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      Tara Bernerd fills Maroma hotel in Mexico with artisanal elements

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      Interior designer Tara Bernerd worked with local artisans when dressing the cavernous rooms at the Maroma hotel in Riviera Maya, Mexico, which were renovated to reflect hacienda-style living.

      Housed within white stucco volumes arranged on a coastal plot between lush jungle and the Caribbean sea, the longstanding Belmond hotel was renovated earlier this year but retained much of its traditional-style architecture.
      The Maroma hotel is housed within rounded stucco, palapa-topped volumesBernerd and a team of local artisans conceived the eclectic interiors to reflect the palapa-topped structures, creating a range of bespoke curved furniture and ornaments.
      “The buildings themselves are organic in shape and form and were originally positioned in response to the sacred Mayan geometry,” she told Dezeen.
      “We sought to retain and enhance the beauty of the hotel’s original character.”

      Tara Bernerd sought to reflect this “Mayan geometry” in the interior designAmong the custom pieces are over 700,000 tiles hand-painted and crafted by ceramicist José Noé Suro using clay from Mexico’s Jalisco region.
      The tiles cover the floors in all of the 72 guest rooms, which are characterised by rattan wardrobes and amorphous timber furniture pieces – 80 per cent of which were hand-carved.
      The guest rooms are characterised by rattan accents and blown glassArtisan Max Kublailan blew bulbous glass sconce lights, which feature throughout the rooms and are reminiscent of glowing gemstones.
      “We built up the layers of design within the spaces, with rich pops of colour being brought in through the tiled or mosaic floors, the use of decorative tiles in the walls and dado rail as well as cushions and fabrics,” explained Bernerd.
      An open kitchen clad in glazed ceramic tiles features in one restaurantMaroma’s two restaurants follow a similar design, with accents such as rattan pendant lights and tables featuring textured legs that give the appearance of tree trunks.
      An open kitchen clad entirely in caramel-hued glazed ceramic tiles was tucked into a corner of the Woodend eatery while Casa Mayor includes clusters of hand-painted plant pots.
      The other restaurant includes painted potted plants and oversized rattan lampshadesThroughout the hotel, cavernous alcoves were also dressed with custom interiors made up of stone, clay, wood and natural fibres.
      “Location and layout were key and I am especially proud of how we have managed to reimagine previously under-utilised areas and have created a balance between unique, dramatic spaces and cosier, slightly hidden areas,” said Bernerd.

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      Traditional Yucatán doors with dense timber frames and chandeliers made from clusters of seashells were chosen to respond to Maroma’s setting.
      The hotel’s central swimming pool was renovated with Sukabumi turquoise tiles handmade from volcanic stone to emulate the cenotes – water-filled sinkholes formed by the collapse of limestone – found in the Yucatán Peninsula.
      Cavernous corridors reflect the hotel’s architecture”In essence, we wanted to create something that was effortlessly serene and had the feeling of a chic home,” said the designer.
      “So we also drew inspiration from traditional hacienda-style living to create a relaxed, almost residential vibe throughout the resort and evoke a sense of connection, unity and flow between all of the public area buildings,” she concluded.
      The central swimming pool was informed by cenotesThe British designer is the founder of the London-based architecture and interiors office Tara Bernerd & Partners.
      Elsewhere in Mexico, local firms Productora and Esrawe Studio designed a San Miguel de Allende hotel with planes of green tile. Architect Alberto Kalach added a series of vaulted, brick arches to a resort in Oaxaca.
      The photography is courtesy of Belmond. 

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      De Durgerdam hotel takes over 17th-century sailor’s inn on dyke outside Amsterdam

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      Dutch hospitality company Aedes has pushed Amsterdam’s building restrictions to their limit to convert a heritage-listed tavern into an all-electric hotel.

      De Durgerdam hotel occupies one in a row of almost identical gabled buildings perched on a seawall on lake IJmeer, which together make up the small village of Durgerdam near Amsterdam.
      Constructed in 1664, the building originally served as an inn for sailors and fishermen, its white-painted clapboard facade acting as a beacon for boats that could pull right up to its deck in the Zuiderzee bay of the North Sea.
      De Durgerdam hotel is set on a seawall outside AmsterdamDue to recurring flooding, the village was cut off from the sea with the construction of a dam in 1932, turning the bay into a freshwater lake while the inn became a ferry terminal and later a cafe and restaurant.
      Following a five-year restoration led by Aedes, the building reopened this year as a boutique hotel with 14 rooms and interiors designed by material research studio Buro Belén.

      De Durgerdam, the first hotel to be owned and operated by the Aedes, provided an opportunity to see how far heritage restrictions could be stretched to make the building as sustainable as possible.
      The hotel occupies a former inn with a white-painted clapboard facade”What we have done in terms of sustainability is fairly innovative for a historic building of this kind,” said founder Paul Geertman. “We have pushed the boundaries as far as we could to reduce its environmental impact.”
      The 17th-century building now runs on renewable energy – provided by 32 rooftop solar panels and a green energy supplier – and its operations are entirely gas-free.
      This was made possible via meticulous insulation and four separate heat pumps, which cover all of the building’s heating and cooling needs in lieu of a traditional boiler.
      The ground-floor restaurant integrates a small lounge areaWith limited space in the old inn, the heat pumps are dotted across the garden where they are hidden in tiny outbuildings complete with gables and clapboards, which Aedes constructed especially to work around local building codes.
      “A heat pump in Amsterdam normally has to be inside of your building, otherwise you just don’t get the licence,” Aedes head of sustainability Esther Mouwen told Dezeen. “So we had to build a house around them.”
      The windows posed a similar struggle, as the municipality rarely allows the distinctive hand-blown glazing of heritage buildings to be changed.
      But Aedes was able to source an energy-efficient triple-glazed model with a pattern of tiny dots across its surface, which creates the optical illusion of looking at rippled glass.
      An Ingo Maurer chandelier hangs above a vintage sharing table in the restaurantThe renovation itself was a balancing act between changing as little as possible about the building while ensuring that it could survive for another 500 years.
      Although from the outside, the three-storey building looks almost exactly like it did when it was first constructed, large parts of its structure had to be carefully dismantled and reconstructed.
      “The building had deteriorated over time and the structural integrity had been compromised in some areas,” said Aedes marketing manager Monica Hanlo.
      “The interiors had to be carefully renovated and restructured, with beams and stones disassembled, inspected and either reused or replaced.”
      The bedrooms are finished in a moody colour paletteWhere timber could no longer serve a structural function, it was converted into floorboards alongside reclaimed wood sourced from old church pews and demolished timber houses from Austria.
      This wood was smoked for 18 hours to create a rich colour that permeates the timber rather than sitting on top like a stain, which would wear down over time and need re-upping.
      “Normally, they do not smoke it that long,” explained Buro Belén co-founder Lenneke Langenhuijsen. “Now it will patina super beautifully because all throughout, it became this really dark wood.”
      “It was important to us to make well-based decisions, maybe invest a bit more but it’s a long-lasting product that ages with the hotel and makes it even nicer over time.”

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      De Durgerdam marks the first time that Buro Belén has applied its material research approach to an entire hotel interior.
      “We did a lot of research so that the hotel also feels very grounded in what it once was, in its place,” Langenhuijsen said. “And if you look at the Zuiderzee, it was a very important part of the Netherlands, all the villages around made their living from it.”
      Layered throughout the hotel’s interior are references to this seafaring history, delivered via an eclectic mix of new, vintage and bespoke elements created by Buro Belén.
      A rusty red colour was used to highlight the building’s beamsIn the ground-floor restaurant De Mark, framed photos provide a glimpse of the inn’s evolution over the years.
      A shaggy curtain frames the lounge area near the entrance, made from traditional flax rope and raw flax fibres that were once used by local fishermen to make their nets.
      Weather permitting, patrons can dine outside on the jetty atop lake IJmeer or sit at a long sharing table that forms the centrepiece of the restaurant.
      The same colour dominates the guest bathroomsOverhead, Buro Belén suspended Ingo Maurer’s chandelier Lacrime del Pescatore – or “fisherman’s tears” – made of sparkling crystals that droop from a nylon net.
      Its name, according to Langenhuijsen, acts as a subtle reference to the plight of the local fishers, who lost their livelihoods as the village was cut off from the sea.
      Upstairs, the inn accommodates three suites and one room, accessed via the building’s untouched original staircase, which still shows the deep grooves that were worn into the wood by thousands of shoes over the centuries.
      Ten of the hotel’s 14 rooms are housed in a garden annexe added in 2006De Durgerdam’s remaining 10 rooms are housed in a garden annexe that was added to the building in 2006. All share a moody colour palette that was drawn from the craft and building traditions of the Zuiderzee.
      A rusty red colour – reminiscent of sails treated with tree-bark tannins to prevent rot – was used to highlight key architectural features like the building’s timber beams and the monochrome bathrooms.
      Similarly, the inside of the bedrooms’ Shaker-style built-in wardrobes was painted in a sky blue colour that nods to a traditional paint made from buttermilk, chalk and a particular blue pigment, historically used by locals across cupboards and box beds to repel insects.
      The hotel’s heat pumps are hidden in tiny gabled outbuildingsEven though construction is complete, Aedes is still working on reducing the hotel’s operational footprint, with the aim of getting 80 per cent of the way towards being zero waste by the end of next year.
      The company is also looking into a reliable way of offsetting the building’s whole-life carbon emissions via a reforestation scheme but has so far struggled to find a reliable company that can guarantee measurable, traceable carbon removals.
      “We’re not fans of offsetting, because we think we have to make sure we don’t create emissions,” Mouwensaid. “But it’s not possible yet.”
      Aedes has previously converted Amsterdam’s art deco Bungehuis building into a Soho House members’ club.
      The photography is by Chantal Arnts and Studio Unfolded.

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      Martin Brudnizki draws on “gritty glamour” for colourful Broadwick Soho hotel

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      Interior architect Martin Brudnizki has used Italian maiolica tiles and bespoke furniture from India to give London’s Broadwick Soho hotel an eclectic look.

      The eight-floor hotel was designed by Martin Brudnizki Design Studio (MBDS) to evoke the history of Soho – the London neighbourhood that surrounds it.
      The hotel is located on Broadwick Street in London’s Soho area”Inspired by ‘gritty glamour’ and the diverse history of Soho, MBDS’s design influences range from 1970s disco pop elements to British eccentricity,” studio founder Martin Brudnizki told Dezeen.
      The hotel was also influenced by “the strong women who frequented Soho during the 1960s and 70s such as Mary Fedden, Molly Parkin and Muriel Belcher.”
      Maiolica tiles decorate the restaurant barBroadwick Soho is comprised of  57 rooms, which Brudnizki decorated in opulent colours and patterns. For the downstairs Italian restaurant, Dear Jackie, Brudnizki sourced materials and accessories that nod to its cuisine.

      “A split-level restaurant, the communal dining takes centre stage with long counter-style tables featuring 1970s Formica tops and Memphis-inspired chandeliers suspended from coral lacquered ceilings,” he said.
      Floral patterns cover the walls of the restaurant”The bar features maiolica tiles in traditional southern Italian patterns,” Brudnizki added. “This compliments the maiolica wall covering adorned with Sicilian folk motifs of grapes and flowers.”
      The handpainted ceramic tiles for the bar were developed by the studio itself together with a family business in Sicily.
      Rooms feature decorative elephant wallpaperIn some of the guestrooms, walls were decorated with marbled wallpaper with a pattern of tigers and elephants. The elephant was chosen as a symbol for the hotel and was also turned into mini bars in the hotel’s suites.
      “A huge amount of bespoke pieces were designed by the studio and produced by talented craftspeople across the world,” Brudnizki said.
      Martin Brudnizki Design Studio had elephant minibars crafted in India”The wonderful elephant mini bars in the suites were designed by the studio and crafted in India,” he added.
      “We actually travelled to India to work with the craftspeople directly, ensuring each detail was as we envisioned.”
      A vintage Murano glass chandelier hangs in The NookThe studio also sourced a number of vintage pieces for the hotel, including a 1970s Murano glass chandelier that hangs from the ceiling of The Nook – Broadwick Soho’s residents-only ground-floor lounge.
      MBDS also commissioned new Murano glass lamps that are scattered throughout the space.

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      “All of the Murano glass lights throughout the property have been made and developed by local artisans in the Venice region,” Brudnizki said.
      “Lastly, there is a collection of antiques throughout the hotel that have been sourced from independent Italian and British antique dealers, auction houses and shops.”
      Rooftop bar Flute features a variety of polished materialsBroadwick Soho’s rooftop dining bar – named Flute after a 19th-century flute maker on Broadwick Street – is an example of how Brudnizki played with multiple colours and patterns to create a space that he describes as combining “cocooned comfort with maximalist glamour”.
      Here, saturated green and pink pastel colours contrast gleaming marble and brass details, while contemporary art decorates the walls.
      The Nook has a cosy reading areaThe overall aim of the project was to create a hotel that would suit the context and history of Soho.
      “We were conscious of ensuring that what we were designing felt authentic and true to the Soho context and neighbourhood,” Brudnizki concluded.
      “It has such a strong and important cultural history, we were conscious we needed to draw this out and bring it to the forefront of our design concept.”
      Previous London projects designed by Brudnizki, who was one of the judges for Dezeen Awards 2023, include a mythology-informed restaurant and the redesign of members’ club Annabel’s.
      The photography is by James McDonald.

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      Furora Studio designs Kraków rental apartment Pops with “very sugary interior”

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      Bespoke scalloped edges and a Verner Panton S-Chair feature at the Pops holiday apartment in Kraków, which Furora Studio designed to be more playful than a permanent home.

      Named Pops after lollipops, the dwelling was conceived by Diana Żurek and Gutek Girek of Polish firm Furora Studio.
      “The project is a temporary apartment for anyone who wants to spend time in an attractive and very sugary interior,” said the designers.
      Pops is a holiday apartment in central KrakówSpread across one level of a multi-storey building in central Kraków, the rental home includes an open-plan kitchen and living room.
      This space was dressed with a velvety salmon-pink curtain, which stretches the length of one of two of the walls, and a central display cabinet finished in pistachio green and “crowned with frills”.

      Furniture including a decorative display cabinet was custom-made by Furora StudioMuch of the furniture and other design elements were custom-made by Furora Studio and follow the same toy-like geometry as the cabinet – a combination of round and wavy motifs created in pastel pinks, greens and creams.
      For example, a white and turquoise pendant light with scalloped edges was suspended above a circular dining table, while a ribbed half-moon alcove was created as a backdrop for the wall-mounted television.
      Pastel hues define the apartment”First and foremost, we aimed to find suitable forms,” said Żurek, describing the studio’s starting point for the project.
      “Most of the elements were custom-made because we wanted to maintain the coherence of the interior while ensuring proper functional arrangement,” she told Dezeen.
      “Essentially, each element was its own small project. The selection of shapes, milling, small details, and perfecting the form – all of these were important considerations.”
      A ribbed, half-moon alcove was created as a backdrop for the televisionAn olive-hued, L-shaped sofa was tucked into one corner of the living space and echoed by the kitchen splashback, finished in the same green colour.
      Żurek described the apartment’s double bedroom as “a pink box with a whimsical headboard and an abundance of pillows”.
      Designer Diana Żurek described the bedroom as “a pink box”In one corner, a light green built-in desk was positioned in front of a sculptural Verner Panton chair.
      The iconic S-shaped seating was originally designed by Panton in the early 1960s and recently influenced the furniture created for the Dreamhouse at the centre of the set design in this year’s Barbie film.
      “We rarely have the opportunity to be in interiors that evoke memories of earlier years, when as children, we had few responsibilities and sought joy and playfulness,” noted Żurek.
      “But this is not about returning to preschool or infantilising the space,” stressed the designer.
      “It’s about positive energy. We sought solutions that would more literally create a colorful space, full of rounded patterns, light colours and a sense of relief,” she added.
      The studio added a Verner Panton chair to the apartmentThe bathroom is also awash with pattern, featuring a jumbo scalloped-edged cabinet and pink and brown terrazzo tiles.
      Bulbous pendant lighting illuminates the space, which contains a walk-in shower.
      Summarising the holiday apartment, Żurek called it a place to “have fun and cuddle”.

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      “Certainly, there are many enthusiasts of such candy-like solutions, but this interior may not be for everyone, especially for long-term use, such as in the case of a private home,” reflected the designer.
      “For short-term rentals, I believe most people would be tempted to experience how it feels to be in such a vibrant interior,” she added.
      “These projects allow for the use of [design] solutions that might be somewhat tiring on a daily basis, but spending a brief moment in such a place opens us up to new experiences, feelings of peace and relaxation.”
      A jumbo scalloped-edged cabinet features in the bathroomElsewhere in Kraków, London-based office Studio Mills transformed an apartment at a converted monastery into a family home. Polish practice Projekt Praga created a bar with a self-service beer fountain within the taproom of a centuries-old brewery just outside of the city.
      The photography is by ONI Studio. 

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      Adean Studios overhauls High Country Motor Lodge with nods to astronomy

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      An old roadside motel on America’s iconic Route 66 has been renovated by San Francisco-based Adean Studios to reflect the culture and enviromnent of Flagstaff, Arizona.

      Adean Studios worked with local architecture studio Synectic Design to overhaul the High Country Motor Lodge, which is operated by Marc & Rose Hospitality.
      Dark blue walls and amber lighting set the tone inside the High Country Motor Lodge lobby loungeThe mid-century property is accessed directly off the historic, cross-country Route 66 highway that runs through Flagstaff – the city that provides a base for visitors to the Grand Canyon, the Arizona Snowbowl ski resort and miles of hiking trails through the surrounding wilderness.
      Almost 7,000 feet (2,100 metres) above sea level, the city is also home to the Lowell Observatory where Pluto was discovered in 1930.
      The hotel was renovated by Adean Studios to reflect the landscape and history of FlagstaffAll of these elements were combined as influences for the hotel’s design, which lands somewhere between a mountain lodge and a retro motel.

      “Our goal was to incorporate the rich astronomical history of Flagstaff, while also creating an environment that blends elements of a retro 1960s lounge with modern mountain design,” said Adean Studios principal Alexa Nafisi-Movaghar. “The entire property showcases a darker colour palette accented with rustic woods and 1960s-inspired fixtures and furnishings.”
      Guest room interiors are a cross between mountain cabins and retro motel roomsPainted midnight blue, the hotel buildings form a U shape around a central lawn and a large swimming pool, which was also renovated as part of the project.
      The lobby, restaurant and other public areas face the highway, while the majority of guest rooms are located in perpendicular two-storey blocks behind.
      Low furniture and cassette players add to the nostalgic atmosphereOn the west side of the site, three new shingle-clad cabins were constructed to house larger suites, bringing the total number of keys to 123.
      The dark facade colours continue inside the lobby, lounge and bar areas, where a variety of seating types and configurations allow guests to dine or relax as they choose.
      Dark green and blue hues throughout the property nod to the forested surroundings and night skyAmber-hued glass light fixtures emit a soft, warm glow in these spaces, while velvet curtains and blankets were included.
      The bar and lounge opens onto a stepped outdoor terrace, where more dining tables and low chairs are arranged around a series of fire pits.
      The property is arranged around a central lawn, which public events are held, and a large renovated swimming poolA general store off the reception area sells a curated selection of snacks, merchandise and other locally sourced gifts.
      In the guest rooms, navy blue wainscoting wraps the lower portion of off-white walls, and dark wood floors and low furniture add to the mid-century aesthetic.
      Three shingle-clad cabins that house suites were built as part of the projectEach is equipped with a cassette player and a set of three tapes, which play tracks that evoke nostalgia for the road trip era.
      High Country Motor Lodge also boasts a Nordic spa, comprising two private wood-lined saunas that guests can reserve for one-hour sessions.

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      These cabins are accessed from an enclosed courtyard with an outdoor shower and fire pits, and have direct access to the hot tub for further relaxation, or the swimming pool for a cold plunge.
      “Inspired by the local lifestyle of adventure-seekers, day-sleepers, and night-watchers, the great lawn, private cottages, and the Nordic Spa have been designed to enhance the outdoor experience, constantly reminding guests of the beautiful nature that surrounds,” Nafisi-Movaghar said.
      The hotel has a Nordic spa that guests can book for private experiences. Photo by Landon KroegerThe hotel’s branding was created by Charleston-based SDCO Partners, and also plays up the retro and astronomy themes.
      “Nestled between the Grand Canyon and Barringer Crater, the High Country Motor Lodge is at once both celestial and earthly, and the brand design honors both,” said creative director and founding partner Amy Pastre.
      The sauna cabins are located close to the hot tub. Photo by Landon Kroeger”An eclectic family of hand-rendered typographic and illustrative graphic elements celebrate the motor lodge’s vintage style, contemporary design, and the love of high desert adventure.”
      A range of public programming is organised at the location throughout the year, including theatrical performances, and a folk music festival in the fall.
      The private saunas can be reserved for an hour. Photo by Landon KroegerMany former motels and motor lodges across the US have been bought up and renovated into boutique accommodations over the past decade.
      From Hotel Joaquin in Laguna Beach and The Drifter in New Orleans, to Scribner’s in New York’s Catskills Mountains and Tourists in the Berkshires, these hotels are often designed with a location-specific twist.
      The photography is by Werner Segarra, unless stated otherwise.

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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.

      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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