USA

Subterms

    More stories

    • 150 Shares169 Views

      in Rooms

      Studio Collective completes The Hotel at The Moore in Miami Design District

      by

      Design firm Studio Collective has created a boutique hotel inside The Moore building in Miami Design District, completing the landmark’s transformation into a multi-functional hospitality venue.

      Recently opened, The Hotel at The Moore occupies the building’s fourth floor and includes 13 suites designed by Studio Collective to feel like private residences.
      “The hotel suites are a new addition to the fourth floor, but were designed to fit the building’s original footprint within its historic interior,” said the hotel team.
      Each room inside The Hotel at The Moore has a unique design conceptThe rooms range from 700 to 1,000 square feet (65 to 93 square metres) and each is designed differently to create a unique experience for guests.
      One suite is decorated primarily in light neutral tones, where textured plaster walls allow walnut bed frames and furniture to stand out.

      Another features wood-panelled walls and woven textured ceilings, complemented by details like rattan lampshades, while colour is introduced through rugs and throw pillows.
      One suite features wood-panelled walls and a woven ceilingThe rooms include art and custom furnishings by makers such as Dallas-based furniture brand Mous and sustainably-focused Brazilian company Sossego.
      The Moore building’s central atrium features a sculptural installation by architect Zaha Hadid, titled Elastika, which was added in 2005 when the space was used as an events venue.
      Colour is subtly introduced through rugs and other detailsThe artwork has lent its name to a public restaurant that now occupies the space, where diners can enjoy a menu by chef Joe Anthony beneath the sinuous white forms that span across and up the four-level void.
      Interiors for the Elastika restaurant were created collaboratively by operators Woodhouse and design firm Icrave, and include velvet banquette seating and an 18-cover bar.

      Esme Hotel in Miami draws on the “bohemian grandeur” of its past

      Constructed in 1921 to as a showroom for Moore and Sons furniture, the neoclassical-style building now also accommodates a private members club, which has its own restaurant and dining room.
      Members also have access to a karaoke room, hidden cocktail lounges, game rooms, a library, various dining rooms with distinct themed decor, a photo booth, sun room and a late-night speakeasy called The Rabbit Hole.
      The Moore building’s lobby is outfitted with black and white flooring, and contrasting colourful furnitureThe Club spaces are populated with furniture and accessories in muted red, blue and green hues, and many have rounded shapes that echo the architectural details through the building.
      Lower levels have terracotta floor tiles, which are swapped for wooden planks on the upper storeys.
      The building’s Elastika restaurant sits within an atrium housing a Zaha Hadid-designed sculpture of the same nameBolder colours are used in the lobby area, where black and white marble flooring contrasts the bold tones of paintings and furniture.
      A grand black and honey-toned stone staircase connects the ground level with the open balconies that overlook the atrium and Elastika.
      Many of the furniture pieces in the building’s private members club are rounded to echo the architectural featuresMiami Design District continues to add distinctive architecture and retail interiors as it develops, from a sculptural block of buildings planned by Kengo Kuma to a Louis Vuitton store wrapped in a diamond-patterned facade completed by Marcel Wanders.
      Boutiques that have recently opened in the area include a Nodaleto shoe store, a Diesel store, and locations for PatBo and Cult Gaia.
      The photography is by Kris Tamburello.

      Read more: More

    • 138 Shares119 Views

      in Rooms

      Eight eclectic pizzerias that take the slice-shop to the next level

      by

      For our latest lookbook, we look at the interiors of contemporary pizzerias across the globe, including a pink vegan restaurant in London and a Mexico City space informed by a neighbouring church.

      From New York City to Italy, its country of origin, pizza is a beloved delicacy across the world. As a result, the humble pizzeria is trafficked by many, with some visitors whisking away a two-dollar slice and others packed into a booth to convene around a shared pie.
      The pizzerias below showcase a wide variety of styles, each boasting unique and eclectic features that display a careful consideration for a space often held in high regard by its customers.
      This is the latest in our lookbooks series, which provides visual inspiration from Dezeen’s archive. For more inspiration see previous lookbooks featuring soothing cabin interiors, versatile futons and daybeds and stylish shower curtains.

      Humble Pizza, UK, by Child Studio

      Pink tables and furniture contrasted with a dark green hue fill the interior of this vegan restaurant in London’s Chelsea neighbourhood.
      Local practice Child Studio designed the space to resemble the city’s workmen’s cafes of the 1950s, which typically featured pastel-coloured Formica surfaces and no-frills food and drink.
      Find out more about Humble Pizza ›
      The photo is by David DworkindVesta, Canada, by Ménard Dworkind
      Located in Montreal’s Villeray neighbourhood, the wood-panelled walls and marble table tops of Vesta take cues from New York pizzerias of the 1970s.
      “In its own contemporary way the design of Vesta evokes the spirit of Italian family restaurants common in North America during the 1970s,” Ménard Dworkind said.
      Find out more about Vesta ›
      The photo is by Nicholas VeneziaLala’s Brooklyn Apizza, USA, by Bench Architects
      Lala’s Brooklyn Apizza by Bench Architects is located in Brooklyn’s East Williamsburg neighbourhood, atop a brewery that was formally an industrial space.
      Lightwood picnic benches were used on the interior and attached terrace, while bright, solid-coloured tiles and magenta curtains line the space.
      Find out more about Grimm
      The photo is by Patrick SchüttlerDough Pizza, Australia, by Ohlo Studio
      The “rustic sophistication” of Italy was evoked with red-toned tiles and light woods for Dough Pizza in Perth, which sits in a shopping centre.
      “It needed to evoke a distinct atmosphere and personality reinforcing the cultural heritage behind the food,” said Ohlo Studio.
      Find out more about Dough Pizza ›
      The photo is by Simone BossiMyrto, Italy, by Studio Wok
      Studio Wok created this pizzeria on Sardinia to reflect the island’s natural surroundings, such as its earthy tones and granite rocks.
      The winds of the area erode and carve out the granite rocks, which the studio reflected in the walls covered in pink plaster, a concrete floor and arched openings.
      Find out more about Myrto ›

      The photo is by Blaine DavisSIMÒ Pizza, USA, by Büro Koray Duman
      Located in the Greenwich Village neighbourhood of New York City, SIMÒ Pizza is lined with shelving made of Italian volcanic stone and wallpaper printed with a flour graphic.
      Its pizza ovens sit in a centre block, which is lined in patterned wood and a green tiled countertop.
      Find out more about SIMÒ Pizza ›
      The photo is by Arturo ArrietaPizzeria Della Madonna, Mexico, by Sofía Betancur
      The pizza oven of Pizzeria Della Madonna sits in full view, surrounded by tiled and plaster walls and wood flooring.
      Architect Sofía Betancur took cues from the Parroquia de la Sagrada Familia church, which sits next door, for the space.
      Find out more about Pizzeria Della Madonna ›
      The photo is by Mikko RyhänenPopolo, Finland, by Studio Joanna Laajisto
      Studio Joanna Laajisto designed Popolo to be a cosy retreat on the slopes of Pyhä Ski Resort in northern Finland.
      Leather benches, wooden tables, copper lamps and candleholders were used to evoke a sense of warmth and were paired with slate flooring and dark wood panelling.
      Find out more about Popolo ›

      Read more: More

    • 100 Shares109 Views

      in Rooms

      Office of Tangible Space redesigns Brooklyn Museum Cafe

      by

      New York studio Office of Tangible Space has refreshed the interiors of the cafe at the Brooklyn Museum, ahead of the institution’s 200th anniversary next year.

      The Brooklyn Museum Cafe is located in the building’s light-filled entry pavilion, which was added to the original beaux-arts building in 2004 by Polshek Partnership Architects (now Ennead Architects).
      Furniture at the redesigned Brooklyn Museum Cafe is laid out like “islands and streams”Serving a menu by local restaurateur and sommelier André Hueston Mack, who runs the neighborhood restaurant & Sons, the redesigned cafe is intended for locals and museum-goers to enjoy light bites and drinks.
      “Playing off the mission of the museum, [we] envisioned the cafe as a Brooklyn stoop where all are invited,” said Office of Tangible Space. “The space embodies the playfulness, creativity, craft, and expression that make Brooklyn and Brooklynites so unique.”
      The cafe occupies a portion of the building’s light-filled entry pavilionThe locally based studio created a fluid layout that allows visitors to meander through the space.

      Furniture is arranged in “islands and streams” that can accommodate diners in varied group sizes, as well as those stopping for a casual coffee.
      Periwinkle-hued tables with angled sides form snaking shapes through the space”The space is anchored by large islands of seating and undulating streams of custom tables indicating the walking paths,” said Office of Tangible Space.
      Aluminium chairs with seats and backs perforated with large holes accompany tables, including circular wooden designs for up to six guests and dark green two-tops.
      Dark green two-top tables are accompanied by aluminium chairs perforated with large holesOther tables made from folded sheets of thin periwinkle-hued metal have angled sides, allowing them to form snaking shapes when lined up in a row.
      Round cushioned poufs upholstered in pale blue and green are placed around the perimeter, which is demarcated by a set of freestanding wooden dividers and potted plants.

      OEO Studio uses materials in a “playful way” for Designmuseum Denmark cafe and shop

      “The incorporation of bold color and material add to playfulness and tactility of the space,” the studio said.
      For the new space, the museum and Office of Tangible Space commissioned 10 local artists to design one-off stools that are peppered through the cafe.
      Large round poufs are provided for more casual seatingThe handcrafted wooden seats, manufactured by Sundays, have been customised by Minjae Kim, Chen Chen and Kai Williams, Ellen Pong, Kim Mupangilaï and more.
      “These handcrafted pieces not only complement the cafe’s design but also echo the philosophy that food, like art, is an immersive experience – engaging the senses, sparking conversation, and creating a connection between the creator and the audience,” said Office of Tangible Space.
      The cafe was redesigned ahead of the Brooklyn Museum’s 200th anniversaryThe Brooklyn Museum’s building, designed by McKim, Mead & White and completed in 1895, will host a variety of exhibitions and events planned to celebrate its bicentenary.
      These include Breaking the Mold: Brooklyn Museum at 200, a showcase celebrating the institution’s collection and legacy that opens in February 2025.
      Founded by Michael Yarinsky and Kelley Perumbeti, Office of Tangible Space was longlisted in the emerging interior designer of the year category of Dezeen Awards 2020.
      The photography is by Matthew Gordon.

      Read more: More

    • 163 Shares169 Views

      in Rooms

      Weiszblüth & Brown designs tiny Thai eatery in LA that “packs a punch”

      by

      Diners pack tightly into this informal Thai restaurant in Los Angeles, which local studio Weiszblüth & Brown has designed to echo the intense flavours of the food served.

      Holy Basil Market has 16 seats within just 90 square feet (8.4 square metres) of space in Atwater Village, following a highly successful first location Downtown.
      Holy Basil Market has space for just 16 diners, who are accommodated thanks to flexible furnitureChefs and partners Wedchayan “Deau” Arpapornnopparat and Tongkmala “Joy” Yuons tasked Weiszblüth & Brown with maximising the compact unit so that the restaurant would feel as bustling as a Bangkok street market.
      “Weiszblüth & Brown took cues from the chef’s tendency for bright, intense flavors and hard-edge branding,” said the studio. “The space, like the food, packs a punch.”
      The stainless steel service counter has a low shelf for guestsDue to the lack of floor area, the designers removed the visual barrier between back and front of house, continuing the stainless steel from the kitchen into the dining space.

      A metal service counter has a lower shelf for diners to perch against, while the same material appears as small chairs and stools.
      Red baskets are stacked to create bases for tables that can easily be moved or put awayBright red rectangular baskets are stacked along the wall to form shelving and act as bases for flexible tables that can easily be rearranged.
      Tops for these ad-hoc tables were specially designed to slot neatly over two boxes and are wrapped in vinyl that’s covered with imagery of food laid on a tablecloth.
      Stainless steel storage containers and utensils add to the restaurant’s informal vibeThe baskets can also be upturned and used at extra stools during busy periods, or stored to the side if more floor area is required.
      Additional seating is provided in a partially covered area outside the entrance, under a neon sign that spells out the restaurant’s name.

      Studio Tarea creates “90s fever dream” inside pink Richmond eatery

      Glass panels and doors fill an arched opening that provides views into to brightly lit space from the alley.
      “Eater LA described the space as ‘almost suffocatingly intimate’, and it’s a feat of hospitality that Deau and Joy are able to welcome so many into such a small space,” said Weiszblüth & Brown.
      The table tops are wrapped in vinyl that’s covered with imagery of food laid on a tableclothA trend for more intimate dining spaces appears to be gaining popularity in the US, evident in the launch of several restaurants that can seat just a handful of guests.
      An all-pink restaurant with 18 covers recently opened in Richmond, Virginia, while an omakase spot with room for only eight in New York began welcoming diners earlier this year.
      Additional seating is provided outside the entrance, which is via glass doors within an arched windowCeramicist Alex Reed and architectural designer Dutra Brown founded Weiszblüth & Brown after Dezeen published their Harvest Shop pop-up designed for lifestyle brand Flamingo Estate in 2020.
      The project was shortlisted in the small retail interior category of Dezeen Awards 2021, and the duo then formalised their collaborative practice that works from product to architecture scale.
      The photography is by Patcha.

      Read more: More

    • 138 Shares189 Views

      in Rooms

      Gachot Studios refreshes lounge at The Metropolitan Opera in New York

      by

      New York-based Gachot Studios has redesigned the patrons lounge at The Metropolitan Opera, imbuing the space with rich materials like textured wallpaper, black granite and brass accents.

      Gachot Studios transformed the Keebler J Straz Lounge while keeping the 1,861-square-foot space aligned with its ornate surroundings.
      The bar at the refreshed Keebler J Straz Lounge features a matte brass front and black stone topStudio founders and opera lovers John and Christine Gachot have a personal connection to the venue, which is part of the Lincoln Center complex designed by American architect Wallace K Harrison and opened in 1966.
      “Our son, who attended LaGuardia High School, would walk past The Met Opera every day on his way to school,” said the couple. “As New Yorkers, we value city institutions like The Met with its incredible history and cultural influence.”
      Wall-to-wall carpet in a rust hue complements the palette chosen for furnitureThe lounge was originally designed by late American decorator Billy Baldwin, and Gachot Studios referenced his layout and some of the furnishings as part of the redesign.

      “It had an intimate residential feel with various deep sofas defining seating areas,” said Gachot Studios. “The new furniture layout draws inspiration from Baldwin’s thoughtful arrangement with four lounge seating groups.”
      Brass accents including bar-top lighting are found throughout the patron’s loungeA series of upholstered screens that were once used to delineate the different lounge areas were reinterpreted as walnut-framed panels that direct guest flow from the entrance and conceal the back-of-house door.
      The arc-shaped bar is fronted by matte brass panels and topped with a curved slab of black granite.
      Seating and tables from Roche Bobois were customised to accommodate guests of all agesBronze-tinted mirrors in the back bar area reflect the room’s gold-painted ceiling and provide a mount surface for delicate shelving and a vintage clock.
      Sheer drapes are hung across the windows, and the wall are covered in textured wallpaper between vertical bands of polished brass.

      Gachot Studios creates cosy New York neighbourhood bar

      Rust-coloured wall-to-wall carpet provides a plush finish underfoot, and complements the palette of furniture pieces in cream, blush, caramel, oxblood, and various brown and black tones.
      The seating and tables from French brand Roche Bobois were customised “to accommodate for patrons of all ages” Gachot Studios said.
      Textured wallpaper sits between vertical strips of polished brassA dining area behind the bar is also provided for those wanting to sit more formally or use the space for meetings.
      Architectural lighting is kept to a minimum so as not to detract from the ceiling, while sconces, floor lamps and table lamps by Hudson Valley Lighting offer a warm glow.
      Black and white photos from The Metropolitan Opera’s history adorn the wallsThe majority of the furniture and decor can be rearranged to accommodate events beyond the use of the space before performances or during intermissions.
      “In a building that requires a balance between grandeur and practicality, the lounge is no different,” said the studio.
      Gachot Studios reinterpreted the screens originally designed for the lounge by Billy BaldwinElle Décor magazine collaborated with the opera and the studio to secure furnishings and fittings for the project.
      Founded in 2012, Gachot Studios has completed several hospitality and commercial projects across the US.
      These range from boutique hotels in Detroit and Washington DC, to the New York flagship store for cosmetics brand Glossier.
      The photography is by William Jess Laird.

      Read more: More

    • 138 Shares199 Views

      in Rooms

      Neri Oxman launches New York practice in Foster + Partners-designed studio

      by

      Designer Neri Oxman has unveiled a studio in Midtown Manhattan designed with architecture studio Foster + Partners that houses a production workshop and wet lab.

      Oxman unveiled the lab for her studio, Oxman, in a building originally designed by American architect Albert Kahn as a car manufacturing plant and renovated by Rafael Viñoly Architects to house shops and offices.
      Neri Oxman has unveiled a studio designed with British architecture studio Foster + PartnersOxman’s team worked with Foster + Partners to design a two-storey studio on the 9th and 10th floors of the building.
      The 36,000-square-foot space (3,345 square metres) is characterised by white-painted walls and columns, and is largely open – most of the dividing walls are glass. The lower floor features design offices, a library, kitchen and lounge, while the upper floor holds the wet lab and production studio.
      “Every detail of this project has been developed in conjunction with Neri and her team, reflecting Oxman’s holistic approach that spans scales and disciplines,” said Foster + Partners founder Norman Foster.

      “Both levels of the new studio have their own distinctive characters and contain a range of highly adaptable workspaces and labs, which enhance creativity and will become an epicenter of world-leading research.”
      The studio is located in a building designed by Louis Kahn and renovated by Rafael Viñoly ArchitectsOxman said that the design of the studio was meant to be open, flexible and technical to enable collaboration between the designers, scientists, architects and other employees who work there.
      She said that the space was meant to facilitate the actualisation of her The Krebs Cycle of Creativity – a rendition of German-British scientist Hans Krebs’ diagram depicting stages of energy generation in organisms.
      It is two storeys and contains a wet lab and central glass staircase”The dream for this building, this lab was to embody the diagram,” said Oxman.
      “The lab looks clean and nice on the inside, but inside, packed in the ceiling and in the ground, are conduits that are embedded for insert allowing access to data, to power, to gasses that feed the workstations – there’s 70 miles worth of Ethernet and an optical cable for cloud computing.”
      It is characterised by white-painted walls, glass dividers and wooden furnitureThe entrance space for the studio is a central atrium lit from above by panel lights in the ceiling that conceal the complex mechanical systems, including over 100 miles of colour-coded cabling to enable high-speed data.
      One side of the first floor holds the design studio where rows of custom-produced wooden desks run perpendicular to the floor-to-ceiling glass windows that overlook the high-rises of Hell’s Kitchen. A garden terrace with walkways and plants runs outside the windows.
      Conduits in the walls allow for access to data, power and gasses according to OxmanOpposite the windows run a series of private offices, completely lined in glass, with vitrines featuring samples of Oxman’s work, serving as visible dividers between each wood-backed space.
      On the other side of the first level, past a central stair, is a long conference table used for displaying work and models, and behind that a series of enclosed spaces for respite.
      It is meant to foster collaboration between employeesThe floating staircase was custom-designed for the space and has a single stringer at the top of the space and interlocking glass panels.
      The second storey holds a production workshop with robotic arms and 3D printers to fabricate shoes made from polyhydroxyalkanoates (PHAs) – plastic-like molecules derived from bacteria.
      The interior is largely openAcross an atrium is a wet lab with custom Krion benches. Opposite the windows are a series of “capsules” that are heavily mechanized and can be used to simulate natural environments.
      According to Oxman, the studio is currently working on three primary areas: urban design and architecture, product design and molecular biology.
      The space was meant to facilitate the actualisation of The Krebs Cycle of CreativityOne of the biology products is a device called ALEF, which uses sensors to monitor biodiversity by training it to intake biogenic volatile organic compounds – described as “smells” – to provide data about environments.
      “From a biodiversity chamber designed to study and heal a struggling ecosystem to a ‘scent computer’ designed to concoct a functionalized fragrance with no harm to the environment, we seek to advance our understanding of the natural world while offering alternatives to methods of designing molecular goods that rely on monocropping,” said Oxman.
      “In fact, one of the most ecologically biodiverse environments in New York City currently thrives in our lab.”

      Neri Oxman and Bill Ackman told to alter Norman Foster design for their New York penthouse

      The opening of the studio corresponds with the announcement of this endeavor, as well as the bioplastic shoes and a series of modelling systems for urban design based on what Oxman calls “ecological programming” – AI-driven modelling programs used to make planning decisions to optimise for nonhuman, as well as human, life.
      “The Lab’s organizational ‘parti sketch’ perfectly mirrors the organizational and operational logic of the company, enabling tight physical and visual connectivity across zones dedicated to hardware, software, and wetware design,” said Oxman. “In other words, one can design, build, and deploy a bioreactor in a matter of hours.”
      “We are a design and innovation company,” she said. “We operate across scales, across disciplines and application domains, to target and to heal three broken industries.”
      The opening corresponds with a biology product called ALEFOxman, who is a former tenured professor at MIT and led The Mediated Matter Research Group, is known for her experiments in novel materials for construction such as melanin and silk.
      Earlier this year Oxman was caught up in an academic plagiarism row with Business Insider reporting that her dissertation was “marred by plagiarism”. She responded to allegations in a statement on X, formerly Twitter, saying she “omitted quotation marks for certain work that I used”.
      The photography is by Nicholas Calcott
      Project credits: 
      Collaborators: Foster + Partners, Adamson Associates Architects, Sciame HomesConsultants: Benchmark Woodworking, Cosentini Associates, Front Inc., Hollander Design, Jacobs Associates, Pentagram, Percival Scientific, Inc., Persak & Wurmfeld, Shen Milsom & Wilke, LLC, Silman, Spiralis, Syzygy 3, Inc., Tillotson & Associates, TKO Project Management

      Read more: More

    • 138 Shares169 Views

      in Rooms

      Futurestudio designs New York bathhouse to be both transportive and grounding

      by

      Canada’s Futurestudio has designed the interiors for wellness space Othership’s first location in New York City, employing a deep, earthy palette and atmospheric lighting to heighten the experience for guests.

      The 9,550-square-foot (887 square metres) sauna and ice bath experience in Manhattan’s Flatiron District is Othership’s third outpost, following those in Toronto’s Adelaide and Yorkville areas.
      At the entrance to Othership, a patchwork curtain blocks views from the streetAt Flatiron, “journeyers” have access to a spacious 640-square-foot (59-square-metre) performance sauna and ice baths for up to 16 people in a private cold sanctuary room.
      There’s also an amphitheatre-style tea lounge, where guests can gather around a central fireplace to socialise.
      Cedar panelling along the corridors visually extends the sauna experience into public areasFuturestudio, led by founding principal Ali McQuaid Mitchell, designed the interiors to feel equally transportive and grounding.

      In the reception area, a curtain of custom-designed patchwork textile softens the entry and blocks views from the street.
      Atmospheric lighting is used throughout, including around the plunge poolsCedar panelling behind the counter and along the corridors visually extends the sauna experience into public areas.
      Narrow ceramic tiles stacked in a variety of bonds and pebbled river-stone flooring installed in the wet zones both add pattern and texture.
      River stones are used for flooring in the wet areasThe saunas are designed to provide heat up to 190 degrees Fahrenheit (88 degrees Celsius), with aromatic snowballs providing humidity that feels like 200 degrees Fahrenheit (93 degrees Celsius). The custom-designed ice baths are kept as low as 32 degrees Fahrenheit (zero degrees Celsius).
      Between sessions, guests are encouraged to relax and converse in the 700-square-foot (65-square-metre) tea lounge on bleacher-style seating around a full-height central fireplace.
      Performance saunas are designed to reach up to 190 degrees Fahrenheit (88 degrees Celsius)A halo-shaped light, custom-designed by Futurestudio and Anony, circles the stack and shifts colours to mimic sunrise, sunset and moonlight.
      “At Othership, every element harmonises to support the founders’ vision of redefining wellness through immersive and connecting experiences,” said McQuaid Mitchell.

      Bathhouse spa with sensory deprivation tank opens in old Williamsburg soda factory

      The tradition of hot and cold bathing dates back to the Roman period, and is said to bring about an array of health benefits.
      “As a society, we’re starting to think much more about how much our emotional state impacts not only our physical health, but day-to-day life,” said Robert Bent, co-founder and CEO of Othership. “Othership’s unique take on hot and cold therapy has helped over 200,000 people de-stress and transform their relationships.”
      Guests can relax and socialise around a fireplace illuminated by a custom light fixtureSpa and bathing experiences are gaining popular as social spaces in New York City, offering an alternative to bars and restaurants.
      “People are tired of going to a bar or restaurant in order to have a social night out; there needs to be a better way,” said Amanda Laine, Othership co-founder and lead facilitator. “People want to reconnect with themselves, relax, drop their guard, and feel safe.”
      Lighting plays an important role in setting the mood throughout the bathhouseAnother brand, Bathhouse, recently opened a second location – also in the Flatiron District – following its Brooklyn venue in a converted soda factory that was shortlisted for leisure and wellness interior of the year at Dezeen Awards 2020.
      In other parts of the world, bathhouses with notable interiors include a space in Tokyo designed as a contemporary take on a traditional sento, and a white marble mikveh used by Mexico City’s Orthodox Jewish community.
      The photography is by Ian Patterson.

      Read more: More

    • 125 Shares179 Views

      in Rooms

      Studio Tarea creates “90s fever dream” inside pink Richmond eatery

      by

      Pink walls, carpet and upholstery define this intimate restaurant and cocktail bar in Richmond, Virginia, designed by locally based Studio Tarea.

      Pink Room was created in a former studio apartment, transformed into what Studio Tarea describes as “a 90s fever dream where you can have a cocktail made from concrete”.
      A studio apartment was transformed to create the compact Pink RoomThe team renovated the space for chef Brittanny Anderson, creating an 18-seat restaurant in which she can cook a weekly updated menu while conversing with her guests.
      “Between the short timeline, the tiny footprint, and the client’s vision of bright colors and funky textures, it was a test for us,” said studio co-founder Nolan Beck Rivera.
      The restaurant’s large windows are veiled with silver-bead curtainsWith partner Cameron Billinghurst, the studio looked to girls’ bedrooms in the 1990s that featured Spice Girls posters and fluffy bedding as primary references.

      The aim was to elevate this nostalgic aesthetic with materials including glass and polished metal to offset the bright colours and plush textures. “We found a nice balance between our modernist tastes and Brittanny’s maximalist vision,” Rivera said.
      Glass and metal tables were chosen to offset the all-pink paletteThick-piled carpet with colour-blocked patterning forms a soft covering across the floor, helping to dampen acoustic echoes
      Across the ceiling, a collage created by artist Monsieur Zohore depicts women in pop culture with food.
      Food is plated and served from a small open kitchen, from which the chef can converse with her guestsFrom the compact kitchen, food is plated and passed to a peninsula with bar seats for four, or served to the five glass and metal tables.
      Two four-tops are positioned in the centre of the room, while three two-tops share a cushioned and upholstered banquette along the wall.
      Several pop-culture references are sprinkled throughout the interiorLarge windows are veiled in silver-bead curtains that partially conceal the view from the street.
      Smoked polycarbonate sliding doors disguise the powder room, in the apartment’s former bathroom past the kitchen, where a vintage mirror hangs above basin.

      Akin Atelier designs JAM Record Bar to feel like being “inside a giant speaker”

      A trio of polished nickel sconces are mounted on the dining room wall, while three glossy ceramic pendants hang above the peninsula.
      Additional cove and under-shelf lighting glow orange and pink as the evening service draws later, adding to the experience.
      The mood is set by lighting that includes nickel-plated sconces”Part of the experience of eating there is looking around at the unique light fixtures, trying to find the hidden Miss Piggies, spotting pop-culture references,” said Rivera.
      “Obviously Brittanny’s food is the centrepiece, but the interiors really complement it.”
      The apartment bathroom was upgraded to a powder room, which includes a vintage mirrorPink in its many shades is a popular choice for restaurant decor, from Ken Fulk’s pastel-hued Swan in Miami to the bold monochrome JAM Record Bar in Sydney by Akin Atelier.
      Meanwhile, other eateries that have taken a different monochromatic approach include the all-blue Only Love Strangers in Manhattan’s Lower East Side, and the buttery yellow San Sabino the West Village.
      The photography is by Nolan Beck Rivera.

      Read more: More