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      Andrew Trotter and Marcelo Martínez refresh 17th-century home where time “stood still”

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      Casa Soleto, a 17th-century house in Puglia, Italy, has been carefully renovated using lime plaster, terrazzo and furniture salvaged from a monastery.

      The four-bedroom house, parts of which are over 400 years old, was given a refresh by its owners – architecture firm Studio Andrew Trotter and its studio manager Marcelo Martínez.
      Casa Soleto is located in southern ItalyWhile no structural changes were made, the designers redid some of the building’s roofs, which were falling apart, added two bathrooms and powder rooms, and swapped the living and dining spaces around.
      “The street front had all the baroque details of a small palazzo and inside it was like time stood still,” Studio Andrew Trotter founder Andrew Trotter said of the house.
      Parts of the house are over 400 years oldNone of its walls were straight and the layout was designed for the needs of past occupants, with a chapel located behind the kitchen so that the family did not need to leave the house to pray.

      This place of worship was transformed into a media room and a powder room with an outdoor shower, creating a space that can be used as an extra guestroom if needed.
      A former chapel was turned into a media room that can also serve as an extra guest roomTrotter and Martínez aimed for the renovation of Casa Soleto to resemble the original building as much as possible and the team preserved much of its original flooring.
      “We tried to use natural materials as much as possible,” Martínez told Dezeen.
      “We used lime plasters to give a natural and raw feeling to the walls, terrazzo floors – battuto alla veneziana – in the areas where new floors had to be made, wooden windows and doors seeking to imitate the original ones, cast iron hardware and linen sofas.”
      The 17th-century house was decorated with modern and antique furnitureThe designers also chose a discrete colour palette for the lime plaster used on the walls of the house, which on the ground floor culminate in five-metre-high ceilings.
      “We chose subtle earthy and greeny colours,” Martínez said. “Colours played a central role, as some make spaces feel light, others moody.”

      Studio Andrew Trotter transforms 19th-century school into family home in Puglia

      Studio Andrew Trotter kept the house’s original kitchen and commissioned local woodworkers from the city of Lecce to recreate the home’s original wooden doors.
      To add to the natural feel of the interior, the team used jute rugs to cover the stone floors and sourced linen upholstery and curtains from local artisans.
      Lime plaster was used to give the walls a natural feelFurniture and accessories by Danish brand Frama were juxtaposed with antique furniture pieces including an 18th-century dining table that was salvaged from an Abruzzo monastery.
      The studio also sourced a late 18th- early 19th-century wardrobe from Lombardy for one of the bedrooms in Casa Soleto, which can only be accessed by going through the front patio and up an outside staircase.
      The original kitchen was kept and refurbishedStudio Andrew Trotter, which has worked on a number of projects in Puglia, plans to use Casa Soleto as a rental property.
      “We purchased and restored it mainly to rent it out, and also to invite creative minds that we appreciate, make gatherings and exhibitions,” Martínez said.
      An exterior staircase leads up to the bedroomsPrevious projects the studio has completed in the area include a 19th-century school that was turned into a family home and an earth-toned villa made from local sandstone.
      The photography is by Salva López.
      Project credits:
      Interior design: Andrew Trotter and Marcelo MartínezPlaster application: Tullio Cardinale and teamWoodwork: Alba Falegnameria

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      Marcante-Testa blends “unique characteristics of Venetian identity” for Ca’ Select bar and distillery

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      Italian studio Marcante-Testa has turned an industrial building in Venice into the canal-side Ca’ Select bar, visitor centre and production facility.

      Set alongside a small canal in the Cannareggio district of Venice, the bar and distillery belong to the company behind Select Aperitivo – the main ingredient of a Venetian Spritz.
      Ca’ Select bar is located on a canal in Venice”The history of Select is closely tied to that of Venice, where the brand was founded in 1920,” said Marcante-Testa.
      “Starting from this awareness, the mother company Gruppo Montenegro commissioned the architects Andrea Marcante and Adelaide Testa to formulate a reinterpretation of the unique characteristics of Venetian identity, reviving one aspect of the city’s past.”
      The space includes a Select Aperitivo barMarcante-Testa led the conversion of the former metal workshop into a bar and events space, spanning 690 square metres. Throughout the bar and production spaces, glass and ceramic details were chosen to highlight traditional Venetian crafts.

      The elongated space was split linearly into three zones, with the bar placed at the front of the building so it can be accessed from the canal by a corridor clad in white and red Zellige tiles made by Mosaic Factory.
      The bar is wrapped in blue wavy glassAt the centre of the space is a freestanding bar wrapped in blue wavy glass “in the Murano tradition”, created by the Wonderglass company to recall the waves of the nearby lagoon.
      The space features three handmade mosaics made from tiles fired in the historic Fornace Orsoni and informed by the sketches of Spanish designer Mariano Fortuny, who was a long-term resident of Venice.

      Cocktail bar “suspended between sea and sky” draws upon nearby Mediterranean

      Venetian seminato terrazzo flooring with red glass and blue sodalite marble inlays was used to unify the spaces, running from the entrance through the bar to the production area.
      Separated from the bar by a large curtain is a seating area furnished with steel-framed sofas alongside armchairs upholstered in reds and pinks as a nod to the aperitivo’s colour. This area will also be used as an events space.
      An events space is located next to the barThe event space has views through a red-tinted glass wall to the production facility at the rear of the building.
      Here, the maceration of the herbs and spices used to make the distinctive aperitivo takes place.
      The distillery is separated from the public areas by a glass wallThe final space in Select Aperitivo’s building is nestled above the entrance corridor. Accessed by steps to the side of the entrance is a small visitor centre with exhibits curated by Turin-based Studio Fludd.
      It contains seating and exhibits that aim to tell the story of the aperitivo brand, which was established in 1920.
      An exhibition space is located above the entranceSelect Aperitivo hopes that the bar and visitor centre will continue to reinforce the brand’s historic links to the city.
      “Ca’ Select represents a fundamental step in our multi-year plan to consolidate the brand and aims to strengthen the link with the city of origin,” said Marco Ferrari, CEO of Gruppo Montenegro, which owns the brand.
      “It is no coincidence that we have decided to bring the heart of Select’s production here, to enhance the local culture starting with the valuable architectural elements that enrich the space.”
      The building also houses a Select Aperitivo production facilityOther recently completed bars that have been featured on Dezeen include a brewery in a former Copenhagen slaughterhouse and a bar in Calgary topped with plywood barrel vaults.
      Project credits:
      Architectural project: Marcante-TestaInterior design project: Marcante-TestaProject and content management: Mindthegap StudioPlants and facilities design: Pgs Ingegneria – Studio AssociatoContent of the exhibition design: Studio FluddProduction coordination and executive production: Epica filmVisual identity project: Studio FluddBuilding works director: Valter Camagna, Andrea marcanteLocal architect: Stefano RomagnaProject manager: Roberta MiniciSafety manager and coordinator: Sebastiano CibienBuilding construction: Steelwood EngineeringPlant engineering work: Gruppo Frassati, Vem SistemiSet-up arrangements: Steelwood Rngineering, Gruppo Frassati, Amap, WonderglassLight design: Marcante-Testa with FlosDecorative lighting supplier: FortunyTechnical lighting supplier: FlosSystem integrator: Acuson, Red Group

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      Studio Wok designs Milan bakery Pan as contemporary take on Japanese culture

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      Architecture practice Studio Wok has created a matcha-green counter and Japanese-style fabric panels for bakery and wine bar Pan in Milan’s Acquabella district.

      The studio created the eatery, which is led by Japanese chefs Yoji Tokuyoshi and Alice Yamada, to have an interior that would represent a meeting between Japan and Milan.
      “There are references to Japanese culture, non-literal and far from stereotypes,” Studio Wok said. “The intention was for a deeper understanding, working on the concept of quality, both in materials and in details.”
      A fibreglass counter sits at the centre of the bakeryA central bread counter is the “protagonist piece” in Pan’s interior design.
      The counter was constructed from panels of fibreglass grid and its eye-catching colour was informed by the vivid green of matcha, an ingredient widely used in Pan’s food, the studio said.

      Fibreglass was also used to create an external bench, linking the bakery with the wider neighbourhood.
      Fibreglass was also used for an external bench”We did a lot of research looking for a ‘poor’ material that could be ennobled by being used in an innovative way,” Studio Wok told Dezeen.
      “Fiberglass grating is a material used in industry but little used in interiors and it seemed perfect to us.”
      Fabric hangs from the ceilingThe green of the fibreglass is echoed in vertical fins of hanging fabric that define the ceiling, creating a dialogue between hard and soft elements within the space.
      These suspended sheets of fabric are a contemporary update of the traditional Japanese design element of ‘noren’, meaning curtains or hanging divider panels.
      Wooden seats have views of the street”The ceiling sheets have the main function of creating a three-dimensional covering to make the environment more welcoming and also to work from an acoustic point of view,” the studio said.
      “They create a suspended three-dimensional world, both continuous and ephemeral. Furthermore, they dialogue with natural light during the day and with artificial light in the evening.”
      The bathroom has a decorative stone sinkIn the bathroom, the green theme continues with a wall and sliding door featuring translucent panels of pressed cellulose, which have been fixed onto a wooden grid frame.
      “We were looking for a translucent material to allow natural light to pass through the anteroom. It also reminded us of the rice paper walls, typical of Japan,” Studio Wok said.

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      The effect of these materials is to create “a green monochromatic box from which the monolithic element of the sink emerges,” Studio Wok said.
      The sink was made of a grey-tinted natural stone called Moltrasio.
      In the main space, light grey walls and floors in hand-trowelled cementitious resin amplify the sense of light, while chestnut was used in both its pale natural form and stained black across integrated and freestanding furniture.
      Black-stained chestnut was used for the bar areaThe bar area has a more serious, less playful atmosphere, informed by the black-stained chestnut wood of the counter and cabinetry.
      Here, a rough-hewn natural stone boulder serves as a water counter, introducing a freeform, sculptural element to the space.
      Studio Wok designed the bakery and wine bar with references to JapanTo anchor the space in the local neighbourhood, Studio Wok designed large windows with pale chestnut frames that open the bakery up towards the street.
      Seating in the window areas “project the interiors of the venue outwards, creating a hybrid threshold space between the domestic and the urban,” the studio said.
      “Our vision for the material palette at Pan was to seek a balance between elements with a contemporary and industrial flavour, with others that are more natural and timeless,” said Studio Wok.
      “It’s a celebration of Japan and its dualism between innovation and wabi-sabi spirit.”
      Studio Wok has previously designed a cavernous pizza restaurant and transformed a barn into a country home.
      The photography is by Simone Bossi.

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      India Mahdavi enlivens Rome’s Villa Medici with bold geometric furnishings

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      Architect India Mahdavi has updated six rooms within Rome’s 16th-century Villa Medici to feature an array of contemporary and colourful furniture.

      The intervention comes as part of a three-year project called Re-enchanting Villa Medici, which was launched in 2022 to amplify the presence of contemporary design and craft within the Renaissance palace.
      India Mahdavi has furnished six rooms inside the Villa Medici including the Chamber of the Muses (above) and the Lili Boulanger room (top image)While the first phase of the project saw fashion brand Fendi revamp Villa Medici’s salons, Mahdavi was asked to freshen up rooms on the building’s piano nobile or “noble level”, where the main reception and the bedrooms are housed.
      She worked on a total of six spaces including the Chamber of the Elements, Chamber of the Muses and Chamber of the Lovers of Jupiter, which once served as an apartment to Cardinal Ferdinando de Medici.
      Several of Mahdavi’s Bishop stools were integrated into the designThe three other rooms – titled Debussy, Galileo and Lili Boulanger – were formerly used as guest quarters.

      In the Chamber of the Muses, which is topped with a dramatic coffered ceiling, Mahdavi inserted sea-green editions of her Bishop stool alongside an enormous hand-tufted rug by French workshop Manufacture d’Aubusson Robert Four.
      Its geometric design features green, purple, red, and rosy pink shapes, recalling the flowerbeds that appear across the villa’s sprawling gardens.
      Chairs were reupholstered with eye-catching raspberry-hued velvetOnly subtle alterations were made to the Chamber of the Elements and Chamber of the Lovers of Jupiter, where Mahdavi has repositioned an existing bed to sit against an expansive wall tapestry.
      Some of the chairs here were also reupholstered in raspberry-hued velvet.

      Fendi introduces modern furnishings to Rome’s historic Villa Medici

      A cluster of bright yellow sofas and armchairs sourced from the French conservation agency Mobilier National was incorporated into the Lili Boulanger room, named after the first female composer to take up residence at the villa.
      The furnishings sit on top of a blush-pink rug by French manufacturer La Manufacture Coglin and are accompanied by octagonal tables designed by Mahdavi.
      The Lili Boulanger room has a grouping of bright yellow sofas and armchairsA Renaissance-style four-poster bed was added to the room named after astronomer Galileo Galilei, who reportedly visited Villa Medici twice in his lifetime.
      The bed’s tiered wooden base and headboard were inlaid with graphic, berry-toned marquetry by cabinetmaker Craman Lagarde. The pattern, which also appears on the curtains that enclose the bed, takes cues from the design of the villa’s flooring.
      A grand four-poster bed is inlaid with berry-tone marquetryA similar bed can be seen in the room named after French composer Claude Debussy. But this time, the marquetry done by French furnituremaker Pascal Michalon is executed in more “acidulous” colours that Mahdavi said reminded her of Debussy’s piano piece Clair de lune.
      Mahdavi has lent her distinctive colour-rich aesthetic to a number of significant venues. Recent examples include the lavish London restaurant Sketch, to which she added sunshine-yellow and golden furnishings.
      The photography is by François Halard.

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      Co.arch Studio creates show kitchen for candied fruit specialist Cesarin

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      An Italian company that makes candied fruit now has a dedicated space for cookery demonstrations, designed by Milan-based architecture office Co.arch Studio.

      Cesarin has produced its fruity bakery products at a factory between Verona and Vicenza in Italy for over 100 years.
      The plywood structure is installed within one of Cesarin’s factory buildingsCo.arch Studio founders Andrea Pezzoli and Giulia Urciuoli worked with the company to create a pop-up kitchen for hosting live-audience events and filming videos for social media.
      Built from plywood, this double-height structure is located on the first floor of one of the company’s existing factory buildings.
      It provides space for hosting events and filming cookery videosIt incorporates a demonstration counter area, a kitchen, a meeting room, and storage and toilet facilities.

      The design concept developed by Pezzoli and Urciuoli was to create the impression of a singular, solid volume within the room.
      “The new volume was designed as a large piece of furniture, inspired by Antonello da Messina’s painting San Girolamo Nello Studio,” explained the duo.
      The demonstration counter is designed to move aroundThe Renaissance artwork they refer to depicts a priest sitting in a study room where architecture and furniture appear as one.
      “This painting is known for the impeccable use of perspective, restoring the image of a space that is lived in but at the same time utopian and rigorous,” Pezzoli and Urciuoli said.

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      Here, a similar effect is created. The structure was designed to look like a box with openings carved out of it, each incorporating a different function.
      The demonstration counter sits within a large void at the front, although it is set on castors so it can be moved around.
      An arched doorway leads up to the mezzanine levelA rectangular niche in the side wall creates a casual seat, while an arched doorway frames a staircase that leads up to a mezzanine level that functions as the meeting space.
      The kitchen and toilet facilities are located within the volume, accessed from either a side door or via the counter area, while a cloakroom slots in underneath the stairs.
      The meeting space sits directly beneath the roof trusses”The wooden volume highlights the height of the ceiling, defining the rhythm of the spaces with plays of solids and voids, and creating unprecedented internal views,” said the architects.
      The plywood is made from okumè, a timber with a similar appearance to cherry.
      The okumè plywood has a similar appearance to cherry woodThe idea was to reference the fruit that Cesarin is best known for; the land surrounding the factory is famous for its Prunus Avium plantations, which produce a particularly sweet type of cherry.
      Behind the plywood panels is a balloon-frame structure, with pillars and beams made from fir wood.
      Toilet and storage facilities are located within the wooden volumeThe entire construction was prefabricated by a carpentry workshop in South Tyrol, allowing the architects to achieve “a quality that would otherwise be impossible”.
      The rest of the space is painted white, allowing the wood to stand out.
      Pezzoli and Urciuoli liken the overall effect to that of a theatre. “To emphasise the theatrical aspect of the space, light wavy curtains resembling a curtain were used to darken the numerous windows,” they added.
      Other recent projects in Italy include the Boyy flagship in Milan designed by Danish artist Thomas Poulsen and a sushi restaurant designed to resemble a futuristic spaceship.
      The photography is by Simone Bossi.

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      Il Capri Hotel receives pink-heavy revamp from Graziella Buontempo and Arnaud Lacombe

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      A husband-and-wife hotelier duo has renovated a hotel in a Venetian-style palazzo on the island of Capri, refreshing its pastel-pink facade and continuing the hue into the guest rooms.

      Il Capri Hotel was built in the 19th century as a private villa in the Neo-gothic Venetian style before being transformed into a hotel in 1899.
      Il Capri Hotel is located in a Venetian-style palazzo in the centre of CapriIts current owners, Graziella Buontempo and Arnaud Lacombe, redesigned the interiors to reflect the grandeur of the property while imbuing it with a sense of contemporary chic.
      The duo retained the building’s signature pink-and-white facades, repairing and repainting them. They also chose to repeat some of the same hues and external architectural details throughout the interiors.
      The reception area features a marble-topped desk and a retail space”Honoring the property’s history and location, the hotel’s colour palette is inspired by the pink found across the island of Capri and the striking volcanic reds of Mount Vesuvius,” said the hotel team.

      A bright red curved awning signals the hotel’s entrance, located close to the town square in the centre of the famous Italian holiday destination, leading guests to a reception desk topped with reddish marble.
      A checkerboard floor runs through the communal lounge spacesRoom keys are stored individually in small arched niches within a wood-panelled wall behind, while local gifts are displayed on built-in shelves nearby.
      The hotel’s public areas feature checkerboard flooring, black lighting fixtures and red curtains to the match sofa cushions and rug trims.
      The hotel has 21 guest rooms spread over several floorsA variety of antique furniture pieces were curated to make the lounges feel homely while artworks and photos were sourced from the personal collection of Buontempo, whose family has long associations with the island.
      Archways divide various seating areas from corridors and one another, creating several distinct areas where guests can relax.
      The pink of the building’s exterior is continued in the guest roomsIn the bedrooms, pink appears again as wainscoting and on upholstered headboards shaped as ogee arches.
      The rooms include sisal floors and other natural materials and are simply decorated so that attention isn’t drawn away from the views.
      The rooms are decorated sparingly to draw attention to the views”Each of the 21 guest rooms pays homage to the culture of the island with decor imbuing a feeling of comfort, no-frills luxury and understated elegance,” the hotel team said.
      Il Capri offers several options for dining and drinking, many of which allow these activities to be enjoyed al fresco with views of the island’s dramatic coastline and the Gulf of Naples.

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      These include the street-level Caprirama Bar, connected to the lobby and extended onto an expansive terrace with a herringbone-pattern tiled floor and groupings of terracotta plant pots, landscaped by garden designer Jonathan Froines.
      The all-day restaurant Vesuvio also has a shaded outdoor dining terrace, where caned bistro chairs accompany wood-topped tables.
      The hotel has several terraces for relaxing outdoorsSun loungers line up along the rooftop swimming pool, shaded by red parasols with crenellated white edges.
      There’s also a subterranean nightclub, Rumore, which is used as a cinema and an events space during the off-season.
      The terraces feature herringbone-tiled floors and groups of potted plantsA short boat ride from Naples on the Amalfi Coast, Capri is a popular destination for both Italian and international tourists.
      Elsewhere in the country, recently opened or revamped hotels include the Palazzo Daniele in Puglia, the Condominio Monti in Rome, and the Aeon Hotel near Bolzano.
      The photography is by Jonathan Froines.

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      Boyy flagship in Milan reveals layers of the store’s history

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      Danish artist Thomas Poulsen, also known as FOS, has revamped the flagship store of accessories brand Boyy in Milan, keeping time-worn surfaces left over from the site’s former fit-outs.

      This marks the third time that FOS has refreshed the space on Via Bagutta since 2021, as part of the artist’s plan to create a dynamic “evolving” store.
      FOS has redesigned Boyy’s flagship in MilanIn its first incarnation, the Boyy flagship had funhouse-style mirrors, walls draped in faded pink fabric and cobalt-blue carpets emblazoned with everyday objects.
      This colour scheme was inverted for the second iteration of the store featuring blue walls and bubblegum-pink carpet. Elements of both of these schemes now remain in the store’s third and final form, which was left purposefully unfinished.
      Unpanelled sections of the wall reveal the store’s past fit-outs”This space was an experiment in formulating a shared language for how Boyy could develop as a brand,” FOS explained.

      “We started by creating an installation – the first rendition – then used that experience to create a second installation, and finally built upon the combined experience to create this final permanent space that we have now arrived at.”
      “We always envisioned the third rendition as the final act,” added Boyy co-founder Jesse Dorsey.
      Accessories are displayed inside illuminated glass vitrinesThe Boyy flagship now has walls panelled with the same grey ceppo stone that clads the store’s facade.
      Some areas were left without panelling, revealing the aged, fabric-lined walls left behind by a previous occupant – a 50-year-old antique shop that sold quaint Americana-style objects for the home.
      Blue fabric can also be seen hanging in the rear corner, saved from FOS’s second overhaul of the space.

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      These swathes of time-worn fabric were enclosed inside aluminium window frames, as were some of the store’s display units.
      Elsewhere, Boyy’s selection of shoes and handbags can be showcased in several illuminated glass vitrines or on the ledge that runs around the periphery of the store.
      The store has been finished with terrazzo flooringFOS also created a display shelf around a crumbling structural column that sits in the middle of the floor plan.
      A couple of tiered, sea-green bench seats were dotted throughout the store as decoration, complementing the flecks of greens stone that are found in the terrazzo floor.
      Curved benches provide seating throughout the storeMilan is home to an abundance of visually striking retail spaces.
      Others include the Moschino flagship, which was designed to reference the history of ancient Italy, and the Off-White store, which is decked out with natural materials like Patagonia granite.

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      Space tourism informs design of Ichi Station sushi restaurant in Milan

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      Valencian design studio Masquespacio has completed a dine-in restaurant for takeaway sushi chain Ichi Station in Milan, with interiors designed to resemble a futuristic spaceship.

      Set in a historic building in the Brera district, the chain’s latest outpost builds on the same travel and transport concept established across its other outlets – including eight in Milan and another in Turin.
      Masquespacio has designed Ichi Station’s Brera outpostBut Masquespacio wanted to take this idea to the next level for the new restaurant by drawing on the visual language of sci-fi and space tourism.
      “We proposed approaching the travel concept as a trip to the future,” said Masquespacio co-founder Christophe Penasse.
      “When you enter Ichi, it’s like entering a capsule-like spaceship travelling through light, where you will disconnect from reality in order to get in touch with the food.”

      Customers can pick up orders at the takeaway counterMasquespacio completely redeveloped the layout of the 80-square-metre site – previously another restaurant – creating a central dining area along with a tunnel where diners can observe some of the sushi-making process.
      A pick-up bar close to the entrance was added to separate the circulation routes of take-away customers and diners.
      The dining area is housed in a cylindrical tunnelThe tunnel motif was developed as a way to express the idea of travel and make a reference to Japan without falling into cliches.
      “Some elements were incorporated to remind the customer of Japan, like the huge lighting circles, although we tried to avoid making typical references to Japan such as using wooden structures,” Penasse explained.

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      The tunnel motif also informed the circular and cylindrical details that pop up throughout the space across seat backs, bar stools and decorative elements such as the circular feature light in the main dining area.
      “The shapes and forms give the project the futuristic look that it needed,” the designer said.
      Diners can also watch sushi being prepared at the counterMasquespacio opted for a simple and restrained material palette that includes glass and micro-cement, which was used along with fully integrated tables and seating to create a seamless look reminiscent of a spaceship.
      The restaurant’s custom-made furniture brings in another reference to transport design tropes. “You can recognise it as a reinterpretation of the seating in a station and especially on a train,” Penasse explained.
      LED light panels are integrated into the walls, ceilings and table topsThe interior is finished in neutral shades of beige and off-white but is cast in different vivid colours thanks to the LED lighting system that is integrated into the walls, ceilings and even the table tops.
      The lights alternate between shades of blue, green, purple and peach at variable speeds and, according to Penasse, create a veritable “explosion of colour”.
      The toilets are finished in contrasting navy blueAlthough based in Spain, Masquespacio has completed a number of projects in Italy in recent years.
      Among them are two colour-block restaurants for fast-food chain Bun – a blue-and-green interior in Turin and a green-and-purple version in Milan.
      The photography is by Luis Beltran.

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