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      GRT Architects references “vacation Italian” at New York bar and restaurant

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      New York studio GRT Architects has designed a light and airy Italian restaurant and adjacent cocktail bar at the base of Thomas Heatherwick’s Lantern House in Manhattan.

      The new dining and drinking destinations face the corner of West 18th Street and 10th Avenue through the distinctive bay windows of the building, which straddles the popular High Line park in Chelsea.
      The bright and airy Cucina Alba was designed to transport diners to ItalyThe 3,000-square-foot (278 square metres), 90-cover Cucina Alba offers a full brunch and dinner menu, while Alba Accanto is half the size and serves cocktails and bites next door.
      Both are operated by Prince Street Hospitality, whose partner Cobi Levy collaborated with GRT Architects on the interiors of both spaces.
      Alternating yellow and white fabric panels are draped above the dining spaces”Cucina Alba and Alba Accanto are two distinct yet complementary spaces that instantly transport guests to Italy, capturing the polish of the north with the brightness of the south,” said the group.

      Cucina Alba is designed to embody a “vacation Italian” aesthetic, evoked by light terrazzo floors, tubular metal Knoll Cesca chairs, and pale oak millwork.
      Oak millwork, light-toned terrazzo flooring and tubular metal chairs all add to the ambienceAlternating yellow and white fabric panels were draped overhead, forming a parachute-esque ceiling that matches the striped awnings over the entrances.
      Thin metal chains hung from red railings act as space dividers, defining and partially enclosing a section of the dining area.
      Hints of coral red stand out against the pale colour paletteHigh-gloss, oxblood-coloured tables nestle into semicircular booths or line up along the bench that follows the windows.
      At the other end of the L-shaped space, the open-air kitchen is denoted by a colourful mural by artist Alex Proba that covers the end wall and part of the ceiling.
      A colourful mural by Alex Proba denotes the open kitchen areaIn the bay windows, an assortment of plants and random paraphernalia – from inflatables to plastic lemons and disco balls – are visible to passersby, while outdoor seating along 10th Avenue is offered under scallop-edged parasols that continue the white and yellow theme.
      Next door, Alba Accanto has a similar “Italian holiday bar” aesthetic, but with a slightly moodier ambience for evenings.

      GRT Architects uses “riot” of materials for Bad Roman restaurant in New York

      The bar counter is built from stacks of pale stone that form striations across the front, while the top and the bar back are made from continuous expanses of a single stone type.
      Arched niches behind the bar emanate a golden glow, and display glassware and liquor bottles alongside figurative sculptural vases that were custom-made in Italy.
      Next door, the Alba Accanto bar has stone detailsThe ceiling is covered in fabric that features thin ticking stripes, from which brass chandeliers with pale blue glass globes are suspended.
      At the back is a private dining room that can be booked for large parties of up to 45 guests, and the table configuration can be adapted depending on the event.
      The bar area features a striped fabric ceiling and a painting by Alex KatzBuilt-in bench seating wraps the perimeter, and patterned wallpaper and matching curtains are reflected in the glossy ceiling.
      In both spaces, works by renowned artists including Alex Katz and Ethan Cook were sourced with the help of art advisor Elizabeth Margulies, and hand-painted tableware from Puglia adds an authentic touch.
      Behind the bar is a private dining room that can accommodate up to 45 guests”The design of Alba Accanto is exuberant and maximalist in style, utilizing bright colors to reflect the vibrance of Italian coastal cities like Positano,” said Levy, “while the design of Cucina Alba is polished, contemporary, and warmly inviting with wood accents, embodying the soul of Milan.”
      “We wanted to capture the distinct atmosphere of each city, and with Accanto, we achieved that same sense of vitality but with a maximalist approach,” he added.
      Both Cucina Alba and Alba Accanto occupy the ground floor of Thomas Heatherwick’s Lantern House building in ChelseaGRT Architects has completed the interiors for two other Italian restaurants in New York City: the Michelin-starred Don Angie in the West Village, and the recently opened Bad Roman at Columbus Circle.
      Founded by Tal Schori and Rustam-Marc Mehta in 2014, the studio has amassed a portfolio that extends from Brooklyn townhouse renovations to ground-up builds in the Hudson Valley.
      The photography is by Peter Murdock.

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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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      Odami creates textured minty interior for Aesop Palisades Village store

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      Mint green materials cover this store for skincare brand Aesop, which Toronto studio Odami designed for the Palisades area of Los Angeles.

      The Aesop store opened at the end of 2022 in the Palisades, a verdant corner of the city northwest of Santa Monica where several seminal modernist houses are located.
      In the center of the store are stainless steel sinks for testing the brand’s products”Aesop Palisades Village takes inspiration from its natural surroundings, as well as the area’s vernacular architecture, where local buildings are delicately perched within a cascading landscape of lush ridges and valleys,” said Odami.
      “Most notably, this includes celebrated local architect Ray Kappe’s own residence, a critical reference for the project.”
      Planters with tropical foliage are placed behind the sink and along the side wallThe same shade of pale green is used across the walls, ceiling, floors, display stand bases, and a sink for testing products in the centre of the store.

      The velvet curtain and upholstery fabric is matched to the microcement surfaces, resulting in a monotone texture throughout the small shop.
      Textured microcement surfaces and velvet curtains match to create a uniform effectBehind the full-height curtains, Aesop’s distinctive brown bottles are presented on shelves built using reclaimed walnut wood.
      The dark wood is also used for countertops, individual shelves, and a storage unit that sits below a large product display set into one wall.
      The mint-green curtains open to reveal more products displayed on reclaimed walnut shelves”Gently placed amongst this unfolding landscape, the various storage and display requirements are resolved as long horizontal planes, composed of either reclaimed wood or stainless steel, to create an interplay of levity and mass,” Odami said.
      The sinks, which are lined with stainless steel, face a planter brimming with tropical foliage – a feature repeated perpendicularly along the adjacent side wall.

      Victorian balusters pattern surfaces at Aesop Yorkville store by Odami

      A skylight above the flora brings in extra natural light into the space, while a low bench offers customers a place to sit and pause.
      “Together, the design for Aesop Pacific Palisades aims to create a biophilic environment, elevating the ritual of self-care through the presence and evocation of nature,” said Odami.
      A bench is provided for customers to sit and pauseThe Toronto studio was founded in 2017 by Spanish architect Aránzazu González Bernardo and Canadian designer Michael Fohring.
      The team has completed a wide range of projects, from residential and restaurant interiors to a furniture collection, as well as another Aesop store located in Toronto’s Yorkville neighbourhood.
      The store is located in Los Angeles’ Palisades neighbourhoodAesop is renowned for the interiors of its stores, which each have a distinctive design relating to their location.
      Recently completed include an outpost in London’s Marylebone that’s organised to reference a bookshop, and another in Cambridge, England that features handwoven bulrush shelves.
      The photography is by Rafael Gamo.
      Project credits:
      Client: AesopDesign: OdamiGeneral contractor: Precise Contractor IncFabrication: Dayone DesignsArchitect of record: WORD Design x ArchitectureEngineering: RKM Consulting Engineers Inc

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      Michael Hsu outfits self-designed Austin studio with “humble materials”

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      Michael Hsu Office of Architecture has adorned its studio with wood-and-fabric lined walls and industrial details in Austin in order to create a material “representation” of its work.

      Located in Austin’s Rosedale neighbourhood, the 10,750-square-foot (1,000-square metre) studio combines elements of residential and warehouse architecture.
      Michael Hsu Office for Architecture has completed its self-designed Austin studio”The new studio provides us with the additional space we needed and is a physical representation of our process. The spaces are designed to facilitate how we work now – allowing for different modes, sizes, and shapes of collaboration.” founder Michael Hsu said.
      “We wanted to design a space for our team to develop curiosity and creativity while being surrounded by a community of talented people.”
      The project features bespoke touchesIt was completed in July 2022 for its growing team. Michael Hsu Office of Architecture occupies the first and third floors of the three-storey building.

      The exterior is wrapped in locally crafted terracotta block along the base and dark-coloured horizontal cladding around the top floors that is punctured by large windows.
      Exposed steel trusses add an atmosphere of industry to the spaceThe rectangular plan is bisected by a large pale green exterior staircase with a slatted roof to shade it from the Texas sun. Wooden soffits warm the exterior material with subtle blade signs directing circulation.
      Inside, exposed steel trusses – painted white – add an atmosphere of industry to the space, while the thin black window frames and mullions provide delicate contrast.
      Scarlet-hued velvet furniture contrasts with various industrial accents”The spaces allow for different modes, sizes and shapes of collaboration across a larger footprint,” the team said. “Humble materials were used in beautiful and unexpected ways.”
      “Bespoke furnishings and curated artwork throughout the space reflect a commitment to collaboration with MHOA’s favorite fabricators and artists.”
      A painting by Patrick Puckett decorates the entry loungeThe ground floor – with conference rooms designated for entertaining clients scattered within the buzz of the office – prioritizes finish and formality with bold monochromatic colours.
      The entry lounge is wrapped in light grey routed wooden wall panels and adorned with a vibrant painting by Patrick Puckett and a custom light fixture by Warbach Lighting in collaboration with artist Brandon Mike.
      The casual workspace is juxtaposed by more “formal” conference roomsGrey drapes and scarlet-coloured velvet furniture serve as a plush alternative to the clean lines of the custom spalted maple and polished aluminium reception desk.
      The open-plan workspace is full of light with Calacatta Gold Borghini marble and soft white details set off by raw white oak flooring and walnut desktops and millwork.
      These rooms are draped in sapphire silk and mohair wall coveringsThe casual workspace is juxtaposed with the “formal dining space” of the conference rooms. Draped in sapphire silk and mohair wall coverings, the conference rooms have custom tables by Michael Wilson and Drophouse, vintage chairs and suspended metallic light fixtures.
      Upstairs, the light-filled elevator lobby has playful art inclusions like Shawn Smith’s pixelated deer head sculpture and Hsu’s vintage Ducati motorcycle.

      Ten self-designed studios by architects and designers

      The third floor serves as a collaborative space for the designers with “a hands-on material lab and a generous lounge and kitchen designed to support social connection”.
      A custom mint-green and chrome Litmus Industries cabinet divides the space and serves as an intimate moment within the open space full of combined white desks.
      A mint-green and chrome Litmus Industries cabinet divides the space”It was important to the team to represent expertise and show exceptional hospitality to clients while being inclusive and accommodating to MHOA’s designers,” the studio said.
      The office’s affinity for soft jewel-toned furniture placed in large industrial spaces is evident in its 2019 design of Shake Shack’s headquarters in New York and the recent conversion of a 1930s church for Argodesign’s Austin office.
      The photography is by Chase Daniel.
      Project credits:
      Architecture + interiors, FFE selection and procurement: Michael Hsu Office of ArchitectureCustom light fixture: designed in collaboration with Warbach Lighting and artist Brandon MikeCustom tables: Michael Wilson and DrophouseCustom millwork and reception desk: Litmus IndustriesArtists: Patrick Puckett, Denise Prince, Clare Grill, Seung Yul Oh, Dorota Jedrusik, Hugo Pernet and Paolo Arao

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      “Fashion meets art and design” at Pittsburgh boutique by NWDS

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      Global team NWDS took a spontaneous approach to designing the Tons fashion boutique in Pittsburgh, which contains a mix of modest materials and iconic furniture pieces.

      The Tons store in the city’s East Liberty neighbourhood occupies a long, narrow building with its shorter side facing the street.
      The Tons store features a variety of “mundane” materials, including concrete breezeblocks and metal cansFormerly an atelier, the two-storey structure was reimagined by NWDS to create a light-filled destination “where high-end fashion meets art and design”.
      “Inside is a spacious and light-filled interior that now hosts a multifunctional venue designed to meet the needs of a modern-day sartorialist equally interested in fashion, art, and culture,” said the group.
      In the lobby, new apparel collections are displayed below a tapestry-like artworkDesigning the interiors of the 400-square-metre space involved dividing up the floor plan into several distinct areas that all flow together, but serve different purposes.

      Throughout the various retail and office areas, a selection of unexpected materials were combined and layered.
      Some of the walls are splashed or streaked with white paintImmediately through the glass front door is a lobby where new collections are presented.
      Here, product displays were built from concrete breeze blocks, while the upper walls above the clothing rails were dressed in transparent plastic curtains.
      Glass panels are used to partition different retail areasThe ceiling above was covered with metal tubes of different lengths and diameters, and gives way to a double-height space where tall tapestry-like artworks by Sasha Brodsky hang over opposite walls, and white paint was seemingly dragged across another.
      “There was a lot of spontaneity and many design decisions taken on site: some surfaces were uncovered and left in an unfinished state, and some were splashed with white paint,” NWDS said.
      A selection of iconic furniture designs can be found around the store, including Frank Gehry’s Wiggle ChairFurther along, fitting rooms are lined up behind black and white streaked partitions to one side, facing a room defined by glass panels that hosts monobrand products.
      Towards the back, a lounge area that also displays shoes is reached by descending a short flight of stairs, which run parallel to a raised, built-in seating area.
      A built-in seating area at the back of the store overlook the sunken shoe roomThe lower floor level in this space results in a higher ceiling, which NWDS took advantage of by extending a mural the full height behind a wall-mounted shoe display.
      A staircase at the very back leads to the upper storey, where retail displays and office areas for store employees sit side by side, and a photography studio is in full view.

      Checkerboard walls wrap Awake NY store by Rafael de Cárdenas

      “Inside Tons, the client space and the workspace are blended,” said NWDS.
      “Buyers and managers have their work desks right next to the sale rails on the first floor, and store visitors are welcome to take a peek at the fashion photo shoot happening right there at Tons.”
      The unfinished aesthetic continues across the upper storey, where retail and offices spaces are blendedThroughout the store are a selection of iconic furniture pieces that continue the theme of unexpected materials and functionality.
      They include metal-mesh Hi Tech armchairs by Piero Lissoni, a Mate chair by (A+B) Dominoni, Quaquaro that doubles as shelving, and Frank Gehry’s compressed cardboard Wiggle Chair for Vitra.
      “An interior comprising modest materials is a backdrop for high-end Italian furniture pieces, a collection carefully curated by the NWDS team,” said the designers.
      An open photography studio allows shoppers to watch shoots as they happenNWDS was established in 2013 as a team of architects, designers, curators and researchers from cities including New York, Tbilisi, Moscow, Paris, Berlin, Yerevan, Lisbon and Dubai. The group’s projects span residential, retail, hospitality, culture, exhibition design and more.
      Other recently completed boutiques that feature unusual materials include the Boyy flagship in Milan, which reveals layers of the store’s history, and a Parisian jewellery store featuring rippled sheets of acrylic.
      The photography is by Ekaterina Izmestieva and Alexandra Ribar.
      Project credits:
      Design concept: NWDSSupervision and project management: Brnz BureauLighting design: Natalia MarkevichArt: Sasha Brodsky

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      Cho Thompson unearths Boston building’s history to inform office interiors

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      US studio Atelier Cho Thompson has redesigned the shared spaces for an office building in Boston, borrowing shapes and materials from its history for new interior elements.

      The project involved reimagining the communal areas at 179 Lincoln Street, a full-block building in the city’s Leather District that was constructed as a shoe factory in 1899.
      Arched motifs on the facade of 179 Lincoln Street were reinterpreted as grooves in the lobby’s plaster wallsAtelier Cho Thompson looked to this history to guide the design of areas at the margins of the building, including the under-utilized lobby space, a dark central core, and empty pocket spaces on each of five floors – all totalling 8,000 square feet (743 square metres).
      “We unearthed and amplified the building’s rich history while creating a space that is responsive to the needs of the post-pandemic workplace,” said studio founder Cho Thompson.
      Finger-shaped backrests for a bench are wrapped in leather to nod to the building’s shoe-making pastWork began with removing the layers of previous renovations, including vinyl tile and commercial carpet, which had left areas “dark and generic”.

      The team uncovered original terrazzo floors in some areas and worked with experts to restore any sections that were damaged.
      Arches are also hewn into the white oak counter front in the receptionThey also looked to the arched geometry and detailed ornamentation of the building’s historic facade for interior design cues.
      The arches are repeated in the lobby as grooved patterns across the hand-troweled plaster walls, and again at a smaller scale around the white oak front of the marble-topped reception counter.
      Brass details including handrails match the building’s original mail chute”With a modern sensibility, we developed a language of detail that brought elements of the exterior into the building’s core,” Thompson said.
      “In that transformation, we brought a playful spirit, bringing massive forms down to human size and creating juxtapositions of materials, patterns, and scales.”
      In other communal areas, original red brick walls and terrazzo floors are exposedShiny black floors contrast the pale colour palette used across all other surfaces, while brass – chosen to match the building’s mail chute – provides a bright accent on railings, drawer handles and other details.
      Lighting fixtures by Lam Partners comprise globe-shaped components attached to thin brass supports, in a variety of linear configurations.
      Multiple counters are provided for group work and conversations between colleaguesIn other “in-between” communal areas, red brick walls and columns are exposed beneath skylights.
      A series of brass-topped counters are scattered through these spaces, creating spots for casual conversation between colleagues.

      GRT Architects restores facade and overhauls lobby of New York’s Fashion Tower

      Banquettes and benches also provide opportunities for group and collaborative work outside of typical meeting rooms.
      These are upholstered in dusty pink leather as a nod to the building’s shoe-making past.
      These casual meeting spaces are designed to respond to the changing needs of office workers”This project responds to the changing landscape of office life by offering opportunities that go beyond what we can experience in only working from home,” said Thompson.
      “With a hospitality approach, the spaces of the project offer a fresh, welcoming, and inclusive place to spend time with colleagues.”
      Polished brass is also used for signage and wayfinding. Photo by Samara ViseReimagining historic buildings as contemporary workplaces is a common challenge for architects and designers, and refreshing communal or public-facing spaces is typically an impactful place to start.
      Similarly, GRT Architects overhauled the entrance to the art deco Fashion Tower in New York, restoring its facade and modernising the lobby.
      The photography is by Jared Kuzia, unless stated otherwise.
      Project credits:
      Client: EQ OfficeArchitect: Atelier Cho ThompsonLighting designer: Lam Partners

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      Kelly Wearstler designs Los Angeles bar to feel “like it has been there for ages”

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      Interior designer Kelly Wearstler paired clay plaster walls with Moroccan cement tiles at this eclectic cocktail bar in the Downtown LA Proper hotel.

      Named after Mexico’s national flower, the Dahlia bar features a blushing interior that was designed to echo the rest of the hotel – also created by Wearstler.
      The designer looked to the same Spanish, Mexican and Moroccan influences that define the wider Downtown LA Proper, such as terracotta Roman clay plaster walls and ceilings when conceptualising the bar.
      Dahlia is a cocktail lounge within the Downtown LA Proper hotel”The warm, earthy tones of the lounge are in concert with the larger hotel while striking their own note entirely,” said Wearstler.
      “Dahlia feels like it has been there for ages,” added the designer, who has been named as a judge for the inaugural Dezeen Awards China.

      Moroccan cement tiles clad the barVisitors enter the bar through yellow-tinged stained glass doors that were custom-made for the venue by Los Angeles’ historic Judson Studios, which claims to be the oldest family-run stained glass company in America.
      Seating was created from a mix of built-in reddish banquettes and low-slung curved armchairs that hug circular timber tables, while a geometric chandelier draped in light-filtering silk was suspended overhead.

      Kelly Wearstler renovates swimming pool for suite in Downtown LA Proper Hotel

      In one corner, an embossed and low-slung black cabinet supports two squat table lamps that look like oversized green olives.
      Wearstler adorned the clay plaster walls with a mishmash of vintage and contemporary textural artwork, which was finished in ceramic and sand. Various local artists were included in the mix.
      Kelly Wearstler imbued the venue with her signature eclectic styleDefined by “saturated hues and dramatic lighting,” the cocktail lounge also features a bar clad with lilac-hued Moroccan cement tiles and woven crimson rugs.
      “This is the kind of space where you can entirely lose track of time,” said the designer.
      Known for her distinctively eclectic style, Wearstler has created interiors for various other destinations that are part of the Proper Hotel Group. The designer scoured vintage shops to source the furniture that decorates the living room-style lobby of a Santa Monica branch while an Austin location features a sculptural oak staircase that doubles as a plinth for Wearstler’s own glazed earthenware pots and vases.
      The images are courtesy of Kelly Wearstler.

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      Hotel Genevieve in Louisville features colour-coordinated guest rooms

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      Room types are organized by bold colours at this hotel in Louisville, Kentucky, which was designed by US hospitality group Bunkhouse and Philadelphia-based design studio Rohe Creative.

      Located in Louisville’s East Market district, also known as NuLu (New Louisville), Hotel Genevieve occupies a new six-storey, black-brick building that’s within walking distance of some of the city’s biggest tourist attractions.
      In the hotel’s lobby, pink terrazzo flooring matches the plasterwork behind the reception deskThe hotel takes its name from a regional type of limestone, Saint Genevieve, which is a key ingredient in local bourbon production and also prevalent in Texas, where operator Bunkhouse is based.
      The company collaborated with Rohe Creative on the interiors, which are intended to reference Louisville’s history.
      Communal spaces for guests include a speakeasy-style bar with a golden vaulted ceilingIn the lobby, pink tones of terrazzo flooring are echoed in the plasterwork behind the reception desk, surrounding an equestrian-themed mural.

      Artworks are displayed on white walls and in front of red velvet curtains to form a gallery around the lobby seating areas and corridors.
      The rooms are coloured by type and the smaller spaces feature a blue paletteThe adjacent all-day restaurant, Rosettes, serves food made with local ingredients and is influenced by al fresco Parisian cafes and chef Ashleigh Shanti’s Southern background. This bright, brasserie-like space combines green-tiled floors with colourful dining chairs and retro light fixtures.
      “Richly decorated, each design accent tells a story, from bold usages of colour to a playful mix of vintage and modern furniture, and a vivacious art program featuring local talent,” said the hotel team.
      The chosen colour in each room extends across the wall and ceiling, as well as into the bathroomsA mini market on the ground floor, which is “part convenience store, part pop art installation”, sells locally sourced provisions, handmade artisanal goods, and coffee and snacks to go.
      There’s also a dark and moody speakeasy-style bar with lounge seats and a golden vaulted ceiling.
      Double Queen rooms are decorated in a terracotta hue”Luxurious and feminine architectural details bring life to the space and reference the city’s namesake, King Louis XVI, heavily featuring Louisville’s vibrant local flora and fauna, with goldenrod [plants] shining throughout the suites and ground-floor restaurant,” said the hotel team.
      The hotel’s 122 guest rooms are each painted a distinct colour that correlates with their size or type. These hues cover the walls and ceilings, and also extend into the bathrooms via floor and shower tiles.
      Four Suite Genevieve rooms have a separate living room and are coloured yellowSmaller rooms, including the King Louie and Petite King categories, feature a blue palette, while the slightly larger Double Queens are decorated in a terracotta hue.
      Four Grand King rooms accommodate a seating area and are also painted blue, while an additional four Suite Genevieve rooms have a separate living room and are coloured yellow.

      Jenny Bukovec draws on “soulful” local heritage for Kentucky hotel

      All of the rooms boast custom features and fittings by ROHE, as well as paintings and prints by Kentucky-born artist John Paul Kesling.
      The rooftop venue, Bar Genevieve, serves cocktails and French-Mediterranean food from an indoor space that opens to the outdoors.
      Bar Genevieve on the top floor features teal accents and can be hired for private eventsThe bar area is accented with deep teal colours across the counter, stool seats, arched window frames and floor-to-ceiling velvet curtains that can be used to divide up the room.
      Hotel Genevieve has also partnered with local organisations Black Soil Kentucky, Louisville Orchestra, and the Olmsted Parks Conservancy for programming across its varied communal spaces.
      The hotel occupies a new black-brick building in Louisville’s East Market districtKentucky draws visitors for its bourbon production and horse racing heritage, and demand for high-end accommodation in the state appears to be on the rise: a new five-star hotel called The Manchester also recently opened in Lexington.
      Bunkhouse operates multiple properties across North America, including the Austin Motel and nearby Hotel Magdalena, Phoenix Hotel in San Francisco and Hotel San Cristóbal in Los Cabos, Mexico.
      The photography is by Nick Simonite.

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