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    Trahan Architects restores Superdome to be “microcosm” of New Orleans

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    Local studio Trahan Architects has finished an interior renovation of the Caesars Superdome in New Orleans, completing a series of renovations launched after Hurricane Katrina that it claims will extend the stadium’s life by 25 years.

    Trahan Architects’ work on the interior is the latest upgrade since the studio was engaged on the Superdome restoration in 2005, after it was damaged by Hurricane Katrina. The building sheltered as many as 20,000 thousand people fleeing the storm.
    The Superdome was originally completed in 1975 by Curtis and Davis Associated and featured a dome and concave cylindrical facade clad with aluminium panels.
    Trahan Architects has completed the renovation of the Superdome stadium in New OrleansAfter Hurricane Katrina, Trahan Architects implemented an overhaul of the exterior, replacing all the panels with a rainscreen system made from anodized aluminium metal panels.
    The current phase of the renovation, which was completed in time for its first game of the NFL season, included the removal of the ramp circulation system on the concourse.

    This allowed for concessions to be pushed to the outside of the structure, as well as for the installation of atriums in the entry programs and for lounges to be installed.
    In total, the renovation opened up more than 100,000 square feet (9,290 square metres), according to the studio.
    It is the latest in a series of renovations undertaken after the stadium was damaged by Hurricane Katrina in 2005The removal of the ramps allowed for more shared spaces and circulation, according to the studio, which modelled the concessions and circulation on the community-oriented streetscapes of New Orleans.
    “With this interior overhaul, we wanted the building to feel like a microcosm of our city,” Trahan Architects founding principal Trey Trahan told Dezeen.
    “We thought of the design as a series of stacked neighborhoods or ‘faubourgs’ as we call them, all connected by generous circulation spaces that served them – aka ‘the street’.”
    Also important to the renovation was bringing the materiality used for the original facade inside.
    Both Trahan and studio partner Brad McWhirter told Dezeen that the original innovativeness of Superdome, structurally and materially, was important throughout the redesign process.
    Anodized aluminium similar to that found on the exterior was used to clad the atriums”The rich material language they worked with, having the exterior skin of anodized aluminum which ages beautifully over time, along with its elegant form, made us see it as a sculpture that needed to be expressed both inside and out,” said McWhirter.
    “Before, you never got to experience the shape of the building from the interior – they were treated as two completely separate elements.”
    This move is most obvious in the atriums placed at three corners of the structure, which are the most visually apparent interventions.
    Here, express elevators move up through the voids. The voids have walls clad with anodized aluminium rods and are crossed by thick metal-clad beams that reveal the structure.
    Trahan Architects removed the circulation ramps and added additional seating and concessionsPlanning for resiliency and bringing the structure to compliance with codes around ventilation and accessibility were also important in the redesign process.
    Trahan Architects worked with engineering firm Thornton Tomasetti to ensure the building could stand up to high winds – it was during this 3D modelling process that the voids covered by the circulation ramps were discovered, which led to their removal.

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    “You would walk up the ramps from floor to floor with an eight-foot (2.4 metre) ceiling height, to small, cramped concourses until you finally got to your seat for some relief,” said Trahan.
    “With the model, we could see the full breadth of the voids and wasted space that could be more useful for the public, building operations, and for incorporating new mechanical systems.”
    These processes all happened while keeping the stadium in use for the American football season. The studio also had to install accessible decks for movement-impaired people, all while making sure that new mechanical systems did not interfere too much with the aesthetic of the exterior.
    “This, and from a design standpoint, implementing universal accessibility within a 50-year-old building was very difficult.  We had to make up for a lot of lost time to bring the building up to today’s standards and go the extra mile to prepare for the future,” added Trahan.
    Escalators and elevators now provide the primary circulation to the upper levelsThese future-looking improvements included the aforementioned facade replacement and the inclusion of new emergency generators, as the loss of power during Hurricane Katrina created harsh conditions for those sheltering inside.
    The architects also lauded some of the original features of the structure, which were maintained.
    Accessibility decks were also added as part of the renovation”For instance, the ‘gutter tubs’ of the roof, hidden behind the lip of the facade at the top, manage stormwater such that draining a 10-acre roof doesn’t overload the city’s system,” said McWhirter.
    “This continues to work very well to this day – even with the incredible amount of development that’s occurred since the building first opened.”
    According to the studio, the total of the renovations since 2005 will drastically extend the lifespan of the stadium.
    “This comprehensive renovation is expected to extend the building’s lifespan by 25 years, allowing future generations to enjoy the same sense of community and excitement the New Orleans landmark has fostered for nearly half a century,” it said.
    Other restorations of iconic buildings include Foster + Partners’ interior overhaul of the Transamerica Pyramid skyscraper in San Francisco.
    Meanwhile, natural disasters worsened by climate change continue to be an impetus to design buildings better. In light of that, Dezeen launched a series last year called Designing for Disaster to highlight the different problems and solutions architects and designers face in the face of extreme weather events.
    The photography is by Tim Hursley.

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      Buckingham Palace’s chinoiserie interiors revealed following five-year renovation

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      Porcelain lions, nine-tiered pagodas and a lotus-shaped chandelier feature in Buckingham Palace’s newly refurbished east wing, which has opened to the public for the first time in its 175-year history.

      The east wing at London’s Buckingham Palace, which opened this month, houses a series of decadent interconnected rooms including the centre room, which leads to the palace’s famed balcony overlooking the Mall.
      Buckingham Palace’s east wing has opened to the public for the first time in its historyOriginally built by Edward Blore between 1847 and 1849 to “provide space for Queen Victoria’s growing family”, the wing encloses what was previously a U-shaped courtyard, according to the Royal Collection Trust.
      After five years of restoration work by the trust’s curators and conservators, involving the temporary removal of over 3,500 artworks and other objects, the wing has opened to the public as part of the palace’s State Rooms tours that take place every summer.
      The centre room features a lotus-shaped chandelierIt reveals an interior filled with King George IV’s 18th-century chinoiserie designs, which were transferred to Buckingham Palace after the 1850 sale of his seaside retreat – Brighton’s Royal Pavilion. Prince Albert oversaw the original decoration.

      The centre room features an oversized lotus-shaped chandelier finished in glass and lacquer, illuminating a large carpet with geometric floral patterns. Visitors can also find a pair of 18th-century Chinese imperial silk wall hangings.
      Nine-tiered Chinese pagodas feature in the yellow drawing roomA duo of Chinese pagodas with nine ornate tiers characterise the yellow drawing room, named for its sunny drapes and sofas, which includes hand-painted wallpaper that was “painstakingly” cleaned and conserved by the team.
      A “kylin clock” – complete with turquoise porcelain lions and a tiny Japanese hotei, or god of luck – also sits on the room’s gold-trimmed mantlepiece.
      There is also a clock decorated with porcelain lionsElsewhere in the wing, the 240-foot principal corridor spans the entire length of the palace and has a bright red carpet. Ebonised cabinets feature Japanese panels, which contrast with the various royal paintings by historical European artists such as Thomas Gainsborough and Franz Xaver Winterhalter.
      Striking motifs including dragons and gilded curtain poles can be found throughout the wing.
      Ebonised cabinets line the principal corridor”The pavilion’s contents – which reflected King George IV’s love of Asian art and design – were transferred to the east wing, inspiring the Chinese-themed decor of its principal rooms,” said the Royal Collection Trust.
      Visitors to the palace’s state rooms can also see the recently unveiled portrait of King Charles III, painted by Jonathan Yeo in bright red hues, housed in the ballroom.

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      The refurbishment is part of a longer 10-year reservicing programme at the palace, which includes improvements to the palace’s electrical cabling, plumbing and heating systems that have not been updated since the 1950s, according to the Royal Collection Trust.
      Architect Thomas Heatherwick designed a sculpture containing 350 trees and erected it outside Buckingham Palace to mark the late Queen Elizabeth II’s platinum jubilee in 2022.
      Visitors can also see Jonathan Yeo’s recent portrait of King Charles III in the palace’s ballroomAfter her death, writer Stefan Simanowitz and architect Antonio Pisanò also proposed a memorial garden that would have seen part of the palace’s gardens converted into a “natural sanctuary” for the public.
      The photography is by Peter Smith. 

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      Post Company restores hotel known as birthplace of Apple’s Macintosh computer

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      New York design studio Post Company has revived a historic hotel in Carmel-by-the-Sea, California, drawing on the building’s illustrious past and recent acclaim to inform its interiors.

      The 75-key La Playa Hotel is situated a few blocks from the beach in the town, located on California’s Pacific Coast Highway and renowned for its bohemian spirit.
      The moody lobby of La Playa Hotel features dark coffered ceilings and textured plaster wallsIt was taken over in 2012 by Marc & Rose Hospitality – which also operates the recently overhauled High Country Motor Lodge in Flagstaff, Arizona – and reopened in October 2023 following a long renovation process.
      “As the fifth owners in its more than 115-year history, we focused on letting the building lead us to a design that supports the stories of the past, while infusing thoughtful amenities to meet the expectations of the modern traveller,” said Marc & Rose president John Grossman.
      Restored elements of the building include a staircase with tiled risers and iron railingsThe team worked with Post Company to uncover historical details about the property, which was originally built in 1905 by landscape painter Chris Jorgensen for his wife, chocolate heiress Angela Ghirardelli.

      After the death of her niece at Carmel Beach, the couple sold the mansion and it was converted into a hotel by adding 20 rooms, then further expanded to its current size in 1940.
      The hotel bar, Bud’s, is designed to be dark and intimateIn 1983, it was the site of an Apple company retreat, during which founder Steve Jobs unveiled the first working prototype of the Macintosh computer.
      With all this history, as well as ties to key figures of the bohemian movement, Post Company restored the Spanish Colonial-style building in a respectful manner while introducing new elements to enhance its character.
      A brighter approach to the decor was taken in the hotel’s guest rooms and suites”Our design honours the hotel’s history and vernacular while ushering in the works and objects of contemporary artists and muses,” said Post Company.
      “Each space is a singular and inviting design – much like the diverse cast of patrons and local characters engrained in its extensive past – resulting in an eclecticism that is a deeper reflection of what has always been and paves the way for a new generation to gather, create, and explore.”
      Cream walls and linen curtains complement the original shell pendant lights by Frances Adler ElkinsThe moody and atmospheric lobby features terracotta floors, a dark coffered wood ceiling and textured plaster walls, and is furnished with a variety of vintage pieces.
      A sweeping staircase leading upstairs to the guest rooms is adorned with patterned tiles on its risers and thin iron railings.
      Dark wood furniture contrasts the lighter-toned walls and textilesThe hotel’s bar, Bud’s, is named after Howard E “Bud” Allen – a Carmel local who took over the hotel in the 1960s and introduced a full-time bar and 10-minute happy hour.
      The space is dark and intimate, with plenty of wood panelling, leather-upholstered booths and banquettes, and decorative unlacquered brass and carved details.
      One of the guest rooms boasts a star-shaped stained-glass windowIn the guest rooms, Post Company took a lighter approach to the decor by choosing cream for the walls and the linen curtains.
      Curvaceous furniture is complemented by modern sconces and original plaster shell pendants by Frances Adler Elkins.

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      Each room has a curated bar, while the bathrooms have been updated with colourful tiles and blackened nickel fixtures.
      One of the ground-floor rooms boasts a star-shaped stained glass window, which is surrounded by foliage on the exterior.
      The hotel’s grounds are landscaped with brick paths and patios between plantingThe hotel’s grounds are landscaped with flowerbeds and lawns, criss-crossed by brick pathways that connect arched colonnades with patios and the outdoor swimming pool.
      Several guest rooms open directly onto the gardens, and a handful are in the pavilion that faces the pool terrace.
      The building’s historic Spanish Colonial architecture, typified by the arched colonnades around it periphery, was restored during the renovationLa Playa has multiple spaces for meetings and events, including a game room and the 2,160-square-foot (200-square-metre) Pacific Room that is typically used to host weddings.
      Breakfast is served in an indoor-outdoor dining room, whose covered terrace extends towards the ocean and provides a spot for evening cocktails while watching the sunset.
      The dining area extends out to a covered terrace where guests can watch the sunsetPost Company, formerly known as Studio Tack, is renowned for its hospitality projects and also recently completed the warm, wood-filled interiors for the Mollie Aspen hotel.
      The studio’s earlier work includes The Lake House on Canandaigua in New York’s Finger Lakes region, the Sound View hotel on the North Fork of Long Island and The Sandman converted motel in northern California.
      The photography is by Chris Mottalini.

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      Bunkhouse and Reurbano convert 1940s Mexico City apartments into boutique hotel

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      American hotel brand Bunkhouse and interior design studio Reurbano have used motifs derived from the history of a Mexico City structure when converting it into a boutique hotel.

      Hotel San Fernando is located in the Condesa neighbourhood of Mexico City, a largely residential zone that in recent years has seen an influx of national and international travellers.
      Bunkhouse and Reurbano have converted a 1940s apartment building into a boutique hotel in Mexico CityBunkhouse worked with local interior design studio Reurbano to take a 1940s apartment building and convert it into a 19-room hotel, with finishes informed by the neighbourhood.
      The face of the structure was restored and painted a light green, with darker green used on the awnings that provide coverage for seating attached to the hotel’s lobby and restaurant, which open to the street through glass-paned French doors.
      It features renovated spaces that maintain details of the original structureAn art deco-style logo spells out the name of the hotel above the door. Saint Fernando is known as the patron saint of engineers, and the team wanted to highlight this by maintaining the name of the original building in the branding of the new structure.

      “We wanted to honour this building,” said Bunkhouse senior vice president of design Tenaya Hills.
      “We love the story and the history and like to imagine what it has been for people over the decades.”
      A spiral staircase leads from the lobby to the rooftopThis primary entrance features a metal door with glass panes informed by the original stained glass of the building.
      The entry corridor leads past a lobby lounge, with lighting by Oaxaca studio Oaxifornia and furnishings by local gallery Originario; and design studios Daniel Y Catalina, and La Metropolitana, which also created custom furniture for all of the guest suites.
      At the far end of the lobby lounge is the restaurant’s bar, which features a large semi-circular cabinet with mirrored back to hold the spirits. A chandelier by local sculptor Rebeca Cors hangs above the clay-clad bar.
      French doors feature at the entrance and on some of the roomsThe entrance corridor has green encaustic concrete tiles from the original building. Other original details include the wainscotting and casement windows.
      A reception area is located at the end of the corridor and behind it is a circular staircase with metal-and-wood railing that leads all the way up through the building, with landings on each of its five floors, terminating at a terrace on top of the building.

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      The guest rooms range from single-room setups to multi-room suites, the largest of which are accessed through French doors with opaque windows.
      Here the studio departed from the greens used on the exterior and the lobby and utilised soft orange, pink and white paints.
      Light colours and hand-crafted goods fill the roomsFloors in the rooms are either tile or wood and furniture made from light-coloured wood is covered by locally derived textiles. Three rooms on the rooftop level feature furniture designed by Bunkhouse and fabricated by local design outfit B Collective Studio.
      Pendant lamps and sconces by local ceramicist Anfora are found in the kitchens and bathrooms.
      The rooftop features sculptural breeze blocksThe rooftop features a tiled dining and lounge area surrounded by sculptural breeze blocks, designed to mimic the original building’s patterned stained glass.
      Mexican design studios Mexa and Comité de Proyectos contributed furniture pieces for the rooftop.
      Other hotels in Mexico include a tile-clad structure in San Miguel de Allende by Productora and Esrawe Studio and a hotel in Mexico City with wooden lattices by PPAA.
      The photography is by Chad Wadsworth. 

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      Dezeen Debate features restaurant with “rich details” in Detroit Book Tower

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      The latest edition of our Dezeen Debate newsletter features hospitality venues inside Detroit’s restored Book Tower by Method Co. Subscribe to Dezeen Debate now.

      As part of an extensive restoration of the 1920s neoclassical building by its developer and architecture studio ODA, design company Method Co was brought on to conceptualise and operate several restaurants, bars and a hotel within the Book Tower.
      Commenters were full of praise for the project, with one saying “those interiors are lavish – the rich details” and another noting its “incredible fresh 21st-century feel”.
      Bright yellow balconies enliven Melbourne apartment block by Austin Maynard ArchitectsOther stories in this week’s newsletter that fired up the comments section included an apartment block in Melbourne designed by Austin Maynard Architects, a food container system that reveals if something is safe to eat and the news that Saudi Arabian mega project Neom has revealed the Gulf of Aqaba yachting town by 10 Design.
      Dezeen Debate 

      Dezeen Debate is sent every Thursday and features a selection of the best reader comments and most talked-about stories. Read the latest edition of Dezeen Debate or subscribe here. 
      You can also subscribe to our other newsletters; Dezeen Agenda is sent every Tuesday containing a selection of the most important news highlights from the week, Dezeen Daily is our daily bulletin that contains every story published in the preceding 24 hours and Dezeen In Depth is sent on the last Friday of every month and delves deeper into the major stories shaping architecture and design. 

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      Restored Book Tower in Detroit features hospitality venues by Method Co

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      Several restaurants and a hotel have opened within Detroit’s historic Book Tower as part of a years-long restoration project of the building undertaken by its developer and architecture studio ODA.

      The 1920s skyscraper has undergone extensive restoration work over the past seven years by local developer Bedrock, which has transformed the former office building into a mixed-use space.
      Among Book Tower’s restored features are a grand glass dome, which sits over the lobby’s Bar RotundaA collaboration with Method Co has led to the first phase of restaurant and bar concepts, which were introduced through the course of 2023.
      “We have been ever-mindful of what the restoration of Book Tower means to this city,” said Randall Cook, CEO and cofounder of Method Co, “and we’ve worked hard to create hospitality concepts that will excite and reconnect Detroiters to Book Tower once again, and at the same time honour the heritage of this magnificent property.”
      Developers Bedrock worked with architects ODA on the restoration of the 1920s neoclassical buildingLocated on Washington Boulevard in Downtown Detroit, the 38-storey neoclassical building was designed by Louis Kamper – a prolific and celebrated architect in the city during its Gilded Age.

      New York architecture firm ODA was hired to update and expand the programming and existing structures, resulting in half a million square feet (46,450 square metres) of mixed-use space.
      Method Co was brought on to conceptualise and operate multiple culinary offerings within the building, including Le Suprême brasserie at street levelThe work included restoring the exterior windows and stonework and bringing an ornate domed glass ceiling back to life.
      Method Co was then brought on to conceptualise three restaurants and bars, as well as a hotel, and operate each of these venues within the building.
      Designed with Stokes Architecture + Design, Le Suprême includes a zinc bar top, hand-made tiles and mosaic marble flooringDining options include Le Suprême, a classic French brasserie that offers an all-day menu and both indoor and outdoor seating at street level for up to 210 guests.
      Designed in collaboration with Stokes Architecture + Design, the 6,200-square-foot space features a traditional zinc bar top, hand-made art nouveau tiles, mosaic marble flooring and oxblood leather booths.
      Furniture and decor were chosen to reflect Detroit’s cultural heritage, and photos on the walls of the Le Mans car race tie to the city’s automobile legacy.
      On the 14th floor is Kamper’s, a rooftop cocktail bar designed with ODAOn the 14th floor is Kamper’s, a rooftop cocktail bar designed with ODA comprising an indoor lounge that opens onto an expansive outdoor terrace via large French doors.
      The cosy interior has exposed brick walls and dark wood accents, complemented by marble mosaic flooring, antiqued mirrors and velvet drapery.
      Kamper’s opens onto an expansive terrace with views across DetroitBar Rotunda sits below the glass dome and acts as an all-day lobby cafe and bar, with 70 seats surrounded by ornate architectural details that recall the grand eateries of early 20th-century Paris.
      “The space is canopied by a beautifully restored 100-year-old Keppler Glass dome that features more than 7,000 individual jewels and 6,000 glass panels making it an architectural centerpiece,” said Method Co, which also worked with ODA on this space.

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      Also planned to open soon within Book Tower are sake pub Sakazuki, and izakaya and omakase-style dining spot Hiroki-San.
      The hotel component of the building, Roost Detroit, offers short and long-stay accommodation in contemporary apartment-style spaces, alongside The Residences that are purchasable as permanent homes.
      The building’s accommodation component, Roost Detroit, is Method Co’s latest iteration of its apartment hotel brandRoost Detroit is the latest iteration of Method Co’s apartment hotel brand, joining multiple outposts in Philadelphia – including the Morris Adjmi-designed East Market – along with Tampa, Cleveland and more across the US.
      The company also operates The Quoin boutique hotel in Wilmington, Delaware, which offers 24 guest rooms within a converted bank building, and the Whyle extended-stay property in Washington DC that was longlisted in the hotel and short-stay interior category of Dezeen Awards 2021.
      Roost Detroit offers short and extended stays within contemporary spaces of various sizes and configurationsDowntown Detroit’s revitalisation has taken shape over the past few years, and a handful of new hotels have opened to accommodate visitors who are returning to witness its cultural and creative rebirth.
      They include The Siren Hotel, designed by ASH NYC to recall the city’s glamorous past, and the Shinola Hotel, which Gachot Studios designed for the local watch company of the same name.
      The photography is by Matthew Williams unless stated otherwise.

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

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

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

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

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

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      Alabama hotel by Avenir Creative occupies three historic buildings

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      US studio Avenir Creative has completed the renovation of a historic hotel in Montgomery, Alabama, restoring a trio of buildings in accordance with local heritage.

      Close to the riverfront, the 117-room Trilogy Montgomery has reopened following an extensive overhaul by Chicago-based Avenir Creative.
      Trilogy Montgomery’s airy lobby features whitewashed brick walls and eclectic furnitureThree buildings — two early 20th-century warehouses and a Greek revival mansion built in 1851 — were combined to create a seamless interior flow totalling 72,000 square feet (6,690 square metres) while retaining the character of each.
      “With a commitment to honoring Montgomery’s past while embracing a bright future, the hotel offers a welcoming, inspiring, and inclusive space for all,” said Avenir Creative.
      The Montgomery House Bar pulls from the region’s jazz heritageThe new main entrance was created into a four-storey, red-brick building on Coosa Stree, where guests arrive into a spacious lobby that leans fully into the warehouse aesthetic.

      Tall ceilings with exposed wooden beams, whitewashed brick walls, exposed services and ductwork, and metal-framed partitions all add to the industrial aesthetic.
      The Kinsmith restaurant is decorated with deep blue-green hues across richly patterned wallpaper and textilesThe wooden reception counter, which looks like a giant vintage speaker, is positioned in front of a large library shelving unit with a rolling ladder.
      A mixture of antique and contemporary furniture creates an eclectic feel that continues into the adjacent atrium lounge.
      The portion of the hotel housed within a Greek revival mansion is ornately decorated”Designed as a homage to the region’s multicultural history, elements throughout the hotel pull from materials and motifs important to the city,” Avenir Creative said.
      “The back wall of the front desk has a wood pattern inspired by church window architecture as the King Memorial Baptist Church where Martin Luther King Jr was the pastor is a large part of the community.”
      A muted colour palette of greens and grey in the guest bedrooms is contrasted by brighter accent chairs and carpetsThe guest rooms have lofty ceilings and full-height windows, with those on the upper floors enjoying views across the city.
      A muted colour palette of greens and grey in the bedrooms is contrasted by brighter accent chairs and carpets, while flooring is either maple or pine and works by local artists adorn the walls.
      On the roof, an expansive terrace called Waterworks offers plenty of casual outdoor seating among potted plantsOver in the mansion portion of the hotel, which was originally built for a prominent local merchant, Corinthian column capitals and ornate plasterwork lend a very different aesthetic.
      The hotel’s restaurant, Kinsmith, is decorated with deep blue-green hues across richly patterned wallpaper and textiles, while the bar interior blends olive green leather banquettes, purple velvet curtains and sand-hued walls – all colours also found in the stone bar counter.

      The Eliza Jane hotel takes up seven historic warehouses in New Orleans

      “The Montgomery House Bar pulls from jazz influences with chandeliers that resemble trumpets and lush fabric banquettes that create a cozy jazz lounge environment,” said Avenir Creative.
      Hallways feature checkered floors, and a gallery of vintage photographs and artworks runs up the staircase. Various meeting rooms with gilded mirrors and chandeliers also occupy this section of the hotel.
      The Trilogy Montgomery occupies three buildings, including a red-brick former warehouse where a new entrance was created during the renovationsOn the roof, an expansive terrace called Waterworks offers plenty of casual outdoor seating among potted plants, as well as craft beers and Southern-influenced small plates.
      Dark-toned furniture matches the building’s exterior and a pergola from which string lights are hung.
      The adjacent Greek revival mansion houses the hotel’s restaurant, bar and event spacesAcross the American Deep South, former warehouses in what are now considered prime tourist locations have slowly been transformed into hotels that retain the original industrial character.
      In New Orleans, the The Eliza Jane Hotel occupies a series similar structures close to the historic French Quarter.
      The photography is by Wade Hall.

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      Ronan Bouroullec creates pared-back furnishings for 17th-century chapel in Brittany

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      Following the wildfires that ravaged Brittany’s Arrée mountains last summer, Ronan Bouroullec has reimagined the interior of the region’s historic Chapelle Saint-Michel de Brasparts as part of a full restoration.

      Originally built at the end of the 17th century, the chapel is a modest building without lighting or electricity, perched on top of a prominent hill that rises above the surrounding moorland.
      Chappelle Saint-Michel de Brasparts has undergone a full restorationBreton businessman François Pinault, founder of luxury group Kering, financed the chapel’s restoration after it was damaged during the wildfires, patching up its metre-thick stone walls, rammed-earth floors and the exposed oak frame supporting the slate roof.
      Bouroullec, who was born and raised in Brittany, remembers the chapel from his childhood and was compelled to design a new altar and several furnishings for the building as part of the refurbishment.
      Working in collaboration with local artisans, he used a trinity of roughly-hewn materials – granite, steel and glass – that would stand the test of time while reflecting the building’s rugged rural location.

      Ronan Bouroullec designed a new altar for the chapel”Heavy enough not to be moved, sturdy enough not to be damaged, rough enough not to require cleaning, the elements that Ronan Bouroullec has placed in the chapel must succeed, despite or because of these characteristics, in creating a sensory experience,” wrote Martin Bethenod, former CEO of Pinault’s Bourse de Commerce museum, in an introductory text for the project.
      “The bush-hammered granite, blurred glass, hammered steel, the choice of a galvanized finish to soften the contrast of the cross and candlesticks with the whiteness of the lime-rendered walls – each intervention combines sensations of roughness and softness, of force and tremor.”
      The granite altar is topped with a simple hammered-steel crossNuit celtique de Huelgoat granite – quarried less than 15 kilometres away from the chapel – was cut into three pieces before being worked by local stone mason Christophe Chini to create an altarpiece, its horizontal base and a console table for candles and offerings.
      Bethenod compares the dark stone, studded with shards of white, to “the starry night sky over the chapel, virtually devoid of light pollution”.

      Álvaro Siza combines geometric forms for white-concrete church in Brittany

      The metal elements – a simple cross and a group of three tall candle holders, all in hammered steel – were the result of another collaboration, this time between Bouroullec and Roscoff-based metalworker Mathieu Cabioch.
      Some of the candles stand directly on the altar while the rest are integrated into the Brutalist console table, which consists of a long slab of granite, seemingly supported by several of the steel candle holders.
      A mirrored glass disc is mounted centrally behind the altarThe final element in Bouroullec’s material trinity is glass, in the form of a large mirrored disc that hangs centrally behind the altar.
      Made by glassmakers from the Venice area, with whom Bouroullec has worked for several years, the piece was designed to create a dialogue with the two stained-glass windows in the apse, which are the chapel’s only surviving decorative element.
      “More than a mirror, more than an object, it is a light source without physical substance, as if a round hole had been made in the wall to reveal daylight, unpredictable and constantly changing,” said Bethenod.
      Steel candleholders are also integrated into a wall-mounted consoleBrittany is home to some of the world’s oldest standing architecture. Other projects making use of the region’s historic buildings include this conversion of a 17th-century barn into a printmaker’s studio.
      The first new church to be built in Brittany in the 21st century was completed by Portuguese architect Álvaro Siza Vieira in 2018, featuring a sculptural composition of intersecting concrete forms.
      The photography is by Claire Lavabre courtesy of Studio Bouroullec.

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