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

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      A clashing mix of pea-green walls, leopard-print furnishings and candy-striped beds feature in this hotel that British designer Luke Edward Hall has completed in Paris.Hotel Les Deux Gares is tucked down a narrow street in Paris’ 10th arrondissement, set between two of the city’s major train stations – Gare du Nord and Gare de l’Est.

      The hotel’s entrance lobby. Top image: one of the hotel’s olive-green guest bedrooms
      The five-storey building had been left vacant for a number of years, but when Luke Edward Hall was brought on board to design the interiors, the focus wasn’t on making the rooms seem more contemporary.

      Hall instead set out to fashion an “anti-modern” aesthetic that nodded to a Paris of the past.

      Chintzy wallpaper and leopard-print furniture decorate the lobby
      “I love listening to stories from the past and feeling as though I’m entering another, more elegant era,” explained Hall, who is based in London.
      “I always begin my projects by leafing through old books and magazines; then, I visit galleries and museums. I allow myself the time to dream and invent stories.”

      Breakfast and coffee is also offered to guests in the lobby
      The hotel is entered via a vivid lobby, where Hall has created a riotous collision of pattern and colour. The lower half of the walls have been painted pea-green, while the upper half has been covered in chintzy, pale blue wallpaper with a maroon-coloured motif.
      Black-and-white chevron flooring runs throughout.

      Headboards have a candy-striped pattern
      Guests can sit back on the room’s plush sofas – one of which is completely upholstered in leopard print fabric, the other is cobalt blue with bright-red fringing. There’s also a couple of striped pink-satin armchairs arranged beneath a portrait that Hall painted himself.
      “I really wanted this space to feel above all joyful and welcoming and alive, classic but a little bonkers at the same time,” added Hall.

      Luke Edward Hall has added illustrations to the bedrooms’ lampshades
      This bold palette continues upstairs in the forty guest bedrooms, which have been painted sky blue, violet or olive green.
      Each room features geometric carpeting, a candy-striped headboard and a canary-yellow armchair and pouf created bespoke by Hall.
      The designer has also personalised the reading lamps above the bedside tables with sketchy doodles of martini glasses, the Eiffel tower and different French words.

      Bathrooms in the hotel are equally bright in colour
      Even the hotel’s gym boasts graphic red-and-white checkerboard flooring and floral wallpaper from Swedish homeware brand Svenskt Tenn.

      Hoy hotel is designed to be a calming refuge at the heart of Paris

      Breakfast can be enjoyed down in the lobby, or across the street from the hotel in Cafe Les Deux Gares which Hall also designed.

      The gym features floral wallpaper and checkboard flooring
      Intended to feel much like a traditional Parisian eatery, the space has been finished with stripy seating banquettes and wooden bistro chairs from Thonet.
      Vintage exhibition posters have also been mounted on the walls in a wink at the fact that the city’s cafes were once hotspots for “social and cultural exchange”.
      The cafe is topped by a tortoiseshell-effect ceiling painted by local artist Pauline Leyravaud.

      The hotel’s cafe across the road boasts a tortoiseshell-effect ceiling
      Hotel Les Deux Gares is the first large-scale interiors project by Luke Edward Hall, who set up his self-titled design studio in 2015.
      Other spots to stay around the French capital include hotel Hoy, which has TV-free rooms and an in-house yoga studio so that guests can escape the chaotic hustle and bustle of Paris’ streets.
      Photography is by Benoit Linero.

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      Aston Martin collaborates with S3 Architecture to design first residential project

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      US studio S3 Architecture worked with luxury carmaker Aston Martin’s architectural design service to create Sylvan Rock, an angular black-cedar home in Hudson Valley, New York.With building works set to start in early 2021, Sylvan Rock by S3 Architecture will be the first property to be fully realised under Aston Martin’s Automotive Galleries and Lairs service, which launched last year.

      The form of Sylvan Rock house will mimic jagged rock formations nearby
      The service sees the carmaker team up with architecture practices across the world to design bespoke spaces where its clients can show off their most cherished motors.

      Sylvan Rock will be situated two hours away from Manhattan, hidden amongst a 55-acre plot of forested land in Hudson Valley that will allow inhabitants to “reconnect with nature”.

      Luxury cars will be displayed in a glass gallery-style room
      A sweeping driveway that spans 2,000 feet (609 metres) will lead up to the front door of the house. The facade will be composed of expansive panels of glazing and blackened cedar.
      Its dark metal roof will be faceted to emulate the jagged shape of surrounding rock formations, at one point dramatically dipping downwards to form a covered entryway.

      The house will also include a subterranean office
      “When designing, we always let the land speak first and respond to it,” said Christopher Dierig, partner at S3 Architecture.
      “It’s as if the home is born of and launching from the landscape. The resulting design blends our modernist aesthetic with the privacy and context of the rural location to create a unique luxury experience.”

      Parquet flooring and dark-wood joinery will feature throughout living spaces on the ground floor
      Cars will be displayed in a subterranean gallery-style room that’s completely enclosed by panels of glass.
      It will look through to a wine lounge where bottles are kept in floor-to-ceiling latticed shelves that subtly nod to the intersecting lines seen in Aston Martin’s logo.

      Lounge areas will overlook the green landscape
      At this level there will also be an office where the inhabitants can escape to do work without interruption. It will feature a huge window that offers an up-close glimpse of the craggy rocks outdoors.
      From here guests can head upstairs to the ground floor where there will be a kitchen, cosy den, dining room, formal sitting area and an array of other shared living spaces that look out across the home’s decked pool area and verdant landscape.

      Other rooms will have views of the home’s pool
      Aston Martin – which will be responsible for the home’s interiors – imagines each room to be finished with parquet flooring and rich chocolate-brown storage cabinetry.
      Marble-topped tables and plush, leather-trimmed soft furnishings will further enhance the opulent feel of the home.

      The first-floor master bedroom will cantilever towards the Catskill mountains
      Elevated views across the treetops and towards the nearby Catskill Mountains will be available up in the first-floor master bedroom, which will cantilever over the house’s ground floor.

      Aston Martin launches architectural service to design homes focused around your car

      “Our architecture and design team was immediately in sync with the Aston Martin design team, both emphasizing clean lines and the luxury of natural materials and textures,” the studio’s partner, Doug Maxwell, told Dezeen.
      “Working with them we evolved our creative process to view the residence in a similar way as designing an Aston Martin car – by designing in 360 degrees, where no specific angle or facade took precedence or dominates.”

      Sylvan Rock will also include three pods where guests can stay
      The grounds of Sylvan Rock will additionally accommodate three gabled guest pods that will stagger down a grassy embankment towards a pond.
      They will enable visiting friends and family to have a sense of privacy when they come to stay but, when not in use, can alternatively serve as a health and fitness space or a quiet area for homeschooling.
      There will also be a small produce garden where fruit and vegetables can be grown, as well as a pitched-roof treehouse where inhabitants or guests can choose to spend a night under the stars, closer to the site’s wildlife.

      There will also be a treehouse on site
      Aston Martin’s Automotive Galleries and Lairs service is not the brand’s first venture outside of carmaking. Last year it unveiled its inaugural motorcycle model, AMB 001, which features a 180-horsepower turbocharged engine and a carbon-fibre body.
      Images are by S3 Architecture, courtesy of Corcoran Country Living.

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      Minimal Fantasy holiday apartment in Madrid is almost completely pink

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      Patricia Bustos Studio channelled “aesthetic madness” to create the striking bright-pink interior of this rentable apartment at the heart of Madrid, Spain.Locally-based Patricia Bustos Studio applied 12 different shades of pink throughout the Minimal Fantasy apartment, which is meant to offer a bolder take on the typical holiday rental.
      “We wanted to do something eye-catching and not go unnoticed, since in Madrid the offer of vacation rentals is enormous and you have to differentiate yourself if you want to have a recurrence in the rentals,” the studio told Dezeen.

      Surfaces throughout the apartment are bright pink
      The 55-square-metre apartment is set inside a 1950s residential building that’s a stone’s throw away from Madrid’s lively Puerta del Sol square.

      It formerly played host to just one bedroom and one bathroom, but Patricia Bustos Studio reconfigured the floor plan so that it can comfortably accommodate slightly larger groups of holiday goers.

      An arched doorway looks through to the kitchen
      There are now two bedrooms and an additional bathroom. The kitchen has also been separated from the living area so that, if necessary, it can sleep another two guests.
      With structural changes out the way, the studio set about creating the apartment’s stand-out interior – which is almost exclusively pink.

      Cabinetry in the kitchen is a mix of blue, pink and gold
      “Except for the distribution, which had to be practical, the rest of the project has been an aesthetic madness to take the visitor out of their comfort zone and make them dream,” explained the studio.
      “Pink is already the colour of a whole generation… the generation of the brave, those who are not afraid of change,” it continued.
      “Pink vindicates the fall of stereotypes – everything is possible, nothing is planned or established and that’s the beauty of it. There are no rules, or rather that everyone has their own.”

      Pink cushions and faux-fur throws dress the beds
      In the living area, bubblegum-pink paint has been applied across the walls and ceiling. A flecked pink laminate covers the floor and a chunky L-shaped plinth that winds around the corner of the room, topped with plush pink sofa cushions.
      Guests can gather for meals around the oval-shaped pink dining table, which is surrounded by dining chairs upholstered in metallic pink fabric with an iridescent finish.

      One of the beds is supported by a pink-tile platform
      The monochromatic colour scheme is interrupted in the adjacent kitchen, where the cabinets are covered in a mixture of blue, pink and gold geometric shapes.
      Worktops are lined with glazed, blush-pink tiles.

      Child Studio looks to worker’s cafes for pink interiors of London’s Humble Pizza

      These same tiles have been used to clad the side tables and supporting mattress base in one of the apartment’s bedrooms.
      In the other bedroom, the mattress is pushed up against a scalloped pink headboard. Textural interest is added throughout by baby-pink lamé soft cushions and faux-fur throws.
      Arched sliding doors can be drawn back to reveal pink-tile bathrooms, complete with pink-frame vanity mirrors and shiny pink shower curtains.

      Bathrooms lie behind arched sliding screens
      Other than a few spherical pendant lights, trailing ivy plants and neon art piece, Patricia Bustos Studio hasn’t incorporated a lot of decoration in the apartment.
      Some elements, like the stepped blocks which display books and other trinkets, are meant to riff off La Muralla Roja – a housing development designed by Spanish architect Ricardo Bofill in 1968, distinguished by its maze of interlocking stairways.
      “[Bofill] creates a mysterious and infinite space with the perfect transformation between 2D and 3D, and with several elements that play with the optical illusion,” added the studio.

      Shiny pink curtains and pink-frame mirrors complete the bathrooms
      Several other architects and designers haven’t shied away from making extensive use of the colour pink – last year, Child Studio covered the interior of a vegan pizza restaurant in London with candy-pink Formica.
      Mar Plus Ask also washed the walls of a cave-like guesthouse in Spain with blush-pink stucco.
      Photography is by JC de Marcos.

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      Four Pillars Laboratory in Sydney is a “sanctuary” for gin enthusiasts

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      Juniper berry-blue furniture sits against blackened walls inside this cosy bar, laboratory and store that design studio YSG has created in Sydney for gin brand Four Pillars. Four Pillars Laboratory occupies a two-storey corner building in Sydney’s buzzing Surry Hills neighbourhood. It was originally built in 1939 as premises for a tea company, but has
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      Rattan yoga pods create “space of captivating calmness” for studio in Bangkok

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      Thai architecture studio Enter Projects Asia has used rattan to enclose a series of studios for yoga brand Vikasa at its headquarters in Bangkok.Enter Projects Asia used rattan – a type of climbing plant with a flexible woody stem – as the main material to break up a 450-square-metre space in a triangular-shaped block in downtown Bangkok into a series of yoga studios.
      The studio is shortlisted for leisure and wellness interior of the year at Dezeen Awards 2020.

      Rattan was used to enclose private yoga studios
      Supported on a frame of Thai timber, the material was used to partition two public yoga studios and fully enclose two smaller, private studios.

      The architecture studio wrapped the spaces in the natural material to create “an urban oasis in the chaos of Bangkok – a retreat from the grind”.

      Rattan was chosen as it can be found on the island of Koh Samui of the east coast of the country, where yoga brand Vikasa had a retreat.
      “All elements of the project were made from natural, local materials to be a hub or a portal for their existing location, which is based on a hillside in Koh Samui: Thai hardwood, local black slate, bamboo and most notably, rattan,” said Enter Projects Asia design director Patrick Keane.
      “The result is a space of captivating calmness, cloaked in quiet contentment – an oasis of tranquillity amongst the chaos of Bangkok,” he told Dezeen.

      The studio’s reception has a rattan desk and light feature
      Along with the pods, rattan was used to create light fittings in the studios and a large, sinuous desk that dominates the reception area.
      The desk becomes a bench for those waiting for classes and turns into a light feature that winds its way above the reception area,  ending in a woven lampshade above the main staircase.

      The rattan light feature hangs above the stairs
      The three-dimensional rattan forms were created in collaboration with specialist furniture designer Project Rattan by combining traditional weaving techniques with digital design.

      CO-LAB Design Office creates bamboo yoga pavilion in Tulum

      “We facilitated the fusion of 3D technologies with local Thai craftsmanship to bring nature to an urban context,” explained Keane.
      “We worked using 3D software, special effects modelling namely Maya and Rhino. Frames and templates were all printed on giant templates for the craftspeople to use as guides for their weaving techniques.”

      The rattan desk turns into a bench
      Overall, Enter Projects Asia hopes that it has created a space that communicates a sense of spirituality
      “It embraces all five senses, with soft geometry to counter hard urban edges, tactile materials that are touchable and natural, the smell of nature, and the technical acoustics – as good as a radio station – and the food and beverage Vikasa provides,” said Keane.

      Rattan forms are visible from outside the building
      The studios occupy the first floor of Vikasa’s headquarters, which has a cafe area on the ground floor, with the rattan forms designed to be visible through large glass windows from the street.
      Previous yoga studios on Dezeen include a bamboo pavilion nestled in the jungle in Tulum designed by CO-Lab Design Office and a muted studio with a textured sisal ceiling in Melbourne.
      Photography by Edmund Sumner.
      Project credits:
      Interiors architecture and design: Enter Projects AsiaDesign director: Patrick KeaneDesign team: Tomas Guevara, Azul Paklaian, Archana Ramesh, Sergio LissoneLocal craftsmanship: Project RattanBuilders: Enter Projects, Ian SykesEngineer: Lincoln ScottConsultants: Ian Sykes BuilderCollaborators: Project Rattan

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      Seven wooden kitchens that offer a different take on timber

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      Wood has long been used to create kitchens, but architects and designers are finding subtle ways to reimagine the material in the cooking space. Interiors reporter Natasha Levy selects seven standout examples.

      The Rye Apartments, UK, by Tikari Works

      Spruce-wood cupboards inset with subtle grooves feature in the kitchens of these apartments in south London’s Peckham neighbourhood.
      The cabinets and the surrounding cross-laminated timber walls are meant to lend the homes a cosy, domestic atmosphere. Extra warmth is provided by brass door handles and amber-flecked terrazzo that runs across the floors.
      Find out more about The Rye Apartments ›

      Ti Clara, Portugal, by Atelier Espaço P2
      Atelier Espaço P2 felt that a natural material palette offered “the most honest and true solution” for the overhaul of Ti Clara, a historic home in the Portuguese municipality of Ansião.
      The kitchen has therefore been set within a wood-lined gabled niche. Pale plywood has been used to craft its cabinets, as well as the triangular extractor hood above the stove. Contrast is offered by the grey stone countertop, splashback and floor tiles.
      Find out more about Ti Clara ›

      Southgrove Road, UK, by From Works
      A photograph of a moss-covered stone inspired the earthy green hue of this stained plywood kitchen suite, which design studio From Works incorporated into a Sheffield family home.
      “[The photo] sparked conversation about trying to create a space and a material palette that referenced Sheffield’s special position as an earthy regenerating city uniquely connected to the beautiful surrounding Peak District.”
      Find out more about Southgrove Road ›

      Urban Cabin, Italy, by Francesca Perani
      Surfaces throughout the kitchen of this 25-square-metre apartment in Albino, Italy are covered in oriented strand board (OSB) – a type of engineered timber made by compressing strands of wood in different directions.
      Although architect Francesca Perani was more accustomed to seeing OSB used on building sites, she thought its continuous pattern helped make the micro-sized kitchen appear bigger.
      “I love its textural irregularity, random organic composure and recycled properties,” she added.
      Find out more about Urban Cabin ›

      Powerscroft Road, UK, by Daytrip
      Design studio Daytrip didn’t want the interiors of this London townhouse to seem “over-designed or mass-produced”, so applied a selection of textured and patterned materials.
      In the kitchen, grainy Douglas fir wood has been used to make the cabinetry and the base of the central breakfast island. Countertops are pale Evora marble, while walls have been limewashed to leave a “painterly” finish.
      Find out more about Powerscroft Road ›

      An Attic for David, Spain, by MH.AP Studio
      The kitchen and all the storage elements of this Barcelona apartment are made from matte-finish MDF.
      While this type of engineered wood is often appreciated for being cost-friendly, MH.AP Studio also thought it would create a warm, “enveloping” ambience inside the home – especially when combined with oak parquet flooring.
      Find out more about An Attic for David ›

      Hackney House, UK, by Applied Studio
      A jet-black timber kitchen suite forms a striking focal point inside this east London home.
      “[The clients] wanted vivid contrast between the background and feature elements,” explained Applied Studio.”We worked with them to introduce natural elements to soften this, hence the visible grain in the joinery.”
      Find out more about Hackney House ›

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      Robert Gutowski Architects designs minimal church interior in response to changes in modern worship

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      The Church of Pope John Paul II in Páty, Hungary, is a crescent-shaped building featuring skewed angles and whitewashed concrete that aims to turn “passive observers” into active participants of worship.Local practice Robert Gutowski Architects filled the church in the village of Páty in Budapest with modern takes on traditional aspects of Medieval, ecclesiastical architecture.
      The intention was to shift the emphasis towards the altar and the congregation to make the act of worship more engaging.

      The Church of Pope John Paul II features an elliptical layout
      Traditional churches typically have a rectangular floor plan and are made up of a nave – the central part of the church – and an apse – the semicircular or polygonal area at the end of the aisle, usually located behind the altar.

      The Church of Pope John Paul II, however, has an elliptical layout, made up of the crescent-shaped building of worship that wraps around an adjoining oval-shaped outdoor space.
      Therefore what would typically be the nave of a conventional church functions as the churchyard or garden, while the liturgical space is situated where the apse would be.

      The church interior features whitewashed reinforced concrete ceilings and walls
      As studio founder Robert Gutowski explains, this layout was designed to place more emphasis on the communal experience of the Eucharist and to “invite people closer to the holy act” at the altar.
      “If you like, we invite people into the apse, surrounding the altar, forming a community,” the architect explained. “It is also similar to the liturgy of early times, when Paleochristians simply surrounded a table in their own home – what is known as Domus Ecclesiae.”

      The design aims to place more emphasis on the Eucharist and the altar
      “The church clearly defines its purpose: while the Creator and the almighty God are at the centre of traditional liturgy, modern liturgical efforts have shifted emphasis to the recreator God, the image of a perpetually redeeming Christ,” Gutowski added.
      “The Church of Pope John Paul II represents a conscious response to liturgical changes in recent decades, rendering it a model church experiment in contemporary church architecture,” he continued.
      “Emphasis is shifted toward the active involvement of worshippers.The community is not a passive observer of events in a sanctuary, but rather actively experiences the holy act.”

      The church building itself has a crescent-like shape
      Several rooms lead off of the central, liturgical space, including a communal room, a service room and an office on the ground floor, and an educational room, guest room, the priest’s living quarters, and access to the bell tower on the first floor.
      Each of these rooms are enclosed in one, whole elliptical floor plan – a form chosen to symbolise “perpetuity” and to create a holistic space.
      “The concept is that when we say ‘church’, this does not refer only to the part of the chapel, but rather to the whole community building in one singular form,” explained Gutowski.

      Angled walls and off-centre details represent the broken body of Christ
      The two ellipses formed by the crescent-shaped church and the adjoining yard have been set at different axes. This is following the historically “inaccurate” layout of traditional churches, wherein the nave and the apse tend to be slightly off-centre of each other.
      “We cannot name one single church that sits on the same axis, because pretty much all of the historical churches in Europe have this tiny ‘mistake’, which actually became a symbol of the broken body of Christ,” added Gutowski.
      This symbol of Christ’s broken body has been extended to the church interior, which features walls set at slanted, uneven angles.

      Spotlights and skylights illuminate significant spaces in the church
      The domed ceiling, made from reinforced concrete, is lined with spotlights that illuminate various sacral functions such as the area of the altar and surrounding alcoves filled with religious artworks.
      A rectangular cutout in the ceiling also fills the room with natural light, which is directed particularly at the centre towards the altar.

      The altar is carved from a single block of deep green stone
      While the majority of the interior has been painted white – bar the natural-wood pews – the altar is carved from a single block of deep green onyx stone, standing out from its surroundings to serve as the focal point of the space.
      The structure itself is symmetrical but every detail is asymmetrical, such as the alcoves. The altar is the only element that sits on the main axis of the building.
      Steps made of white Carrara marble lead up to the altar, which have trapezoid-shaped surfaces with rounded corners to allow gathering around the sanctuary space.

      A curved staircase leads up to the first floor
      The design and construction of The Church of Pope John Paul II was carried out with the help of the local community. The church was built mainly using donations, and was consecrated in 2019.
      The church has been shortlisted in the civic and cultural interior project category of this year’s Dezeen Awards.

      Crematorium Siesegem by Kaan Architecten rejects “pompous monumentalism”

      Other projects in this category include a crematorium in Belgium designed by Rotterdam-based studio Kaan Architecten, which is made up of one rectilinear volume made from blocks of unfinished concrete.
      A museum for children in Pittsburgh has also been shortlisted in the civic and cultural interior project category, which US firm KoningEizenberg Architecture renovated from the remains of a historic library that was struck by lightning.
      Project credits:
      Architect: Robert GutowskiDesign team: Ákos Boczkó, Gáspár Bollók, Barnabás Dely-Steindl, Hunor László Kovács, István Kövér, Attila Révai, Béla Ákos SzokolayArtworks: Csaba Ozsvári, István Böjte HorváthLandscape design: Attila PállEngineering: Zoltán Klopka, András Lantos, Gáspár Sándor, Gellért Mérő, János MészárosPhotography: Tamás Bujnovszky

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      Birch hotel by Red Deer takes over an 18th-century English mansion

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      Architecture studio Red Deer carried out an understated overhaul of a centuries-old mansion near Hertfordshire, England to form the Birch hotel, which is designed to challenge the idea of luxury.Birch is set on a 55-acre estate in the English town of Cheshunt, occupying a heritage-listed brick mansion that dates back to 1763.

      Red Deer has designed the Birch hotel in Cheshunt with slightly stripped back guest rooms
      The 140-room hotel is the brainchild of entrepreneur Chris King and former managing director of London’s Ace Hotel, Chris Penn, with interiors by architecture studio Red Deer.

      While respecting the grandiose nature of the mansion, the studio wanted Birch to shift perceptions of luxury hotels.

      Each bedroom contains a bespoke valet stand. Photo by Fergus Coyle
      “[We] consider the term ‘luxury’ as degraded through overuse, and the parameters of what constitutes a ‘luxury hotel’ can be tricky to define,” said Red Deer.
      “For [us], luxury comes from the creation of a meaningful emotional connection between the hotel guest and the space they inhabit.”

      The cinema room has striped deck chairs
      “As the landscape for luxury hospitality has evolved, the onus is now focused on creating a unique and personalised one-to-one experience for guests,” it continued.
      “Hotels aren’t just bedrooms with smart technology, but memory-making experiences that create value and loyalty.”

      Birch has a spacious coworking area
      The guest rooms of the Birch hotel are therefore slightly stripped back in appearance, finished with white-painted walls, exposed-wire lights and simple rattan headboards.
      TVs and work desks have also been purposefully omitted so that guests can completely detach from the stresses of everyday life.

      The coworking space has patchy plaster walls
      Each room includes a bespoke valet stand that Red Deer commissioned London-based designer Jan Hendzel to make alongside designer Charlotte Kidger, ceramicist Emma Louise Payne and metalsmith Lucie Naujalis.
      The stands are anchored by colourful orb or pill-shaped bases that Kidger has crafted from waste plastic, held in by sycamore and ash wood frames made by Hendzel.

      Red Deer commissioned local artists to create a series of unique spaces
      Spokes of the frame extend up to form clothes hooks, balance flower vases by Payne or support hand-beaten copper bowls by Naujalis that can hold knick-knacks like keys or cash.

      Red Deer and Jan Hendzel Studio combine ceramics, beaten copper and recycled plastic for hotel valet stands

      “It felt crucial to bring local artists and makers on-board to work on the interior projects and create some truly unique pieces to be enjoyed by the guests, challenging the idea that uniformity was essential for large batch runs of furniture,” added the studio.

      Original details were retained in the hotel where possible
      Throughout the rest of the hotel Red Deer has tried to “only intervene where it counted”, contradicting the typical “wastefulness” associated with luxury spaces.
      Several spaces still boast the building’s original panelled walls and ornate cornicing. This includes the mint-green cinema room, where guests are invited to sit and watch the latest films or documentaries from striped deck chairs.

      The communal spaces contain original panelling
      The spacious coworking area has patchy plaster walls, while the reception room features elaborate wooden boiserie and floorboards marked with white-painted numbers left behind by builders from the building’s last renovation.
      Rather than trying to cover them up, Red Deer instead decided to keep them as a quirky design feature.
      The central concierge desk, which has a faceted blue-metal base, brings a modern touch to the room.

      The Gun Room is a private dining area
      “We wanted to take a light touch on the existing features and celebrate the Georgian building,” said ​Ciarán O’Brien, co-founder of Red Deer. ​
      “The building created a really strong backdrop, so we looked at each space from the point of what already existed,” he continued. “Any intervention within a space needed to work with that, and once you build that design story it allows us to imagine how that room will operate.”

      The Zebra Riding Club is one of three restaurants
      Other on-site experiences that guests can enjoy include an interactive bakery, a pottery workshop, fitness studios and an open-air swimming pool.
      There are also three restaurants: Zebra Riding Club, which will serve “unfussy” dishes made with ingredients from Birch’s farm, The Gun Room, a wood-lined private dining room that seats just eight guests and Valeries, an all-day eatery that features sky-blue walls and chandeliers dangling from the ceiling.
      Red Deer is based between London and Barcelona and was founded by Lionel Real de Azúa, Ciarán O’Brien and Lucas Che Tizard.
      Previous projects by the studio include a pastel-green pasta restaurant and a virtual reality arcade which has neon interiors inspired by the work of artist James Turrell.
      Photography is by Adam Firman unless stated otherwise.

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