garda, which is now a hotel.
      The plaster is complemented by pale wooden floors, black iron furniture and earth-toned fabrics, while the original doors have been retained and restored.
      Find out more about Monastero Arx Vivendi ›
      Photo by Salva LópezCasolare Scarani, Puglia, by Studio Andrew Potter
      Casolare Scarani is a home created from the renovation of a long-abandoned girls’ school built in the style of a traditional Puglian villa – but still modest in size.
      The vaulted ceilings were kept intact and covered in lime plaster, while the rooms were finished with earthy tones and traditional stone flooring.
      Find out more about Casolare Scarani ›
      Photo courtesy of Hotel Castello di ReschioHotel Castello di Reschio, Umbria, by Count Benedikt Bolza
      Hotel Castello di Reschio occupies a 1,000-year-old castle in the Umbrian hills that was transformed by count Benedikt Bolza and his family.
      Rooms have been decorated with terracotta-brick or wooden floors, hand-stitched linen curtains, Italian fabrics and locally crafted marble and brass vanities alongside portraits sourced from nearby antique markets in a reference to the building’s rich history.
      Find out more about Hotel Castello di Reschio ›
      Photo by Davide Galli AtelierBrolettouno Apartment, Lombardy, by Archiplan
      Located in a building in Mantua that dates back to the 15th century, this apartment was overhauled on a budget by local design studio Archiplan.
      The studio decided to honour the interior’s timeworn aesthetic by retaining the distressed floor tiles and faded frescos, combining these features with functional light-hued wooden furniture.
      Find out more about Brolettouno Apartment ›
      Photo by Salva LópezCasa Maiora, Puglia, by Studio Andrew Trotter
      Another project from Studio Andrew Trotter, this villa is in fact a newly built project – but carries heavy rustic influences from traditional homes in the area.
      Flagstone floors, lime-washed walls and locally sourced antiques combine to create a soothing, timeless feel.
      Find out more about Casa Maiora ›
      Photo by Serena EllerG-Rough, Lazio, by Gabriele Salini
      Features showcasing the building’s 400-year-old history were juxtaposed with contemporary art and mid-century furnishings at this boutique hotel in Rome, Italy’s capital.
      The imperfections of age, particularly on the patina walls, combine with furniture inspired by modernist Italian designers like Ico Parisi, Giò Ponti and Piero Fornasetti for a rough-yet-refined aesthetic.
      Find out more about G-Rough ›
      Photo by Irina Boersma César MachadoPalazzo Monti hotel, Lombardy, by Julie Cloos Mølsgaard and Vipp
      A collaboration with Danish homeware brand Vipp saw interior designer Julie Cloos Mølsgaard create a pop-up hotel in a 13-century palazzo in Brescia.
      To keep the focus on the building’s many historic features, Mølsgaard took a minimalist approach to the furnishings, with mattresses sitting directly on the floor and artwork propped up against the walls.
      Find out more about the Palazzo Monti hotel ›
      This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring chequerboard floors, lime plaster walls and Mediterranean-style interiors.

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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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      Dorothée Meilichzon nods to Alice in Wonderland for Cotswolds hotel interior

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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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      Anacapa Architecture converts historic building into Drift Santa Barbara hotel

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      US studio Anacapa Architecture has transformed an early 1900s, stucco-clad building that was formerly closed off to the public into a welcoming hotel filled with compact rooms and handcrafted decor.

      Located in the heart of downtown Santa Barbara in central California, the 45-key hotel is the second outpost from Drift, with the first located in San José del Cabo, Mexico.
      Anacapa Architecture has renovated an early 1900s building to create the Drift HotelThe hotel occupies a three-storey, Italian Mediterranean-style building that totals 15,617 square feet (1,451 square metres).
      Guest rooms are spread across all three levels, and a penthouse suite is found on the top floor. The ground level contains a coffee shop and a bar.
      It is located in a three-storey, Italian Mediterranean-style buildingWhile the building’s original architect is unknown, the firm Soule, Murphy & Hastings performed a renovation following a 1925 earthquake. The building has served various uses over time.

      “One of the only downtown survivors of the 1925 Santa Barbara earthquake, the building has stood for well over 100 years and has had many lives,” said local firm Anacapa Architecture.
      Guestrooms and a penthouse occupy the top floors, while a coffee shop and bar are located on the ground levelA hotel operated in the building from 1901 to the 1980s. More recently, it served as a home for the Church of Scientology, which took over in the 1990s and kept the building closed off from the community.
      Making the building more welcoming and honouring its original character were key concerns for the design team. The project was envisioned as a “modern reincarnation” of the hotel that once operated on the site.
      The building’s original arched windows, stucco walls and terracotta roof were kept intact”As part of a restoration, the challenge was to work within the historic context while creating experiences that are appealing to the modern traveler,” the team said.
      The exterior facades, featuring white stucco and arched windows, were kept largely intact. The building’s terracotta tile roof was retained, as well.
      The hallways are darkly clad and feature wooden crossbeamsOn the ground level, the team added folding glass doors on the front wall, which faces a pedestrian promenade. Behind the doors are the coffeeshop and a bar, called Dawn and Dusk, respectively.
      The large openings draw in passersby and help reconnect the building to the neighbourhood.

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      “Space for both locals and travelers is accommodated, returning the building to its roots as a true hospitality venue,” the team said.
      While the exterior has a historic look, the interior is much more modern.
      Local goods from California and Mexican makers were used throughout the designThe team incorporated materials such as concrete and wood. The hotel brand’s Mexican property inspired much of the contemporary furnishings and decor.
      “The hotel is dressed with goods from Californian and Mexican makers, paying homage to the brand’s Baja roots while celebrating its coastal Californian locale,” the team said.
      Soft beige and greys were used throughout the projectThe guest rooms, which range from 145 to 165 square feet (13 to 15 square metres), are compact in comparison to average hotel rooms in the area. Creative solutions, such as under-bed storage, help maximize space.
      Overall, the project has revitalized a building that has long been a fixture in downtown Santa Barbara.
      The building was once closed to the public”The team brought modern life to a building inaccessible to most of the community for so long, bringing a breath of fresh air to downtown, and catering to all,” the team said.
      Anacapa Architecture has offices in Santa Barbara and Portland, Oregon. Additional work by the studio includes a minimalist residence for a California entrepreneur and a glamping resort in Sonoma County that features customised tents and Airstream trailers.
      The photography is by Erin Feinblatt.
      Project credits:
      Architecture and interior Design: ANACAPA ArchitectureContractor: Parton + Edwards ConstructionCivil and structural engineering: Ashley VanceMEP engineering: Consulting WestKitchen, bar, and coffee shop consultant: New School

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

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      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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