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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.

      The Quoin hotel by Method Co opens in historic Delaware bank

      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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      Civilian draws on “grandeur” of early cinemas for Sandbox Films offices

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      New York studio Civilian has designed the headquarters for a documentary production company in Manhattan’s Flatiron District, which includes an art deco-influenced screening room.

      The offices for award-winning Sandbox Films are located in a landmarked 1920s neo-gothic skyscraper, and provide the company with its first dedicated workspace.
      Civilian’s interiors of the Sandbox Films offices draw upon multiple references, from old movie theatres to colours used by Danish modernist Poul HenningsenSpread across 4,200 square feet (390 square metres) of space, the program includes an open-plan reception area that doubles as an events space, a conference room, private and open offices, and production and editing suites.
      There’s also a 22-seat screening room with a Dolby Atmos sound system, in which the team and their visitors can preview the completed or in-progress cuts.
      In the centre of the reception area is a custom, double-sided sofa upholstered in velvet and boucle fabricsThe non-profit documentary production company makes cinematic science films, many of which have won or received nominations for prestigious awards.

      Among them are Fire of Love, which was nominated for Best Documentary Feature at the 95th Academy Awards in 2022; Emmy-winning Fathom; Sundance winner All Light, Everywhere; and Fireball, co-directed by Werner Herzog.
      Another custom design is the meeting room table, which has ash legs and a white lacquered top”Inspired by [our] clients’ love for the craft of storytelling, the space was informed by the grandeur of the amenity-rich yet intimate early movie houses of Stockholm and Amsterdam, art deco cinemas, the architectural colour gestures of Danish modernist designer Poul Henningsen, and the vanished world of interwar New York conjured by the project’s Broadway address,” said Civilian.
      The reception area revolves around a circular stone-topped bar, which demarcates a staff pantry area by day, and can be used for serving food and drinks for events.
      Vintage pieces sourced for the space include a pair of swivelling Milo Boughman chairs”With an active roster of screenings, events and a residency program for independent filmmakers, the space acts as an office as well as a dynamic center of gravity for New York’s nonfiction film community at large,” the team said.
      A custom double-sided, Pierre Chareau-inspired boucle and velvet sofa sits opposite a pair of refinished Milo Boughman swivel chairs.
      A bar area in reception acts as a pantry by day and is used for hosting events in the eveningMarquee lights are installed in rows along the sides of the existing ceiling beams, with additional sconces mounted on the plastered pantry wall.
      Structural columns have been wrapped in travertine cladding to highlight thresholds between the different spaces.
      Wood panelling and film posters hark back to art deco movie theatresOn either side of the reception, acoustic partitions with glass panels and mint-green frames cordon off the bright conference room and a private office.
      Furnishing the conference room is a custom-designed meeting table that combines a solid ash frame and a high-gloss curved lacquer top, surrounded by vintage Tobia Scarpa Sling Chairs.
      A communal workspace features sit-stand desks, oak dividers and plenty of ledges for plantsFrom reception, a neon-lit burgundy door leads into the screening room, where three tiers of seating face the large screen like in a mini movie theatre.
      The cushioned seats are upholstered in soft powder-blue fabric, which contrasts with walnut wainscoting, and sound-absorbing brown wool wall panels that conceal the equipment.

      Gensler and Civilian transform 1930s Detroit post office into workspace and technology centre

      Each chair has an individual armrest table for placing drinks or writing notes, complete with a small light created in collaboration with Lambert et Fils.
      More private offices, sound-proofed editing suites and an open workspace are accessed via a short L-shaped corridor.
      A 22-seat screening room allows the team and their visitors to preview documentary filmsIn the communal work area, sit-stand desks feature white oak divider panels and are topped with a stone ledge for displaying objects and plants.
      “This project has given us an opportunity to draw from so many inspiring references, from its iconic Broadway location to historic theatre architecture, to create an elevated and layered space that supports the work Sandbox is doing to uplift documentary film talent,” said Civilian co-founder Ksenia Kagner.
      The screening rooms boasts a Dolby Atmos sound system, and includes chairs with individual armrest tables for drinks or note-writing”We also felt it was important to be responsive to the changing priorities of the modern workplace, creating open, multipurpose spaces that nurture interaction and foster a sense of community,” she added.
      Civilian was founded in 2018 by Kagner and Nicko Elliott, and the designers have since completed projects ranging from the transformation of Detroit’s historic Book Depository into a headquarters for tech company Newlab, to the renovation of a historic Bed-Stuy townhouse for themselves.
      The photography is by Chris Mottalini.
      Project credits:
      Client: Sandbox Films (Simons Foundation)Client rep: Cushman and WakefieldCivilian scope: Interior design, creative direction, furniture designArchitect of record: LB ArchitectsMechanical engineer: WB EngineersAV engineer: SpectraAcoustic engineer: WSDGProduction studio consultant: Tom PaulContractor: L&K Partners

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      Martin Brudnizki designs Gilded Age-interiors for The Fifth Avenue Hotel in New York

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      Martin Brudnizki Design Studio has designed the interiors for a 1907 Renaissance-style palazzo building in New York, which has been turned into a luxury boutique hotel by architecture studio Perkins Eastman.

      The Fifth Avenue Hotel sits on the site of what was once one of the last mansions of The Gilded Age.
      Throughout the late 19th century, the home of Charlotte Goodridge at 250 Fifth Avenue hosted receptions and musical evenings as part of New York’s social season.
      Classical fixtures contrast a contemporary colour palette in the hotel’s roomsPerkins Eastman added a 24-storey glass tower, designed with PBDW Architects, to the five-storey brick and limestone building.
      This was originally designed by McKim, Mead & White as the Second National Bank in 1907, replacing Goodridge’s 19th century home.

      Drawing on the history of the neighbourhood and heritage of the building, Martin Brudnizki Design Studio (MBDS) aimed to create an aesthetic for the new hotel that would embrace “Bohemian romanticism and the glamour of the gilded age,” while maintaining contemporary styling.
      Martin Brudnizki has employed colour and texture to reflect global travels”One of the biggest challenges was that we were working with both an existing and a new building at the same time, which each presented their own challenges architecturally,” studio founder Martin Brudnizki told Dezeen.
      “We worked with the architects to marry the historic narrative with the contemporary tower addition, which reflects New York today, and the concept of the modern traveller,” he said.
      A corner bedroom features yellow curtainsRooms feature a rich colour palette of garden greens, buttercup yellow and peony pink with gold accents.
      Bold patterns and textures jostle each other in a “harmonious and fun way, juxtaposing modernity with the classic finishings,” the designer said.
      The hotel’s walls host an extensive art collection”The intersection of interiors with architecture is so important. The mansion is a much more classical response to the history and details of the building, whilst the tower enthuses a more modern touch,” Brudnizki explained.
      “Both are unified by the choices of colours and certain furniture, fixtures and equipment that carry between the two sites.”

      Martin Brudnizki draws on “gritty glamour” for colourful Broadwick Soho hotel

      Bedrooms feature a global blend of references, including Pagoda-style table lamps, custom wardrobes informed by traditional Chinese cabinets, antique inlaid side tables, Murano glass chandeliers and star-like ceiling lights.
      The double-height entrance lobby features walls panelled with faceted antique mirrors, marble floors and grand arched windows – which echo throughout the hotel bedrooms as room dividers between sleeping and sitting areas.
      Rooms have been designed to have a residential feel”We loved the idea that all these great characters had once walked along the boulevard of Fifth Avenue and the fabulous parties hosted within the mansions of Fifth Avenue; the people and the conversations that took place,” said Brudnizki.
      “We wanted to create a space that felt as though its interiors had been brought together over time, pulling items from our muse’s travels and adventures from across the globe.”
      Antique glass panelling and modern mirrored artworks fill the double-height lobby”It is a truly eclectic and layered project that is intended to feel as though it has been around since the days of The Gilded Age,” the designer concluded.
      Other boutique hotels recently published on Dezeen include Christian Louboutin’s hotel Vermelho in Portugal and Trunk Hotel Yoyogi Park in Tokyo, by Keiji Ashizawa Design and Norm Architects.
      Photography is by William Abranowicz.

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      Rockwell Group creates atmospheric interiors for Perelman Center in New York

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      Ribbons of light guide patrons from the lobby to the restaurant inside the Perelman Performing Arts Center at the World Trade Center, where the interiors are designed by New York-based Rockwell Group.

      The studio founded by designer David Rockwell recently completed the public spaces that include the Metropolis restaurant and adjoining lounge areas within the cube-shaped building, which local architecture studio Rex wrapped in thin marble panels.
      The lobby of the PAC NYC venue includes a stage for programmed performancesThe volume holds three flexible and interchangeable theatres that can be infinitely customised for different performance styles, artistic expressions and viewing experiences.
      These are accessed via the elevated lobby level, reached by climbing a grand exterior staircase that draws visitors under the building’s cube form and up through its base.
      A bridge behind the building’s translucent marble facade accommodates seatingThis dramatic entry sequence culminates at a lobby lounge and restaurant that form a new 9,120-square-foot (847 square metres) “community space” for Lower Manhattan, according to Rockwell.

      “The restaurant is intentionally woven throughout the public experience,” he told Dezeen. “There is no hard line between the lobby lounge, restaurant, and terrace, with one space melting into the next.”
      The lobby flows into the Metropolis restaurant, located the other side of angled trussesThe designer’s primary aim was to provide “a celebratory, communal atmosphere; connecting guests, whether you’re the first party there for dinner or the last one there post-show”.
      Rockwell’s combined experience in hospitality and performance design – he has won multiple Tony Awards for his Broadway sets – helped him to craft a seamless experience between these connected functions.
      LED lights within wooden ribbons follow pathways and form “nodes” above gathering areas”Creating a magical journey up into PAC NYC and intertwined with the lobby was a thrilling challenge, especially because the lobby and Metropolis will be host to many free performances on the small stage there,” said the designer.
      This stage will feature a varied program of performers who will entertain diners from a carefully placed vantage point, which allows sightlines from all corners of the lobby and restaurant.

      Lounge seating for up to 30 positioned closest to the stage is intentionally low-slung, so as not to obstruct the views for those further away.
      A bridge that runs along the inner side of the translucent stone facade holds additional seating, overlooking the grand entry staircase through huge panes of glass.
      Jewel-toned fabrics and textured surfaces warm the interiorsThe Metropolis restaurant is helmed by Swedish-Ethiopian chef Marcus Samuelsson, and serves an elevated, eclectic menu billed as “a love letter to New York City” to both performancegoers and the general public.
      Beyond the host stand and the diagonal structural trusses that flank it, the layout is split down the middle, with soft seating arranged on either side of the central axis.
      Rockwell Group designed the restaurant and lobby to act as a “communal space” for Lower Manhattan”The furniture is designed for flexibility and comfort, defined by several smaller areas with lots of seating variety, made up of banquettes and loose furniture and organised around a collection of vintage area rugs,” said Rockwell.
      Glowing bands within sapele wood ribbons trace curved shapes across its ceiling, beckoning guests into the space and also highlighting key areas for gathering such as the bar with chandelier-like “nodes” overhead.

      Rex clads “mystery box” World Trade Center performance arts center in translucent marble

      Jewel-toned upholstery pairs with rich walnut panelling for a warm and inviting feel, and the fabrics and other textured surfaces soften the polished concrete flooring.
      A 70-seat outdoor terrace at the back of the building will also offer al fresco dining during the summer months, visible from the interior through a huge glass wall.
      There’s space for 70 al fresco diners on the outdoor terraceThere’s also a speakeasy-like private dining room for intimate gatherings of up to 16.
      PAC NYC is one of the final pieces in the 16-acre World Trade Center redevelopment masterplan, joining skyscrapers by SOM, RSHP, and SANAA, the transit hub and a church by Santiago Calatrava, and a 9/11 Museum by Snøhetta.
      Rockwell aimed to create “a celebratory, communal atmosphere” both inside and outCelebrating its 40th anniversary next year, Rockwell Group has designed interiors for restaurants all over Manhattan, including Zaytinya, Katsuya, Casa Dani and Wayan.
      The firm also worked on The Shed venue at Hudson Yards, which also hosts performances along with exhibitions and other events within a highly flexible space beneath a giant “telescoping” cover.
      The photography is by Adrian Gaut.

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      Pierre Yovanovitch opens design gallery in New York City penthouse

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      French designer Pierre Yovanovitch has opened his first US showroom and gallery in Manhattan’s Chelsea neighbourhood, displaying over 80 pieces from his own furniture brand.

      Recognisable designs including the iconic Bear Chair fill the 10,000 square feet (930 square metres) of gallery and office space on the penthouse level of 555 West 25th Street.
      Pierre Yovanovitch chose a penthouse in a pre-war building for his New York galleryThis business expansion offers a permanent base for Yovanovitch and his team in New York, and allows customers and clients from his largest retail market to see the Pierre Yovanovitch Mobilier products first-hand.
      “Having worked on residential projects in the US since the beginning of my practice in 2001 and with two successful furniture collection debuts (2017 and 2019) in New York, the opening of my first gallery space in America and new official New York headquarters, is a long-awaited realization for me,” said Yovanovitch.
      The exposed ceiling beams, whitewashed brick and dark wood floors are all typical of a New York loftInside the pre-war building, the gallery unfolds through a series of partial rooms that flow into one another without doorways or thresholds.

      Throughout, exposed ceiling joists and ductwork are paired with dark wood flooring and whitewashed brick, typical of a New York loft space.
      The gallery is laid out as a series of residential-style vignettes, which flow into one anotherThe largest display area centres around a sculptural fireplace, with a smooth plaster form that curves outward towards the base.
      Furniture is oriented around the hearth, including a gently arced sofa and a chartreuse-toned resin coffee table, accompanied by the fluffy wing-backed Clifford armchair.
      Yovanovitch curated a selection of artworks to accompany his furniture piecesA variety of lounge and dining room vignettes showcase the products in suggested combinations with one another in residential-style layouts.
      Other designs on show include the new Callis Table Lamp, the Roze Dining Table, the Arthur Sofa and the Artemis Rug.
      A variety of signature furniture and lighting designs are on display alongside new piecesAll are made in collaboration with specialist craftspeople and are “created with longevity and exceptional quality in mind” according to the brand.
      “The brand pays homage to Yovanovitch’s Provencal roots, in particular the region’s natural light, rich and varied natural materials and colourways of the surrounding nature, as well as the historic commitment to craft associated with the region,” said a statement from the gallery.

      Pierre Yovanovitch creates set with moving elements for Verdi’s Rigoletto at Basel Opera

      The wide array of furniture and lighting pieces are presented alongside a selection of contemporary art curated by Yovanovitch – including works by Camille Henrot, Wolfgang Tillmans and Alicja Kwade – in an attempt to tie the gallery in with Chelsea’s status as an arts destination.
      “It seems only fitting to open my first gallery location in the epicenter of New York’s art scene,” he said. “Not only is contemporary art central to my design practice, the neighborhood’s architectural history serves as reflection to my approach of revitalising historic spaces to fit a contemporary design aesthetic.”
      All of the Pierre Yovanovitch Mobilier products are “created with longevity and exceptional-quality in mind”The New York gallery opening follows the debut of the brand’s new Paris showroom, which began welcoming visitors to a street-level space in the Marais neighbourhood from October 2023.
      This move from the previous location in the 2nd arrondissement also strategically places Pierre Yovanovitch Mobilier amongst the city’s art galleries.
      A sculptural fireplace anchors the largest area, accompanied by Yovanovitch’s Clifford chairYovanovitch founded his design practice in 2001 after working for fashion house Pierre Cardin. His interior design work has ranged from the salmon-pink and butter-yellow gift shop at Villa Noailles and ski hotel Le Coucou in France, to the high-end Hélène Darroze restaurant at The Connaught in London and ski hotel Le Coucou.
      Earlier this year, the designer created a set with moving elements for Verdi’s Rigoletto at the Basel Opera.
      The photography is by Stephen Kent Johnson.

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      Rafael Prieto creates “secret garden” for Gohar World store in New York

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      Designer Rafael Prieto has lined tableware store in New York City with wallpaper made from photos taken in the south of France and antique furniture.

      Located at 181 Lafayette Street in SoHo, the Gohar World store showcases tableware products designed by sisters Laila and Nadia Gohar.
      The Gohar World store is lined with wallpaper created using designer Rafael Prieto’s photos”Gohar World is a tableware universe that embraces tradition, time, craft, and humour,” said the duo, who founded their brand in 2020.
      The space was designed by Rafael Prieto, founder and creative director of Savvy Studio, to capture the varied cultures and crafts involved in making the tableware.
      The wallpaper features peel-away elements that represent the “secret world” that Laila and Nadia Gohar have created”Because Laila and Nadia work with ateliers all over the world, from Egypt to Italy, Gohar World is inherently a brand that transports you to different places,” said Prieto. “Sometimes, even to your grandmother’s living room.”

      “So my idea when designing the store was to transport visitors to another world,” he added.
      An eclectic mix of antique domestic furniture and objects decorate the storeUsing photos he took in the south of France, the designer created a custom layered wallpaper with Wallpaper Projects to cover the walls.
      The imagery of crumbling and weathered stonework mixed with scenes from fields and woodland lends an otherworldly atmosphere to the store.
      Gohar World products are displayed in a variety of ways throughout the store”The outer layer shows monumental stone archways which are torn away to reveal a secret garden, representing Laila and Nadia’s secret Gohar World, which everyone is now invited to step into,” said the brand.
      An eclectic mix of antique domestic furniture pieces adds to the surreality of the space, with fabric ruffles surrounding table bases, and sections of Grecian-style columns supporting surfaces and acting as pedestals.

      “My work is a universe that I’ve created for myself” says Laila Gohar

      Some of the Gohar World tableware is presented in open cabinets or glass vitrines, while other pieces are laid out as table settings as if ready for dinner.
      The storefront is painted a warm cream colour, and white fabric is hung in the lower halves of the windows and glass doors.
      Laila and Nadia Gohar founded their brand to collaborate with global artisans and help preserve “dying and disappearing” craftsLaila is known for her creative food installations and projects that blend design, food and art, which she catalogues via her Instagram account Lailacooks.
      Partnering with Nadia to move into homeware design, the aim is to work with global artisans to help preserve “dying and disappearing” crafts, she told Dezeen in a recent interview.
      The store is located on Lafayette Street in New York’s SoHo neighbourhoodRecently, several brands have opted for a more surreal, eclectic aesthetic for their stores compared to the cohesive, monochrome approach that’s pervaded retail design over the past few years.
      The Awake NY store by Rafael de Cárdenas, the Boyy flagship in Milan by Thomas Poulsen and the Tons boutique in Pittsburgh by NWDS are all examples of this.
      The photography is by Clement Pascal.

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      Format Architecture designs “delightfully untraditional” Cafe Mars in Brooklyn

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      Bright colours, neon lighting and expressive furniture create a playful mood inside this Brooklyn restaurant, designed by local studio Format Architecture Office.

      Cafe Mars is an Italian eatery located in Gowanus, founded by co-chefs Jorge Olarte, and Paul D’Avino – whose grandfather lived across the street when he first emigrated from Campania in 1901.
      Playful furniture throughout Cafe Mars includes chairs with hot-pink arched and zigzag legsHonouring these roots, the restaurant is designed as a celebration of all things Italy: from the Memphis design movement of the 1980s to the glamorous Amalfi Coast.
      “It was important to connect the intent of the culinary experience with the intent of the spatial experience,” said Format principal and co-founder Andrew McGee.
      The bar and open kitchen are framed by white oak panels”If the driving force of the menu was to showcase knowledge and love of traditional Italian cuisine, twisted and subverted at just the right moments to create something playfully rebellious and unusual, it seemed only natural to reference the character and movement in [Ettore] Sottsass and the Memphis style with a similar vintage in the architecture and design realm,” he continued.

      Above each table in the main dining space is a yellow panel with a hole cut-out, exposing the building’s original brickTo enter the 1,100-square-foot (100-square-metre) restaurant, visitors must turn a pasta die door handle sourced from local third-generation manufacturer D Malardi & Sons.
      “The detail is a charming nod to the building’s pasta factory and Italian grocery history whilst ushering in its restaurant future,” the studio said.
      The custom banquettes are coloured one yellow for every two whiteOnce inside the long narrow front space, the bar area can be found on the right and a row of back-to-back banquettes runs along the left.
      The bar and the open kitchen further down are framed by white oak panelled arches, revealing a bright blue back bar that echoes the same shape.
      The “blue room” in the back features cobalt-coloured seating that contrasts the exposed brickworkA tall, light grey counter forms an L-shape within the first arch, with a lower surface for diners seated in custom chairs by Studio Apotroes with hot pink zig-zag legs.
      More seats – this time with white details – face the kitchen area, beside a bright green shelving unit for tableware tucked under the bar counter.
      Hot pink reappears in the cords of pendant lights, which have shades made from mushroom myceliumOpposite, the custom double-sided banquettes have ribbed edges and are coloured one yellow for every two white.
      In between are arched yellow panels with circular holes that expose the original brick walls behind, and Stuff by Andrew Neyer globe pendants that hang above each table.
      Pasta illustrations by artist Massimo Mongiardo are found throughout the interior, including in the bathroomThe “blue room” in the back features cobalt-coloured seating that contrasts the exposed brick walls, black window frames and white hexagonal floor tiles.
      Hot pink reappears in the cords of pendant lights with MushLume shades made from mushroom mycelium, while bespoke wooden tables have puzzle-piece tops that slot together in various configurations.

      Usonian architecture informs Sereneco restaurant in Greenpoint by Carpenter + Mason

      At night, colourful LED lights within the circular wall elements, under the bar counter and above the back bar all match a neon sign in the window, which traces the Cafe Mars logo designed by artist Massimo Mongiardo.
      His illustrations of pasta shapes can be found throughout the interiors, including in the bathrooms, and across the black-painted roller shutters pulled down when the restaurant is closed.
      Mongiardo’s illustrations also cover the black roller shutter on the exterior”The goal was to strike a delicate balance between fanciful and comforting, transformative and familiar,” said Format co-founder and principal Matthew Hettler.
      “The design, however loud, becomes a backdrop for a quality experience, and that is something we are excited about.”
      A neon version of the Cafe Mars logo sits in the window, matching the colorful LED lighting insideOther relative newcomers to Brooklyn’s ever-evolving culinary scene include Nabila’s, a Lebanese spot designed by Frederick Tang Architecture, and Usonian-inspired eatery Sereneco featuring interiors by Carpenter + Mason.
      Over in Manhattan, the number of Italian restaurants continues to balloon, with Bad Roman and Cucina Alba among the many to have opened in the past year.
      The photography is by Nick Glimenakis.
      Project credits:
      Architecture and interior design: Format Architecture OfficeProject team: Clare Hačko, David Hettler, Matt Hettler, Andrew McGeeConstruction: RuskStructural engineer: Blue Sky DesignMEP engineer: Department of Approvals

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      Kelly Wearstler designs Ulla Johnson store to capture the “spirit of southern California”

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      American interior designer Kelly Wearstler has paired a towering tree with speckled burl wood panelling and vintage furniture by Carlo Scarpa at the Ulla Johnson flagship store in West Hollywood.

      Wearstler created the light-filled, two-storey shop as the flagship Los Angeles location for Johnson’s eponymous clothing brand.
      Kelly Wearstler has designed the interiors for Ulla Johnson’s LA flagshipThe duo worked together to envisage the sandy-hued interiors, which Wearstler described as “something that really speaks to LA”.
      “A priority for me and Ulla was to ensure that the showroom encapsulated the quintessence of the West Coast, firmly grounded in both the surrounding environment and local community,” the designer told Dezeen.
      The “Californian idea of merging indoor and outdoor” permeates the interiorVisitors enter the store via a “secret” patio garden lined with desert trees and shrubs rather than on Beverly Boulevard, where the original entrance was.

      “This Californian idea of merging indoor and outdoor is evident from the moment you approach the store,” said Wearstler, who explained that her designs tend to nod to the “natural world”.
      Wearstler designed textured interiors to reflect Johnson’s collectionsInside, three interconnected, open-plan spaces on the ground floor were dressed with textured interiors that mirror Johnson’s similarly rich collections, which hang from delicate clothing rails throughout the store.
      Standalone jewellery display cases by Canadian artist Jeff Martin feature in the cavernous accessories space. Clad with peeling ribbons of grooved, caramel-coloured tiles, the cases echo floor-to-ceiling speckled burl wood panels.
      The mezzanine includes a double-height treeThe other living room-style area was designed as a sunroom with a pair of boxy 1970s Cornaro armchairs by modernist Italian architect Carlo Scarpa, as well as parquet flooring with Rosa Corallo stone inlay.
      “Vintage pieces are infused into all of my projects and I enjoy experimenting with the dialogues created by placing these alongside contemporary commissions,” explained Wearstler.
      A lumpy resin table features in an upstairs loungeThe largest of the three spaces, the mezzanine is illuminated by skylights and houses a double-height Brachychiton – a tree that also features in the designer’s own Malibu home.
      A chunky timber staircase leads to the upper level, where another lounge was finished in burnt orange and cream-coloured accents including a lumpy marbelised resin coffee table by LA-based designer Ross Hansen.
      “We collaborated with a variety of local artisans to imbue the spirit of Southern California into every facet of the project,” said Wearstler.

      Kelly Wearstler and Masastudio design California home as a “modern ruin”

      Ribbed plaster walls and textured flooring line a fitting room close by, which was created to evoke a residential feeling, according to the designer.
      “We wanted people to feel at home in the store so we prioritised warm and inviting elements,” she said.
      Another striking display cabinet made from wavy burl wood evokes “a touch of 1970s California nostalgia”.
      Wavy burl wood evokes “a touch of 1970s California nostalgia”The Ulla Johnson store is also used as a community space, which hosts rotating art installations, talks with guest speakers and other events.
      Wearstler recently designed an eclectic cocktail bar at the Downtown LA Proper hotel, which she previously created the wider interiors for. Her portfolio also features a 1950s beachfront cottage renovation in Malibu.
      The photography is by Adrian Gaut. 

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