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An exposed raw concrete facade fronts the Trunk Hotel Yoyogi Park, which Japanese studio Keiji Ashizawa Design and Danish firm Norm Architects conceived as a minimalist retreat in the heart of the city.
Marking the third location in a trio of Trunk hotels in Tokyo, the design of the boutique hotel was rooted in the concept of “urban recharge”, according to Trunk chief creative officer Masayuki Kinoshita.
Trunk Hotel Yoyogi Park features a raw concrete facadeThe hotel group said the idea was to balance the opposing elements of tradition and modernity as well as nature and the city and the melding of both Japanese and European craft.
Keiji Ashizawa Design created a textured concrete aggregate facade for the seven-storey building, which is punctuated with steel-lined balconies and overlooks Yoyogi Park’s lush treetops.
Guest rooms feature a muted colour and material paletteThe studio worked with Norm Architects to design the minimalist interior, accessed via a copper-clad entrance.
A total of 20 guest rooms and five suites were dressed in a muted colour and material palette featuring hardwood flooring and plush Hotta Carpet-designed rugs informed by traditional Japanese architecture.
Paper-cord chairs and tapered washi pendant lights contribute to the minimalist designDelicate rattan partition walls delineate spaces within the rooms, which open out onto the building’s balconies that were fitted with slanted ceilings in order to encourage sunlight into each room “as if mimicking the gentle transitions of a day”.
“It’s been an interesting journey for us to find the right balance between a space that is relaxed and vibrant at the same time,” said Norm Architects co-founder Jonas Bjerre-Poulsen.
The interiors were designed to be both “relaxed and vibrant”The rooms are also characterised by paper-cord chairs and tapered washi pendant lights as well as abstract artworks, amorphous vases and grainy floor-to-ceiling bathroom tiles.
On the ground floor, oak seating designed by Norm Architects for Karimoku features in the hotel restaurant, which includes a striking copper-clad pizza oven and the same rattan accents that can be found in the guest rooms.
Rattan accents can also be found in the hotel restaurant”It is a very unique and gratifying experience in the sense that the architecture, interior and furniture, as well as the attention to detail, have created a space with such a strong sense of unity,” said Keiji Ashizawa Design.
An open-air pool club is located on the sixth floor of the hotel.
Keiji Ashizawa and Norm Architects design tactile interiors for “hotel in the sky”
Sand-blasted concrete flooring was paired with thin bluey-green tiles that make up the infinity swimming pool, which overlooks the park below.
A “glowing” firepit can also be set alight after dark, intended to create a soothing contrast with the bright Tokyo skyline.
The Trunk Hotel features a rooftop infinity poolThe city’s first Trunk Hotel opened in Shibuya in 2017, while the second location is an offbeat one-room hotel in the metropolis’s Kagurazaka neighbourhood featuring its own miniature nightclub.
The photography is by Jonas Bjerre-Poulsen.
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Danish studio Norm Architects has worked with pale wood, red bricks, sandstone and stainless steel to create the interior of The Office Group’s Chancery House workspace in London.
Located above the subterranean Silver Vaults market in London, the 1953 building was given a retrofit by dMFK Architects with a new interior by Norm Architects for The Office Group (TOG).
It now houses workspaces as well as a gym, a yoga studio, a cafe, a library, event spaces and saunas in an 11,612-square-metre space.
The interior features brick detailsNorm Architects drew on the building’s existing design when creating the interiors, which it says are rooted “in the spirit of the building”.
“In this effort to draw in what was already there, we have integrated the traditional red bricks of the facade in the interior in a modern way,” Norm Architects’ Sofie Thorning told Dezeen.
“This way, the chosen materials are more accentuated than the ones we normally work with, but still with our usual focus on creating comfortable and calm spaces through the use of natural materials,” she continued.
Wood was used throughout the spaceThe ground floor was reconfigured by dMFK Architects to improve the flow of the building, with the entrance to Chancery Lane made larger.
This level holds the cafe as well as lounge areas, which were decorated by Norm Architects using mainly wood and brick materials.
Floor-to-ceiling glazed walls offer views and access to two interior courtyards, which also let light into the building.
Norm Architects played with natural materials”By working with natural forms, materials and colors we create spaces that feel good, look good and that last,” Thorning said.
“When combining soft and hard materials like textile and bricks, the space feels stimulating to the user, while also exuding this warmth that is so important in order to both work and relax in the spaces of the house.”
Workspaces are located on the upper floors of the buildingThe same material palette was used for the workspaces, which are located from the first floor and up in the eight-storey building.
Norm Architects also restored some existing materials in the building’s communal spaces.
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“The dominant materials, colours and patterns of the space all stem from the existing building, [which is] why red bricks, sandstone, concrete, and stainless steel are at the center of attention,” Thornig explained.
“Moreover, we have preserved existing terrazzo elements in staircases and hallways, while mirroring the green elements of nearby parks within the internal courtyards.”
Silvery steel details nod to the Silver Vaults below the buildingIn addition, the studio wanted to nod to Chancery House’s location above the Silver Vaults by using silver-coloured materials.
“Since the London Silver Vaults are a big part of the building’s history and will continue to be so, we knew right away that we wanted to pay homage to it in the interior,” Thorning said.
“We decided to introduce both brushed and polished stainless steel to the material palette as a representation of silver, carrying it out as details and joinery throughout the building.”
A jute rug contrasts a patterned-stone coffee tableThe pale wood and red brick used throughout the building were matched with rustic textures, jute rugs and bobbled pillows to add to the natural feel of the interior.
The building’s exterior was clad in WasteBasedBricks, which incorporate a minimum of 60 per cent recycled building waste. On Chancery House’s roof terrace, warm rust-red steel garden furniture matches the red hue of the brick walls.
“We wanted to create a project that was mindful of the character of the area, capturing the spirit of the place in the hope that it will serve the neighborhood as a hub grounded in its context,” Thorning concluded.
Steel and brick decorate the interiors of Chancery HouseNorm Architects often works with natural materials. Other projects by the studio include a “hotel in the sky” in Japan and an inside-out-greenhouse restaurant.
The photography is by Jake Curtis.
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Japanese designer Keiji Ashizawa and Danish studio Norm Architects have unveiled their design for the Bellustar Tokyo hotel, which aims to evoke a sense of nature in the middle of Tokyo’s urban Shinjuku district.
The two studios worked together to design interiors for five penthouse suites as well as hospitality spaces for the top floors of the Bellustar Tokyo, 200 metres above the ground in Shinjuku’s Kabukicho tower.
Norm Architects and Keiji Ashizawa Design had to take the city views from the building into account when designing the hotel rooms, which are spread over three levels from the 45th to the 47th floor.
The Tsuki (moon) penthouse suite has calm grey walls”I would say that it is the tallest hotel I have worked on,” Ashizawa told Dezeen, describing it as “a quiet hotel in the sky of Shinjuku”.
“Since there are no nearby buildings at this elevation, there was no need to be concerned about privacy, and it feels surreal that the views from all the windows are almost always spectacular,” he added.
“That is why the relationship between views from the windows and the space is indeed very simple.”
Floor-to-ceiling windows let light into the Tori (bird) suiteBoth studios were involved in the spatial organisation of the five penthouse suites as well as the placement of the hotel’s three restaurants, its top-floor spa and a penthouse lounge designed for guests to enjoy the setting sun.
Ashizawa and Norm Architects drew on their signature use of natural materials and muted palettes to create the interiors for the five guestrooms.
The penthouse lounge was designed for guests to view the sunsetThese were informed by the “beauty of the four seasons in Japan” and have names such as Hana (wind) and Tsuki (moon).
The rooms have been furnished with pieces by the studios’ Karimoku Case Study series for wood furniture company Karimoku and feature a mix of natural materials.
“The use of organic forms and natural materials like wood and stone can be seen as an antidote to the city that serves as artworks through the grand windows,” the studios said.
The Hana (flower) penthouse suite features furniture in dark woodAmong the tactile details in the guest rooms are stone-topped bedside tables and wood-panelled headboards.
“The idea is to create a balance of hardness and softness against the large area of the room that will be covered with textiles,” Ashizawa said.
A bench creates distance from the view in the Sora (sky) penthouse suiteAs the guestrooms have floor-to-ceiling windows, the bedrooms and living rooms feature benches and curtains that were added “to create a little distance from the view to make the space feel more comfortable,” Ashizawa explained.
A colour palette of mainly white, ivory and gray was used throughout the Bellustar Tokyo, which is a Pan Pacific hotel, with darker colours creating contrast in some of the spaces.
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“The color palette is what we and Norm Architects consider to be the colors of nature, and we hope to create a sense of richness by evoking nature in Shinjuku, the most Tokyo-like place in the city,” Ashizawa said.
“As an antidote to the city, we have tried to listen to nature’s story of artistry, optimism, imperfection, and impermanence, and bring these poignant qualities into the work,” Norm Architects added.
The Bellustar restaurants have views over TokyoAshizawa also used tiles and handcrafted details to create more tactile walls in some areas of the hotel, including in the main restaurant, which has custom-made tiles from Japan.
The Bellustar Tokyo features three restaurants: the main restaurant and bar, which was designed solely by Ashizawa, as well as a sushi restaurant and a teppanyaki restaurant.
Here, the studios worked with material palettes that include wood and brick.
The restaurant’s sushi restaurant has an intimate design”The sushi and teppanyaki restaurants are designed to feel like small hidden and intimate traditional city restaurants but transformed into contemporary places on the top of Tokyo,” Norm Architects said.
“Both restaurants have their own unique character and material palette where the sushi restaurant is bright and works with hinoki [cypress wood], the teppanyaki place is dark and dominated by dark bricks in creative patterns.”
The Kaze (wind) penthouse suite has tactile material detailsThe studios hope that by using natural materials and muted colours, the Bellustar Tokyo will function as a refuge from the busy city.
“We hope that the guests of the hotel will first experience the vibrant atmosphere of the Shinjuku Kabukicho district of Tokyo, and then enjoy the serenity of the penthouse interior – as if the lively Tokyo scenery were like a Zen temple’s karesansui (dry landscape garden),” Ashizawa said.
Light falls in through the large windows of the penthouse loungePrevious projects by Keiji Ashizawa Design include the Hiroo Residence overlooking Tokyo’s Arisugawanomiya Memorial Park and the Kyoto showroom for Karimoku.
Norm Architects recently created a headquarters for children’s brand Liewood and an inside-out greenhouse restaurant in Sweden.
Project credits:
Interior architecture: Keiji Ashizawa Design: Keiji Ashizawa, Mariko Irie, Kenji Kawami, Yuichiro Takei. Norm Architects: Jonas Bjerre-Poulsen, Peter Eland, Frederik WernerBellustar penthouse (five penthouses): Keiji Ashizawa Design and Norm ArchitectsBellustar restaurant and bar: Keiji Ashizawa DesignSpa Sunya: Keiji Ashizawa DesignFurniture, fixtures and equipment: Keiji Ashizawa Design and Norm Architects
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A refined palette of oak, plaster and steel defines the interior of the Liewood headquarters in Copenhagen, Denmark, designed by local practice Norm Architects.
The pared-back 2,200-square-metre office was conceived to give prominence to Liewood’s colourful, Scandi-style children’s clothes, toys and homeware.
Norm Architects has completed Liewood’s Copenhagen headquarters”With the ambition to create a comfortable space with a somewhat understated character, we worked to let the space obtain its significance through the thoughtful use of tactile elements such as textured plaster walls and contrasting elements like oakwood and steel,” explained Sofie Bak, an architect at the practice.
Staff enter the five-floor office via an airy light-filled lobby that is anchored by a rounded counter, roughly washed with sandy-beige plaster.
Plaster podiums provide display space on the first floorCone-shaped pendant lights are strung along the ceiling while oversized stone tiles are laid across the floor, helping to “emphasise the grandeur” of the space.
A pre-existing staircase curves up to the first floor, which accommodates a showroom. This part of the building formerly served as a production hall, with a vast scale that could easily feel empty and unwelcoming, according to Norm Architects.
At mealtimes, staff can gather in The ParlourTo counter this, the practice constructed what it describes as a “warm wooden core” – a house-shaped oakwood volume with built-in shelves for showcasing Liewood’s products.
Large, plaster-coated display plinths are dotted across the rest of the room. At the back is a short flight of wide, wooden stairs where staff can sit and chat throughout the day.
Norm Architects creates warm yet minimalist interior for Y9 sailing yacht
More products can also be presented here on bespoke podiums that, thanks to cut-outs at their base, are able to slot onto the steps.
The building’s first floor also contains The Parlour – a kitchen and dining area where Liewood employees can enjoy meals together. It features a large travertine table, a series of plump grey sofas and graphic art pieces by the Danish designer Sara Martinsen.
Traditional work areas can be found across the rest of the HQWork areas throughout the rest of the HQ are furnished with practical desks and storage units that match the off-white walls, while meeting rooms are fronted with panes of glass to foster a sense of openness.
As the building’s original staircase didn’t extend all the way to the fifth floor, Norm Architects installed a spiralling set of white-steel steps.
These grant access to a space the practice refers to as The Apartment: a secondary showroom designed to have a more intimate, homely feel.
The top floor accommodates The Apartment, a more intimate showroomElsewhere, Norm Architects recently took its minimalist aesthetic off-shore when designing the interiors of the Y9 sailing yacht, decked out with supple suede furnishings and wood-panelled surfaces.
The photography is by Jonas Bjerre Poulsen of Norm Architects.
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Wood-lined walls meet supple suede furnishings inside this restrained interior, designed by Danish studio Norm Architects for a luxury yacht.
Manufactured by German shipyard Y Yachts, the Y9 sailing yacht is almost 30 metres long and designed to be used by families and bigger groups, leading Norm Architects to strip the interior down to its essential features.
Norm Architects has applied its signature minimalist aesthetic to the Y9 yacht”This way, the pared-back interior has room for the life lived within – a simplified space, yet still rich in details and thoughtful in terms of material choices,” the practice explained.
The starboard side of the Y9 houses an intimate lounge, which has a built-in corner sofa topped with oatmeal-coloured cushions.
The yacht’s lounge has a comfy corner sofaAdjacently lies the dining area, anchored by a large wooden table that can host up to eight guests.
This is accompanied by a bench seat and a series of slender black-framed chairs which, when waters are rough, can be discreetly secured to the table with leather clips.
Up to eight guests can gather to eat around the dining tableLeather handles were also fixed to the ceiling above so that passing guests and crew can steady themselves.
“The security requirements are met in style through elegant, built-in furniture that appears unfixed to create a homely feel, ultimately accomplishing an understated luxury,” the practice explained.
A short flight of steps leads up to a small study, separated from the dining area by a low wooden partition.
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The bow of the yacht accommodates the principal bedroom.
Its bed is framed by a headboard upholstered in beige suede that extends to form a band around the lower half of the room, concealing built-in storage cupboards. The same suede was also used to cover the bed’s chunky base.
A small study is tucked away behind the dining areaWhere possible, corners throughout the boat were curved or rounded off in order to create what the practice describes as “simpler, more coherent spaces with fluent transitions”.
The walls of the Y9 are also lined with vertical wooden beams to make the rooms onboard appear loftier.
Beige suede wraps around the yacht’s principal bedroomThis is the second time that Norm Architects has worked on the fit-out of a yacht, having completed another minimalist boat for Y Yachts back in 2019.
The practice isn’t alone in turning its hand to boat design. Zaha Hadid Architects recently unveiled plans to create the sinuous solar-powered yacht Oneiric.
Vertical wooden panels line the wallsAdam Richards Architects also built a 20-metre-long barge to accommodate a floating restaurant in London’s Little Venice, finishing it with a patinated aluminium roof.
The photography is by Jonas Bjerre-Poulsen of Norm Architects.
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Danish studio Norm Architects has completed Äng, a Michelin-starred restaurant in Sweden that features a glasshouse entrance and a subterranean wine cellar.
The restaurant is located in the middle of a meadow in Ästad Vingård – one of Sweden’s largest vineyards.
Norm Architects has added the Äng restaurant to a Swedish vineyardThe main component of the restaurant is a minimal glass building supported by a steel structure. Its design resembles an inside-out greenhouse, with the steel structure on the inside and a smooth exterior that reflects its meadow surroundings.
Accessed via a stone pathway that winds through the grasses and crops, guests enter Äng through a glass door, where the stone flooring continues inside.
The restaurant has a steel structure surrounded by glass panelsThe entrance takes guests past an open kitchen with a stone counter and bespoke artworks of organic forms.
Inside, the glass building is designed to give diners the feeling that they are sitting in the middle of the field with nothing but clear skies overhead.
“With inspiration found in both the unspoiled Nordic nature surrounding the premises of Äng and Japanese sensibilities in design aesthetics and craftsmanship, the interior provides a holistic, sensory experience,” said Frederik Werner, partner at Norm Architects.
A stone counter and oak furniture features in the open dining spaceThe interiors are furnished with oak furniture by Japanese brand Karimoku, for which Werner is the creative director, and wood and stone sculptures made by Norwegian artist Anders Pfeffer Gjengedal .
The furniture include the Äng lounge table, which was designed exclusively for the restaurant and constructed from solid oak.
Other bespoke pieces include an oak serving tray by Keiji Ashizawa and a solid wood trolley inspired by the umbrella and shoe racks by the entrance of Japanese temples.
Solid oak furniture by Karimoku fills the spaceA range of tableware designed to complement the restaurant’s atmosphere was created in collaboration with Sweden-based design studio Bonni Bonne.
The collection of plates and bowls are made from green wood, an ancient woodworking method that creates natural silhouettes and raw textures.
A grey cube-shaped volume is surrounded by further seatingArtworks by Danish designer Sara Martinsen made from materials found in the forest are also displayed.
Norm Architects said its aim was to carefully balance every element of the design from architecture to design, lighting, taste, smell, and sound.
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“The fundamental ambition behind the Michelin-starred Restaurang Äng is in many ways in line with Norm Architects’ design philosophy of striking a delicate balance between all the sensory experiences that make up a space to create a harmonious setting, where all elements support one another,” explained Norm Architects partner Peter Eland.
A series of stone sculptures from a quarry in Växjö, Sweden, reference the Japanese Karesansui gardens of raked sand and stone. These dry landscape gardens celebrate yohaku-no-bi, meaning the beauty of blank space.
Stone sculptures from a Växjö quarry sit in the spaceThe interior also features discrete acoustic walls. Constructed from canvas, the studio specified the panels be made in a shade reminiscent of the jute sacks that are used to store grain.
Bespoke cabinetry is filled with sculptures and ceramics by Viki Weiland and Ulla Bang, both artists who work with curved, simple forms.
Ceramic pieces are on display in the restaurantAs well as the main restaurant spaces, Äng also has a hidden elevator that transports guests underground to a catacomb-like wine cellar with a dark lounge setting in its centre.
“With the changing of light, we play on the phenomenon of chiaroscuro; a technique from visual arts used to represent light and shadow as they define objects in order to achieve a sense of volume,” said Jonas Bjerre-Poulsen, architect and founding partner at Norm Architects.
“When stepping into the shadows, the vision weakens while the remaining senses intensify. One automatically pays more attention to sounds, smells, tastes and touch and even the intuition and instinct are strengthened.”
The cave-like wine cellar was inspired by the visual arts technique chiaroscuroTo emphasize the transitions from one atmosphere to another, the floor tiles in the wine cellar recall a brick floor to enhance the cave-like feel, while the main dining room has a wooden floor.
Founded in 2008, Norm Architects says its work builds on the traditions of Scandinavian design. Other recent projects by the Danish studio include a spa-like dental clinic modelled on art galleries, and a Swedish forest retreat “designed for a simple life”.
The photography is by Jonas Bjerre Poulson.
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Warm oak and smooth concrete are among the materials that Danish studio Norm Architects used to create the interiors for this Antwerp dental surgery, which aims to defy traditional, more clinical designs.
The clinic, called Dentology+, is spread over a cavernous basement area and a ground-floor level. Both have been clad in a neutral material palette that was designed to evoke a sense of calm.
The dental clinic was designed to defy traditional medical interiorsThe private dental clinic’s basement is made up of a set of dusty grey corridors, which Copenhagen-based Norm Architects designed to make it look as if the rooms were carved from a block of concrete.
These concrete volumes are interrupted only by carefully selected minimal design elements such as geometric alcoves, pared-back black pendant lights and an earthy-hued circular artwork by Sara Martinsen.
A cavernous basement area defines half the surgeryA low-slung sofa finished in a light-coloured textile also features in the basement, which was designed by Norm Architects’ longtime collaborator Keiji Ashizawa for Japanese brand Ariake.
“The need to dwell and retreat to intimate nooks is a basic human requirement that we cannot dismiss when shaping living spaces,” Norm Architects co-founder Jonas Bjerre-Poulsen told Dezeen.
Circular artwork by Sara Martinsen hangs above a low-slung sofaDentology+’s upper level was designed to be brighter and airier than its basement, while maintaining the clinic’s overall neutral theme.
Cubes of light oak create walls and doors that are interspersed with objects including a pebble-like vase on a plinth, in a design that takes cues from the interiors of an art gallery.
Translucent curtains line the windows of the operating rooms.
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The choice to design Dentology+’s interior using materials that might be considered unusual for medical spaces was made in an attempt to enhance patients’ wellbeing, according to architect Sofie Thorning.
“In many ways, we looked more to beautiful spa resorts than classic white dental clinics for inspiration,” she told Dezeen.
Operating rooms exist within light oak walls”Material translucency and soft, warm light paired with carefully considered, crafted materials work to reshape the patient experience and perception,” she added. “The space is nothing like an ordinary dental clinic.”
“What we surround ourselves with simply has a great impact on our mood and behaviour, which is why working with natural materials in architecture and design is a simple way to enrich our surroundings and enhance our quality of life,” added Bjerre-Poulsen.
Afteroom chairs by Menuspace feature on the upper levelFounded in 2008, Norm Architects is a multidisciplinary design studio based in Copenhagen. Other projects by the practice that celebrate neutral and calming interiors include a minimal Chinese tea parlour and a jewellery store in Copenhagen informed by modernist artists’ studios.
The photography is by Jonas Bjerre-Poulsen.
Project credits:
Architect & Partner: Sofie ThorningArchitect: Qing YeClient: Dentology+
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Norm Architects has converted a traditional timber cabin, hidden away amongst pine trees in a forest in Sweden, into a pared-back holiday home for families.
The Copenhagen-based studio took a “back-to-basics” approach when it came to remodelling the two-floor building, which is positioned on top of a ridge.
Norm Architects has converted a traditional cabin into a minimalist holiday home”Creating homes is often an exercise in restraint,” explained Norm Architects co-founder Jonas Bjerre-Poulsen.
“And while the creation of a simple, authentic and welcoming space might seem effortless and natural once completed, the journey to simplicity and the exercise of finding essence is often rather complex and not an easy task.”
The ground floor houses an open-plan living and dining areaOn the home’s ground floor, a cosy sitting room is dressed with a couple of plump greige sofas and a sheepskin-covered lounge chair, created by the practice in collaboration with Danish furniture brand Menu.
One corner of the room is occupied by a wood burner in the same off-white colour as the walls, which were coated in dolomite plaster.
Oakwood was used to craft the flooring and cabinetryOn the other side of the ground floor lies a dining area, anchored by a large timber table. Just behind is the kitchen, housing a series of handleless low-lying cupboards crafted from oakwood.
Oak was also used to form the flooring and all of the doors throughout the cabin, which were designed by Norm Architects to act more like slender cabinet fronts so they don’t take up too much space.
The doors are finished with circular brass knobs and extend all the way up to the ceiling, in a bid to make the rooms appear loftier.
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A number of new windows were inserted into the cabin’s facade to allow more natural light into the interiors and reveal views of the towering pine trees outdoors.
Distributed across the rest of the holiday cabin are enough bedrooms and wash facilities to accommodate two families, as well as a small sauna.
Slim oak doors lead through to the bedroomsFor larger groups, the project also saw Norm Architects build a new self-contained annexe that can house a third family.
Here, a raised daybed-cum-window seat was set up directly next to a vast wall of glazing, providing occupants with a place to recline and take in the scenery.
“Designed for a simple life during both summer and winter months, the cabin is rustic yet refined, only equipped with the necessities when opting for a slow living,” the studio said.
A large window with an integrated daybed provides views of the forestSweden’s lush natural landscape makes it a popular location for holiday homes.
Dezeen has previously featured a number of other cabins in the country including Sommarhus T by Johan Sundberg, which takes cues from traditional Japanese architecture, and a seaside villa by Studio Holmber with serene plywood-lined living spaces.
The photography is by Jonas Bjerre-Poulsen of Norm Architects.
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