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      Snarkitecture designs Manifest “self-care” club in Washington DC

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      Design studio Snarkitecture incorporated tiled walls and arches into a club in the US capital that offers a barbershop, a coffee bar, a boutique and a speakeasy.

      Open to the public, the Manifest club occupies a slender, four-story building in Washington DC’s Adams Morgan neighbourhood.
      Manifest is entered through a courtyard lined with wooden wallsMeant to put “a sophisticated spin on self-care”, the club was conceived by the entrepreneur KJ Hughes, along with his partners Brian Merritt and Susan Morgan.
      The aim was to create a distinctive location where people could get a haircut or beard trim, grab an espresso, buy upscale streetwear and enjoy a cocktail.
      Tiled walls and arches were incorporated into the clubThe owners turned to New York’s Snarkitecture to design the project.

      “When we set out to design Manifest, it needed to be a new kind of barbershop, inviting to all people,” said Alex Mustonen, a firm partner.
      Snarkitecture added a barbershop to the project”Simultaneously, we wanted to create a sanctuary, a community space, an institution, a one-of-a-kind experience that still feels like home,” he said.
      Set back from the street, the Manifest building is entered through a courtyard lined with wooden walls.
      The studio used a largely restrained palette of materialsThe outdoor space is adorned with pockets of greenery and curved concrete benches. At the base of the benches are illuminated reveals made of LED strips with an acrylic diffuser.
      Inside, walls are clad in white tiles, and the floor is covered in large-format cement squares. For the millwork, the team used white oak with a natural finish.
      White oak was used for the millworkThe barbershop – which encompasses four stations and an area for washing hair – is fitted with chairs wrapped in buttery leather. The coffee bar features a counter with a fluted wooden base and a terrazzo top.
      In the retail zone, clothing by brands such as Engineered Garments and Homme Pliseé is displayed within arched, wooden niches. The store also sells apparel from Manifest’s own line, Of US.
      Chairs wrapped in leather feature in the barbershopStretching across the ceiling are wooden beams with embedded LED strips – a design element that contributes to the interplay of straight and curved lines in the space.
      “Unifying details throughout the space include archways – which are meant to represent the sloughing off of the old and moving into a new phase of life – while linear elements symbolise a sense of community and connection,” the designers said.

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      A “secret staircase” leads up to the speakeasy, which seats up to 30 guests. In contrast with the lower-level space, the bar has a moody atmosphere.
      Walls are sheathed in a custom green plaster, and floors are finished with dark-stained oak. Seating areas are adorned with green velvet banquettes and leather chairs from Nikari.
      The speakeasy has a moody atmosphereOverhead are arched forms that help create a sense of intimacy while also drawing a visual connection to the arches in the lower level. The arches are finished with mosaic green tile and safety glass with wire mesh.
      Throughout the club, Snarkitecture aspired to create an environment that was both comfortable and stimulating.
      Walls are sheathed in a custom green plaster”Every single element was designed to create a welcoming, intimate atmosphere that will invoke conversation and appeal to all the senses,” the team said.
      Later this spring, Manifest will expand to include a rentable apartment with a retractable glass roof and a terrace.
      Throughout the club, the atmosphere was designed to be both comfortable and stimulatingThis is not the first project in Washington DC by Snarkitecture. In 2018, the firm created a Fun House installation in the National Building Museum’s great hall that featured a white gabled house and a kidney-shaped ball pit.
      Other projects by the studio include a shop for streetwear brand Kith within a Parisian mansion, and an installation in a Manhattan gallery that consisted of 168 white spherical orbs that changed colours when touched.
      The photography is by Michael Grant.

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      The Malin is designed as a vibrant but homely New York co-working space

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      The Malin is a design-led co-working space in Manhattan that blends contemporary colours and textures with original architectural elements that are “quintessential to the iconic Soho loft-style”.

      Located at 32 Mercer Street in New York City, the workspace’s interior design was led by Jordan Trinci-Lyne and Jean Morana, in collaboration with Fettle Design.
      The Malin was designed with homely touchesDescribed as having an “adaptable floor plan”, The Malin is made up of 38 individual desks as well as a library, three office spaces, three conference rooms, four booths reserved for video calls and various other meeting areas, including a barista kitchen.
      According to its designers, the co-working space intends to maintain the building’s traditional elements – such as existing columns, high ceilings and large windows – and combine them with vibrant colour and material palettes that are designed to reflect the creativity of its members.
      Colour and texture are blended with pared-back, original elements”Architecturally, we kept several things intact that are quintessential to the iconic Soho loft-style,” The Malin co-founder Ciaran McGuigan told Dezeen.

      “The space is very open, with tons of natural light that is filtered throughout. We also incorporated custom arched doorways in solid oak and glass, which are a nod to windows that are typical to buildings in the neighbourhood.”
      White walls and hardwood floors form the backdrop of the workspaceFamiliar white walls and hardwood floors form the backdrop of the workspace, which is dressed with more colourful accents such as low-slung bouclé seating arranged in vibrant clusters, as well as touches of Calico Wallpaper.
      McGuigan explained that each of The Malin’s areas was led by “the psychology of colour, designed to inspire our members’ best work”.
      Blue-on-blue tones were chosen for the solitary libraryCalming, blue-on-blue tones were chosen for the library, which was designed as a refuge for silent work, while the remaining areas favour a palette of bright, bold and saturated hues that stand out against their neutral backdrop.
      “Energy equals productivity and that’s a fundamental output we want the design to facilitate,” said McGuigan. “Elevated materials like mohair, leather, and rare marble were included as an aspirational touch to contrast the typical work-from-home experience.”

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      Individual desks framed by Eames Soft Pad office chairs are crafted from solid oak and are subtly separated from each other with recycled crystal dividers.
      Pared-back, diner-style pendant lights are suspended above plump, emerald green booth-like sofas, which make up an informal space for The Malin’s members to gather.
      Individual desks are separated by recycled crystal dividersA curated art collection decorates the walls, while design elements from brands such as Flos and Orior – another of McGuigan’s ventures – also feature in the space. Charging outlets are positioned close to every piece of custom furniture to create an accessible working environment.
      The team explained that The Malin was created to encourage its members to return to a public workplace in the wake of the coronavirus pandemic, balancing quieter areas with those built for socialising within an eclectic interior design.
      “It has all the functionality of an office space, but with the comfort of a home,” said McGuigan.
      Pendant lights are suspended above plump seatingThe Malin opened in October 2021, joining a host of other colourful co-working spaces around the world. These include Note Design Studio’s Douglas House, an office building in London with contrasting bright hues; and Spatial – a Montreal mint green and burgundy co-working space by Ivy Studio that features a zinc reception desk with a rainbow-coloured finish.
      The photography is by Thomas Loof.

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      Patricia Urquiola turns Michigan’s Haworth Hotel into a “design showcase”

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      European brands intermingle with furniture from US company Haworth in a Michigan hotel that has been reimagined by Spanish designer Patricia Urquiola.

      The Haworth Hotel is housed within a multi-level brick building in downtown Holland, a small city along Lake Macatawa. The hotel sits within the campus of the private school Hope College.
      The historic Haworth Hotel in Michigan was renovated by Patricia UrquiolaThe renovation was backed by the Haworth family, which owns the office furniture brand by the same name. The hotel is meant to accommodate visitors to the company’s global headquarters in Holland, along with visitors to the college.
      “The hotel was completely redone as part of a large initiative to turn a campus hotel into a design showcase while enhancing the guest experience,” the company said.
      The staircase is made of bent metal and oakTo revitalise the hotel, the company turned to Spanish designer Patricia Urquiola, who runs a studio in Milan. Urquiola has created several products for Haworth, including a sofa and pouf, and has a knack for balancing “warmth, playfulness, sophistication and multiple brand experiences”.

      For the hotel project – Urquiola’s first in the US – the designer was charged with creating a distinctive space that is both durable and comfy.
      The hotel lobby has furniture brands like CappelliniThe property contains 48 guest rooms, a range of meeting spaces, a fitness centre and a newly added coffeeshop that is open to the public. There also is a ballroom that doubles as a student dining space.
      Guests step into a bright lobby featuring pale wooden flooring and white walls. Daylight streams in through street-facing windows.
      The accent wall of the dining room is clad in white oakA centerpiece of the lobby is a wide, spiral staircase made of bent metal and oak. The stair rises up from a podium with geometric tile designed by Urquiola for Mutina.
      Just off the entrance is a lounge space fitted with furniture from Cappellini, Cassina, Poltrona Frau and Haworth. Underfoot is a grey rug from Gan, a division of Gandia Blasco.

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      Similar brands are featured in other areas of the hotel.
      For instance, a room with powder blue walls is fitted with poufs and stools from Haworth, Cappellini tables made of terrazzo and faux marble, and a modular sofa system designed by Urquiola for Haworth. Affixed to the walls are disc-shaped lighting fixtures from Pablo Designs.
      Meeting rooms were part of the renovation of the Haworth HotelIn a dining area, the designer placed tables and chairs from Cassina and a Big Shadow lamp by Marcel Wanders for Cappellini. An accent wall is clad in white oak.
      Guest rooms are intended to foster relaxation. Furnishings include Haworth poufs and chairs, bedside sconces by Louis Poulsen, and millwork designed by Urquiola and fabricated by Cassina Contract.
      The rooms include millwork designed by Urquiola”The Haworth Hotel is a blend of residential and commercial solutions – durable enough to withstand years of accommodating guests and with a vibe that feels like home,” the team said.
      Other interior design projects by Patricia Urquiola include a Maggie Centre for cancer care in Barcelona that has a bright and homely atmosphere. The building was designed by Benedetta Tagliabue of EMBT.
      The photography is by Haworth Hotel.
      Project credits:
      Interior design: Studio UrquiolaArchitectural design: GMB Architecture + EngineeringGeneral contractor: Owen-Ames-Kimball

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      Soho House Nashville opens in Music City hosiery factory

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      A former hosiery factory in Nashville has been converted into a Soho House hotel and members’ club, designed with nods to its industrial setting and the city’s musical heritage.

      The launch of Soho House Nashville earlier this week marks the company’s second location in the American South, following the opening of the Austin house in 2021.
      Soho House Nashville has opened in the May Hosiery BuildingThe May Hosiery Building, constructed in the early 1900s in the Tennessee city’s artsy Wedgewood-Houston neighbourhood, now contains a series of club spaces and accommodation.
      The Soho House design team used the building’s industrial past and Nashville’s reputation as the Music City to inform the renovation and decor.
      “The house design is influenced by a strong pre-war, European aesthetic, connecting to the building’s history with Bauhaus-inspired, striking geometric patterns, bold industrial finishes, and bespoke fixtures,” said the team.

      Metal shelving divides spaces in the Club RoomPlaying on the colour of original verdigris copper doors, various teal shades were used across the different spaces to visually tie them together.
      Meanwhile, the striped tiling around the swimming pool evokes the pattern of a guitar string board.
      “Music City influences do not escape Soho House Nashville with its warm, rich textures of the rock and roll era and decorative patterns that nod to the jazz and blues genres,” the design team said.
      Striped tiling around the pool is designed to mimic a guitar string boardThe building contains three indoor and outdoor performance spaces, a pool, a health club and a screening room.
      Food is offered at Club Cecconi’s, the first in-house restaurant of the Cecconi’s chain of Italian eateries owned by the Soho House group.
      Soho House Nashville’s hotel has 47 bedrooms that vary in sizeAt the heart of the building, the Club Room is divided by industrial metal shelving into intimate spaces including a library with a fireplace and a games area.
      The Sock Room also celebrates the factory’s prior use for producing socks that astronauts wore to the moon, and now hosts live music and events.

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      Referencing the machinery once housed in the space, bespoke bar lamps with an industrial aesthetic contrast softer materials like velvet and textured sheer linen.
      Soho House Nashville has 47 bedrooms that range in size, including a large loft suite that spans over three floors.
      Bedrooms all have large chandeliers and a variety of textilesThe rooms are furnished with bespoke, locally made designs and vintage accessories, as well as large chandeliers and metal screens that conceal the bathrooms.
      “Each bedroom has been designed to feel traditional and cosy with woven tapestries, made with bespoke fabric designed in Nashville specifically for the house, to hide all TVs,” said the team.
      The rooms feature a mix of bespoke local furniture and vintage accessoriesA total of 170 pieces were acquired from 41 local artists to be displayed throughout the hotel and club areas.
      They join the wider art collection exhibited in the Soho House locations across the globe, which the company has gradually added to its portfolio since its founding in London in 1995.
      Metal screen doors enclose the bathroomsAlong with Austin, the group’s outposts in North America include Soho Warehouse in Downtown Los Angeles and Dumbo House in Brooklyn.
      It’s not surprising that the brand chose to open in Nashville – one of several southern US cities that has seen a recent influx of young creative people, and therefore an expanded repertoire of cultural and entertainment venues.
      Also new to the city’s dining and drinking scene is The Twelve Thirty Club , which is owned by restauranteur Sam Fox and musician Justin Timberlake.
      The photography is by Andrew Joseph Woomer.

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      Kelly Wearstler makes “bold and eclectic choices” for Downtown LA Proper hotel

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      American interior designer Kelly Wearstler paired the rich history of Downtown Los Angeles with other colourful global influences when creating this hotel, which features 136 unique types of tile.

      Part of the Proper hotel group, Downtown LA Proper sits between Downtown Los Angeles’ South Park District and the city’s Fashion District.
      Kelly Wearstler designed the eclectic interiors of Downtown LA ProperThe 148-room hotel is located within a former private club that was designed by architecture studio Curlett & Beelman in the 1920s.
      Real estate developer The Kor Group teamed up with Wearstler to transform the building into Downtown LA Proper, with Wearstler spearheading the interior design.
      Morgan Peck created a chunky graphite reception deskAccording to Wearstler, the hotel’s interiors take cues from LA’s “creative scene”, as well as the colours and forms of Mexican, Moroccan, Spanish and Portuguese design.

      “My point of reference for the Proper Hotels is always the location, so Downtown LA Proper really called for bold and eclectic choices,” she told Dezeen.
      Guest rooms feature patterned headboards”As the design of the hotel was greatly inspired by the community and history of the area, I used a deep, warm, colour and feel throughout to speak to this rich culture and history,” added Wearstler.
      “The [hotel’s overall] design comprises 136 unique types of tile, from vintage to custom.”
      Wearstler used a colourful palette throughout the hotelVisitors enter the hotel via the building’s original ornate archway, which is flanked by column-like cacti in rustic pots, where they are met with a graphite reception desk designed by ceramicist Morgan Peck.
      The original pink and white checkerboard floor tiling was retained in this area, while the ceiling is decorated with a hand-painted multicoloured mural designed by Abel Macias, which drew on the flora and fauna of Mexican folktales.
      Caldo Verde includes a bespoke stained-glass doorwayThis eclecticism is also reflected in Downtown LA Proper’s guest rooms. Wearstler blended contrasting elements such as chunkily-patterned headboards with smooth wooden floors, while the walls vary within a spectrum of charcoal, mauve, dusty blue, umber and ecru.
      The building contains three eateries including the lobby-level Caldo Verde restaurant and bar, which Wearstler designed to reflect the rest of the hotel’s interiors.

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      A collection of vintage rugs and seating, cocoa and sandstone tiles and jungle-like plants are set against a bespoke stained-glass installation by Judson Studios that makes up the restaurant’s doorway.
      Other design elements that create Downtown LA Proper’s bright and bold atmosphere include Mexican brutalist hand-carved chairs, woven pendant lights from the south of France and stone mosaic tables.
      Brutalist hand-carved chairs add to the project’s eclecticism”The building itself is a historic-cultural monument, so we wanted to maintain some of the original integrity and fabric, like the window casing and brickwork, while elevating it with contemporary jewel tones, patterns and plasterwork,” said Wearstler.
      “I truly wanted to embark on a spirited exploration of materiality, colour and form, to share with guests a hyper-localised flavour of the city and create a hub for local creatives.”
      The work of emerging artists features throughout the hotelWearstler founded her eponymous interior design studio in 1995 and is responsible for the eclectic interiors of several other Proper hotels including its San Francisco and Santa Monica outposts.
      The designer also recently transformed a 1950s beachfront cottage in California into a bohemian retreat for her family.
      The images are courtesy of Kelly Wearstler.

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      Stitched brick wall welcomes guests to Uchi Miami restaurant by Michael Hsu

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      Masonry bricks are tied together to form a curved entryway at this sushi restaurant in Miami’s Wynwood neighbourhood, by Michael Hsu Office of Architecture.

      At Uchi Miami, the American firm aimed to create a “perfect contrast” between the materials, techniques and styles of Japan and Florida.
      Uchi Miami in Wynwood is fronted by a white structure wrapped in slats”Uchi tells a story of tactility, honoring Japanese tradition, but has been infused with local notes,” said Michael Hsu Office of Architecture.
      “Wrapping, layering and stitching, inspired by native art forms, apply sophisticated design to simple objects to elevate ordinary materials found in daily life.”
      A wall of woven bricks by Vas Bets greets guests upon entryFlanked by troughs filled with tropical plants, the entrance is surrounded by a pure white frame wrapped with vertical slats.

      Once through the glass doors, guests are guided around to the host stand by a curved wall of concrete blocks created by locally based artist Vas Bets.
      A chalk mural by Sam Angus Jackson is found above the sushi barThe blocks are tied together with rope, which weaves through their holes in a repeated pattern that is reflected in the polished floor.
      In the main dining area, a mix of banquettes, bar seating and high-top tables offers a variety of configurations for parties of different sizes.
      Warbach’s woven light fixtures create patterns across the ceilingThe wooden banquettes feature curved woven back panels and grey upholstered cushions – in a bouclé fabric for the backs and leather for the seats.
      Walnut table tops and ash chairs match panelling on the walls and ceiling, while other surfaces are lined with bright red and orange wallpaper.

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      Other artist collaborations within the restaurant include a hand-drawn chalk mural of jellyfish by artist Sam Angus Jackson, found above the sushi bar.
      Hand-woven wall hangings by Miami artist Elan Byrd decorate the series of private dining areas, which run along one end of the restaurant behind black-framed glass panels.
      Bright red wallpaper offers a contrast to the natural materialsPositioned over the bars and dining tables, lighting studio Warbach’s bespoke fixtures continue the woven motif.
      “The overhead large, custom basket light provides a warm glow to illuminate the wall’s shapes and textile-inspired characteristics,” said Michael Hsu’s team.
      The studio aimed to blend a variety of textures and materials throughout the restaurantMichael Hsu Office of Architecture has previously completed a restaurant with a curved wooden ceiling in its home city of Austin, Texas.
      The studio has also designed a remote home in Texas Hill Country and the interiors for Shake Shack’s headquarters in New York City.
      The photography is by Chase Daniel.
      Project credits:
      Owner: Hai HospitalityArchitect of record: Form Group ArchitectureGeneral contractor: City Construction GroupProject management: Amicon ManagementKitchen consultant: Trimark USAMEP: RPJ EngineeringLandscape designer: Plant the Future

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      Graypants converts slender space near Seattle into Tomo restaurant

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      Dark-toned wood and golden light are found in this Washington bar and eatery by design firm Graypants that alludes to a Japanese urban alleyway.

      Tomo is located in the community of White Center, which lies just south of Seattle. The dining establishment – which specialises in eclectic, seasonal cuisine – is named after the owner’s grandmother, Tomoko, and the Japanese word for friend, tomodachi.
      Dark-toned wood and golden light define Tomo restaurantGraypants, which has offices in Seattle and Amsterdam, was charged with creating a distinctive space on a limited budget.
      “The brief was to create something handcrafted in a short amount of time, using a modest budget, offering room for as many guests as possible, while ensuring each seat felt like the best one in the house,” the team said.
      Graypants created the space on a minimal budgetHoused in a low-slung building along a main thoroughfare, the restaurant has a long and slender floor plan. The front facade features storefront-style glazing and charcoal-coloured brick.

      Guests step into a dark-toned room with golden lighting and ample wood.
      The design alludes to a Japanese urban alleyway”Narrow and inviting, the experience references an evening in one the endless alleyways of Japanese cities,” the studio said.
      “The architecture aims to be demure and humble, letting the food be the centre of the experience,” the team added.
      Oak shingles arranged like fish scales line the wall with seatingLining one side of the restaurant is seating, which stretches along a wall clad in oak shingles arranged like fish scales.
      To the other side is a bar, along with a kitchen enclosed within slatted walls made of ebony-stained ash.
      The bar features ebony-stained ash”Wood is a centrepiece of the space,” the team said. “The mingling of wood throughout the space creates an understated, monochrome texture.”
      Most of the lighting elements were integrated directly into wall panels, bench seating and bar shelves, enabling them to be “felt but not seen”, the designers said.

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      The exception is an 80-foot (24-metre) linear fixture that extends the length of the restaurant.
      The team sought to save money wherever possible, without compromising on design quality.
      Most of the furniture was designed by GraypantsGraypants, with help from the studio Fin, designed and fabricated most of the fixtures and furniture, including the lighting, seating and tabletops. This helped reduce costs and shorten the construction timeframe.
      Each piece of furniture was finished with a zero-VOC topcoat.
      The architecture aims to be demure and humble, according to its designersThe outdoor tables, kitchen cladding and bar-back were fabricated using Richlite, a durable and locally sourced material that is made of resin-infused paper.
      “The team carefully chose their moves – like simply polishing existing concrete floors and investing in finishes that feel complex but are efficient to install, lowering construction cost,” the studio said.
      “The cost per square feet of this project is, conservatively, 35 per cent below the benchmark.”
      Low lighting is used throughout the restaurantOther restaurants in the Seattle area include the Samara bistro by Mutuus Studio, which features rustic materials and earth tones that create a “sense of timelessness and comfort”.
      The photography is by Adam Joseph Wells.
      Project credits:
      Designer: GraypantsDesign team: Seth Grizzle, Bryan Reed, Caleb Patterson, Alan MarreroFurniture designer and manufacturer: FinOwner and chef: Brady WilliamsOperations: Jessica PowersGeneral contractor: Shawn Landis

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      Rockwell Group models Casa Dani restaurant in New York on Andalusian patios

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      Olive trees and terracotta tiles create the impression of dining al fresco inside this New York City restaurant, designed by local firm Rockwell Group to resemble a traditional Spanish courtyard.

      The interior of Casa Dani, much like its menu, was conceived to celebrate the heritage of head chef Dani Garcia, who hails from the region of Andalusia on the southernmost tip of Spain.
      Terracotta tiles cover the walls and floors of Casa DaniThe restaurant is one of two high-end eateries found in the Citizens food hall in Manhattan West, which was designed by Rockwell Group and includes a number of bars and fast-food joints.
      Guests enter Casa Dani via a cosy lounge area with walnut parquet flooring, similar to what can be found in a typical Spanish villa.
      The restaurant is accessed via a cosy loungeOne side of the room is dominated by a drinks bar with a countertop crafted from deep-green marble and a base clad in slender tiles of the same hue.

      The other side of the room is panelled in stainless steel sheets, behind which lies the restaurant’s 30-foot-long kitchen.
      A band of glass running through the middle of the panels provides visitors with a direct view of the culinary theatrics that go into the preparation of each dish.
      Lantern-style lights hang above the tablesGuests must walk down a staircase with a leather-wrapped bannister to reach the vast dining room, where both the walls and floors are inlaid with terracotta tiles.
      Paired with hanging plants, lantern-style lights and a smattering of olive trees, this creates the impression of being in one of the central open-air patios found in traditional Andalusian houses.

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      Billowing lace curtains separate the banks of leather-upholstered seating, adding to the airy, al fresco feel.
      At the rear of the room, a towering fireplace is clad in glazed emerald-green tiles. Its rippling form is meant to echo the restaurant’s ceiling, which is covered in a sequence of convex panels.
      A huge fireplace sits towards the rear of the dining roomCasa Dani joins a number of hospitality projects that Rockwell Group has completed across New York City.
      Among them is Wayan, an Indonesian restaurant filled with an abundance of tropical plants, and the Moxy Chelsea hotel, which houses a mix of zany bars, eateries and space-saving guest suites.
      The photography is by Nikolas Koenig.

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