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      The Olive Houses are off-grid retreats hidden in Mallorca's mountains

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      Craggy boulders jut through walls in these off-grid guesthouses that architecture studio Mar Plus Ask has built in Mallorca, Spain, for creatives in need of a quiet escape.Tucked away high up in Mallorca’s Tramuntana mountains, The Olive Houses are run year-round by Mar Plus Ask as a silent refuge where solo architects, writers and artists can stay free from interruption.

      The pair of houses are enclosed by a dense grove of thousand-year-old olive trees, which at points is interrupted by huge boulders resembling “natural monumental sculptures”.

      Keen to leave this rugged terrain largely untouched, Mar Plus Ask set about designing two modest structures – one that accommodates sleeping quarters, the other cooking facilities – that look like homes in the surrounding landscape.

      “Our first reaction was that only if we could come up with something that would add something in a respectful and beautiful way, would we ever consider building,” explained the studio, which is led by Mar Vicens and Ask Anker Aistrup.
      “However, it was calming that the functions we were looking to build wouldn’t be much different than those of the existing structures found in the area.”

      One of the houses is partially embedded into an existing stone terrace, which the studio hopes will help the structure keep cool during the warm summer months.
      A sliding teakwood door can be pushed back to reveal a grand arched entrance. Inside, the house has a series of smooth, sloping surfaces similar to those seen within a cave.
      The walls, floor and ceiling have been exclusively rendered in blush-pink stucco, as the studio felt the colour was complementary to the pale green shade seen on the underside of an olive tree leaf.

      A corner of the house has been built around a craggy boulder that the studio left in situ, illuminated by a skylight directly above.
      “To us, the stone became a piece of art – suddenly the house was more about sculpting its backdrop and being its lightbox,” explained the studio.

      Tiny camping pods by Andrea Zittel serve as a creative refuge in the California desert

      Just beside the boulder, an overhead shower has been fitted, while a single bed lies on the other side of the house. Outside there’s also a large sink, the basin of which is formed from rock.

      Mar Plus Ask created the second house by renovating a dilapidated shed on site that was once used to store tools.
      Surfaces throughout are instead covered in deep-purple stucco, a hue that the studio thought was more akin to the dark, glossy topside of an olive leaf.

      The structure was initially deemed too narrow to hold cooking facilities but the studio ended up carving a wide opening into one of its 60-centimetre-thick walls, which is able to accommodate a chunky prep counter and a sink.
      Guests will also have access to two gas burners and a wood-fire oven – water, like that used to service the shower and sink in the first house, is sourced from a nearby spring. This house also includes a toilet.

      Mar Plus Ask was established in 2015 and works between offices in Copenhagen, Berlin, Mallorca and Valencia.
      The studio’s Olive Houses project isn’t the only place where creatives can go to clear their heads. Back in 2016, Andrea Zittel launched Wagon Station Encampment – a campsite near Joshua Tree Park, California, where artists and writers are allowed to play out their “desert fantasy”.
      The site includes 10 sleeping pods, a communal outdoor kitchen and open-air showers.
      Photography is by Piet Albert Goethals.

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      Dutch Invertuals designs Tiny Offices from corrugated aluminium plates

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      Design studio Dutch Invertuals has created a collection of compact offices made from corrugated aluminium and wood for Dutch holiday park operator Droomparken.Named Tiny Offices, the small workspaces were designed to be places where you could “freely dream, perform and create”. They have been installed in two of Droomparken’s holiday parks in the Netherlands.

      Dutch Invertuals has designed four Tiny Offices
      The compact offices measure just over six square metres and were built from raw corrugated aluminium plates, with wooden doors and a large window frame on the front facade.

      “The biggest inspiration came from projects which were completely embedded in natural surroundings,” said Dutch Invertuals architect Chris Collaris and design director Wendy Plomp.

      The Tiny Offices were built with corrugated aluminium walls
      “It’s almost an ‘end of the world-place’ with that big window overlooking it,” Collaris and Plomp told Dezeen.
      “The actual space itself didn’t need to be very big.”

      Each of the Tiny Office interiors was designed by a different designer
      The Tiny Offices have custom-designed interiors in different colours, clad in materials including felt and acrylic that were chosen for their functionality.

      Shuhei Goto Architects turns lecture hall into multi-level work space

      “The interiors are designed to create the most optimal work environment, where you can concentrate and work but also lay down on a beautifully designed daybed to think and look outside,” Collaris and Plomp explained.
      “Because it is a small and intimate space, all materials should make sense. Therefore we used an acrylic wall that makes the space look more spacious, but you can also write on it.”

      Tijmen Smeulders designed a paired-back colour scheme for one Tiny Office
      The interiors were designed by three designers Raw Color, Thomas Ballouhey and Tijmen Smeulders.
      Each designer created their own colour scheme, with some choosing a colourful identity and some going for darker, more sophisticated hues.

      Designer Raw Colour added colour wall art to its Tiny Office
      Droomparken, which runs holiday parks across the Netherlands, commissioned the project for Dutch Design Week in 2018 with the aim of creating a space that would be better to work in than a traditional office.
      Today there are four Tiny Offices, with more to potentially be installed in the future.

      Raw Colour also upholstered the chair in pink material
      Their project became more timely as the coronavirus pandemic struck.
      “In these last years offices have become more green and healthy, but criticism of the modern contemporary office has come to the surface, and today the office seems to be under pressure because of the COVID-19 virus,” Collaris and Plomp explained.
      “The units got more attention because going to the normal office was not an option any more. Tiny Offices were and are a much safer place than the traditional office.”

      Thomas Ballouhey designed the interiors of the final office
      Tiny Offices has been longlisted for the Dezeen Awards 2020 in the small workspace interior category.
      Dutch Invertuals previously designed an exhibition celebrating at the circle and experimented with creating products from unwanted household junk to produce less.

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      Decada Muebles spotlights local craft inside Mexico's Escondido Oaxaca Hotel

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      Interiors studio Decada Muebles has filled this boutique hotel in Oaxaca City, Mexico with pieces made by the region’s artisans.A majority of the Escondido Oaxaca Hotel takes over a former family home that dates back to the 19th century.
      Inside are four of the hotel’s total 12 guest rooms – the last eight are located just beyond the house within a more contemporary concrete tower erected by architect Alberto Kalach.

      The Escondido Oaxaca Hotel lobby. Top image: a bedroom in the concrete tower
      This mixture of old and new influenced Decada Muebles’ design of the hotel, which has been almost exclusively decked out with pieces crafted by local craft makers.

      “We wanted to create a feeling of timelessness inside an authentic Oaxacan house, where the guests could feel the presence of a craftsman’s hand through their work in every nook and cranny,” the interior design studio told Dezeen.
      “With a mix of minimalism and clean lines in our furniture choices, and the lush landscaping and garden design, we aimed to maximize the possibility of relaxation and sense of serenity as the underlying state while at the hotel.”

      The hotel restaurant features green cement tiles
      Guests enter the hotel via the old house, walking through a spacious lobby that’s dotted with oversized terracotta plant pots.
      Red bricks run across the floor, while the walls are loosely rendered with stucco – faded patches of paint left behind from the house’s old fit-out are still visible.
      These rustic walls continue through into the restaurant, which serves up a menu of Mexican fusion food.

      The split-level culture room features stucco walls
      Local craftsmen have used Sabino, a Mexican wood, to make the tables and chairs that appear throughout the room. They complement a gridded timber shelving unit that openly displays liquor bottles and glassware.
      The floor here is clad with locally sourced green-cement tiles – the colour was specifically chosen in a subtle nod to Cantera, a green-hued volcanic rock that’s native to Oaxaca and used to build several of its buildings and roads.

      The concrete facade of the new tower
      When they’re not relaxing around the pool, which is up on the roof, guests can head to the split-level “culture room”.
      It includes a small library and a cosy sofa area decorated with earth-tone vases.

      Bedrooms feature sabino wood furniture
      Guest rooms in the old house and the concrete tower have been finished in the same material palette that’s been applied throughout Escondido Oaxaca Hotel’s communal spaces.

      Monte Uzulu is a boutique hotel in the Oaxacan jungle by Taller Lu’um and At-te

      Green-tinted cement tiles cover surfaces in the en-suite bathrooms and sabino wood has been used to create the rooms’ side tables, bed frames and shutters, which can be pushed back to reveal balconies or foliage-filled patios.
      Details like the woven palm leaf headboards were also custom made in Oaxaca.

      A bedroom opening onto a courtyard
      Escondido Oaxaca Hotel is longlisted in the hotel and short-stay category of this year’s Dezeen Awards.
      It will compete against the likes of Trunk House, a boutique hotel in Tokyo that includes a miniature disco, and Casa Palerm, a guest villa in Mallorca which is fronted by a huge cinema screen-like window.
      Photography is by Undine Pröhl.

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      The Other Season applies natural palette to boutique hotel by Dutch seaside

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      Linen, bamboo and sandy-beige tones appear throughout Strandhotel Zoomers in the Netherlands, which has been designed by creative studio The Other Season.Strandhotel Zoomers huddles up against the sandy dunes of Castricum beach in north Holland.
      The hotel was completed by Dutch practice Breddels Architecten at the beginning of 2020 and features a facade clad with different-hued strips of timber.

      Creative studio The Other Season has applied a similarly warm and natural material palette throughout the hotel’s interior, which accommodates 12 guest rooms.

      Smaller rooms have views of the dunes, while larger rooms are orientated to overlook the calming ocean waves. There’s also a large apartment-style room for families visiting with children.

      “The outside of the building reflects the inside of it; simple and pure with beautiful nuances in colours that make you feel welcome and at ease,” said the studio, which is led by Jasmijn Boots and Marry Broersen.
      “We chose natural patterns, colours and materials for the flooring, doors and window coverings like bamboo and wood, as they reflect the wooden covering on the exterior of the hotel and of course the tones of the grasses and sand in the dunes.”

      Each room boasts simple white walls and an exposed concrete ceiling, but has been exclusively decorated with products from Dutch design brand HK Living.
      Taupe or maroon-striped scatter cushions have been used to dress the beds, as well as sandy-beige linen throws.

      Photo by Enstijl
      Storage is provided by bamboo-panelled cupboards, complementing the bamboo armchairs that appear underneath the rooms’ writing desks or beside the windows.

      Space&Matter converts Amsterdam’s bridge keeper’s houses into hotel rooms

      Shell-shaped ornaments, amber-hued vases and woven rugs have also been used as decor, along with oversized lamps that have been printed to feature spindly illustrations of faces.

      There’s no on-site restaurant at Strandhotel Zoomers, but instead a cosy breakfast room where guests can enjoy beverages and snacks.
      Wood has been used to craft the room’s prep counter, cabinetry and central dining table, which is surrounded by white wire-frame seats.
      More food is available just a stone’s throw away at the hotel’s sister company Beach Pavilion Zoomer.

      Other spots to stay around the Netherlands include Kazerne in Eindhoven, which has just eight guest rooms and an exhibition space that displays works from the city’s leading creatives.
      There’s also the Sweets Hotel in Amsterdam, which takes over a series of vacant canal-side bridge keeper’s houses in Amsterdam. It won the hotel and short-stay interior category at the 2019 edition of the Dezeen Awards, where it was praised by judges for “questioning the idea of hotels in the era of Airbnb”.
      Photography is courtesy of The Other Season and One Two Studio unless stated otherwise.

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      Greek islands inform design for Monastery Studio facial spa

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      A pale green lacquer table and dried plants are among the references to Greek architecture and “Californian freshness” in this spa in San Francisco designed by Jacqueline Sullivan.Monastery Studio is a spa and retail space in San Francisco, founded by Athena Hewett, that offers a range of facial and body services.
      The light-filled space is designed to take cues from Hewett’s Greek heritage and her time spent in the Cyclades.

      “Monastery Studio is inspired by Athena’s Greek heritage and memories of summers in the Cyclades – sun bleached architecture, ancient pottery, soft stones, the salty sea, diffused sunlight,” Sullivan told Dezeen.

      “Though the space has an old world feel it also has a distinctly Californian freshness and sensibility,” she added.
      Walls and flooring in the space are painted white to provide a neutral backdrop for the custom-built furnishings, ceramics and dried floral sculptures.

      At the centre of the shop there is a chartreuse-coloured lacquer table with chunky circular legs and rounded edges designed by Shin Okuda of Los Angeles furniture studio Waka Waka. The surface forms a display area for the spa’s range of oils and serums.

      Bottles of products and other trinkets, including dried flowers, rocks and pottery, are arranged across the thin boards that comprise a massive built-in shelving unit.

      Proem Studio uses muted shades to design Cheeks & Co facial spa

      To add texture to the space Sullivan installed a curving sculpture of brown and red plants that extends from the ground to the ceiling onto one of the walls.

      “We played with shape, texture, colour and scale in a way that feels informed by the past but simultaneously very contemporary,” the designer added.
      “Ultimately, we wanted the space to feel soft, special and thoughtfully considered, just like the Monastery oils themselves.”

      Curved archways lead into the treatment rooms which are also painted white and flooded with natural light from a row of windows. The rooms are outfitted with a wood chair for patients, wooden stools and potted plants.
      The exterior of the spa and store is clad with planks of black wood and fronted with three large windows.

      Other facial spas include a skincare studio in Los Angeles with light pink accents designed by Proem Studio and a skincare store in England with cane and ash wood cabinets.

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      CL3 unveils interior design for Intercontinental Chongqing Raffles City

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      Sailing and nautical aesthetics informed CL3’s interiors for the Intercontinental hotel in the Raffles City Chongqing complex in China, which includes guest rooms that draw on the design of yacht cabins.Intercontinental Chongqing Raffles City is located in the Raffles City Chongqing development, which features a “horizontal skyscraper,” the Crystal skybridge that connects four 250-metre tall skyscrapers.
      The hotel’s location in the city’s Chaotianmen area, where the Yangtze and Jialing rivers meet, was the starting point for the designers.
      “The project has a geographical and historical significance by being where the ancient emperor sent his fleet to meet the people,” CL3  said.

      This nautical past not only informed the design of the eight streamlined skyscrapers that make up the Raffles City Chongqing complex, which features sail-like screens, it was also carried through into the interior design.

      CL3 was approached to create the interiors after working with architect Moshdie Safdie of Safdie Architects on the Marina Bay Sands project, and designed the interiors of the hotel’s main areas as well as the residential lobby and common areas for five of the towers.

      The studio was also responsible for the design of the residential clubhouse inside the signature Crystal skybridge that connects four of the towers.
      Intercontinental Chongqing Raffles City’s grand reception is located on level 42 at the skybridge and nods to the sailing theme with a reception desk shaped like the hull of a ship, complemented by lighting in the same shape.

      “The shape design echoes the water reflection during sailing in the river,” the studio said. The link bridge reception area was also decorated with marine-themed Chinese motifs and crafts.
      In the arrival lobby area, CL3 added stylised drawings of traditional ships to the mirrored walls of the elevators.

      The lobby lounge was designed to create a “mountain landscape in the sky” and filled with green plants under an arc-shaped dome.
      It features views of the skybridge that stretches across the skyscrapers, which visitors can enjoy from enveloping seats in pale wood with an undulating, wave-like shape.

      For the interior of the hotel rooms, the studio used pale wood combined with beige and cream colours and softly curved walls.
      “The inspiration from the timeless ultra-luxury of contemporary sailing vessels is reflected in the ambience, furniture selections, finishes and guest rooms, ” CL3 said.

      The nautical theme is less apparent in the Jing restaurant, which has a dark stone floor and peacock blue detailing.
      The distinctive bar, where guests can sit and enjoy a meal, has been decked out in pale blue, bright blue and white stripes that pick up the blue hues in rest of the room.

      CL3 was also behind some of the residential areas in the complex, including the residential clubhouse inside the Crystal skybridge itself which has a swimming pool, gym and a spa, as well as private function rooms.
      Rattan lounge chairs with blue upholstery surround the pool, whose “modern shape and light colours reflect the rhythm of urban life,” the studio said.

      CL3 was founded in 1992. The studio is based in Hong Kong but also has offices in Shenzhen, Beijing and Shanghai.
      As well as the Raffles City Chongqing complex, Safdie Architects also designed a housing development in the city, Eling Hill, consisting of a set of stepped homes on a hill overlooking the Yangtze River.
      Photography is by Feng Shao.
      Project credits:
      Client: CapitalandProject name: Intercontinental Chongqing Raffles CityProject location: No. 2 Changjiang Binjiang Road, Yuzhong District, Chongqing, China 400010Completion time: 2020Interior design firm: CL3 ArchitectsInterior design team: William Lim, Jane Arnett, Simon Ho, Jun Tse, Katerin TheysArchitecture design firm: Safdie Architects

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      Studio Venturoni warms up Rome apartment with earthy hues

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      Bands of terracotta and sand-coloured paint wrap around the walls of Trevi House, a one-bed apartment in Rome that’s been overhauled by Studio Venturoni.The apartment is situated at the heart of the Italian capital, just a stone’s throw away from the famous Trevi fountain.

      Its interior had previously been dominated by heavy masonry partitions that were splitting up the sizeable 80-square-metre floor plan into several small, cramped rooms.

      Custom wooden cabinets and bookshelves accumulated by the owner were also blocking natural light from coming in.

      Tasked with creating a greater sense of space inside the apartment, Milan-based Studio Venturoni decided to knock through all of the existing partitions.
      This more open floor plan has allowed room for a central dining area. Surrounding walls here feature wide bands of terracotta and sandy-beige paint, two earthy hues which the studio felt were synonymous with Rome.

      Studio Strato creates cosy reading den in renovated Rome apartment

      Studio Venturoni also hoped that the horizontal bands of colour would make the room appear wider.

      Terracotta and orange surfaces appear again in the adjacent living area, which has been dressed with a lengthy grey sofa that slightly rises up on one end like a chaise lounge.
      This piece was specifically selected for its slight resemblance to a triclinium: a type of seat that would appear in the formal dining rooms of affluent Roman homes, composed of three adjoining chaise lounges on which residents would recline while being attended to by servants.

      Other striking furnishings – like Fabio Novembre’s face-shaped Nemo armchair – have been included to match the “monumental feel” of the apartment’s grandiose mahogany doors and wooden ceilings, which the studio decided to preserve during the renovation works.
      “My career has allowed me to understand the importance of detail: everything must be in the right place and we should not be afraid to express bold concepts, even in a domestic setting,” the studio’s founder, Francesca Venturoni explained.

      Burnt-orange tiles have been used to line the floor and the lower half of the walls in the kitchen, which was given a complete re-fit with jet-black cabinetry.
      A curved black counter has also been installed directly beside the kitchen’s window, so that inhabitants can overlook the bustling tourist crowds or listen to the sound of the waters from the Trevi fountain while enjoying breakfast.

      Cooler tones appear in the apartment’s bathrooms, where surfaces have been lined with grey-flecked stone tiles.
      The bedroom also features a blue headboard and curtains, tempered by rich, mustard-coloured dress cushions and brass lighting fixtures.

      Other homes in the historic city of Rome include a cosy apartment by Studio Strato, which has its own reading nook and an industrial-feel flat by architect Alessandro Tomei that boasts exposed concrete surfaces and iron-framed glass partitions.
      Photography is by Michele Bonechi.

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      Remi restaurant in Berlin is defined by cherry-red joinery

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      Red-stained cabinets crafted from MDF surround the open kitchen of restaurant Remi in Berlin designed by local studio Ester Bruzkus Architekten.Remi is situated near Berlin’s Rosa-Luxemburg-Platz square and is led up by Dutch chefs Lode van Zuylen and Stijn Remi.

      This is the second restaurant that the pair have in the German capital, joining Lode & Stijn which opened its doors in 2016.

      As with their inaugural restaurant, the chefs were keen for Remi to have a pared-back aesthetic – but also wanted the space to be reminiscent of the dining spots they once frequented at home in the Netherlands.

      “For Remi, we were inspired by the grand cafes of our home, where we used to enjoy eating together,” Zuylen and Remi explained.
      “We wanted to create a place where you could meet easily, whether for reading the newspaper, a quick lunch, or an intimate dinner.”

      Local studio Ester Bruzkus Architekten was brought on board to develop the interiors of Remi, which takes over the ground floor unit of a new concrete and glass office building.
      The restaurant is anchored by an open kitchen, enclosed by a series of MDF cabinets that have been stained a deep cherry red hue.

      A handful of surfaces in the kitchen have been covered in rough grey stucco, while sheets of perforated metal have been used to conceal service ducts that sit beneath the ceiling.
      “We used architectural materials that are high in quality, carefully sourced and crafted, with rigorous attention to detail,” the studio told Dezeen, “this is the very approach to ingredients that the chefs bring to crafting a meal.”

      The same red shade of MDF has been used to make the tall gridded shelves that run along the rear wall of the restaurant, openly displaying wine bottles, glassware and jars of ingredients.
      Cherry-red MDF has then been combined with black granite to form the service counter where guests are greeted by staff before being shown to their table.

      Metal-frame dining tables with grey countertops designed bespoke by Ester Bruzkus Architekten have been dotted throughout the room.
      One long communal table where guests are encouraged to “linger all day” has also been placed beside the restaurant’s entrance.

      Berlin restaurant LA Poke takes its cues from Hockney painting A Bigger Splash

      Each table is accompanied by timber or acid-yellow chairs by Danish furnishing brand Please Wait To Be Seated. There’s additionally a couple of wooden benches with seat cushions upholstered in mustard corduroy fabric by Kvadrat.
      Red, yellow and steel editions of Muller Van Severen’s Hanging Lamps have been mounted on the restaurant’s walls as decoration. White-neon tube lights also wind and intersect across the ceiling.

      Ester Bruzkus Architekten has been established since 2002. Remi isn’t the only Berlin restaurant designed by the studio – back in 2018, it completed LA Poke.
      Taking cues from David Hockney’s 1967 painting A Bigger Splash, the eatery features vibrant pops of summery hues such as cobalt blue and sunshine yellow.
      Photography is by Robert Rieger.

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