interiors Archives

External Reference creates 3D-printed organic displays for La Manso store

3D-printed shelving structures informed by Catalan-modernist buildings were used for shelving in this store designed by External Reference for a Spanish jewellery brand.

Experimental jewellery designer Adriana Manso asked Carmelo Zappulla’s studio External Reference to develop a suitably unusual interior concept for her first physical store in the city.

Exterior of La Manso store in Barcelona — The store is in the Eixample district

The project involved designing a window display and shelving for the 25-square-metre store, which is located in Barcelona’s Eixample district just a few metres from the house where Manso was born.

Manso is known for her playful pieces made from recycled plastic, which she wanted to display in a space that evokes the luxury feel of an haute-couture boutique.

Interior of La Manso — It features a 3D-printed interior informed by architecture

External Reference sought to combine the contemporary plasticity of La Manso’s jewellery with motifs influenced by Barcelona’s early 20th-century architecture, including the building in which the store is situated.

“Our design concept revolved around bringing the exterior facade inside, creating a melted and fluid background that would serve as an artistic canvas for showcasing the jewellery,” Zappulla told Dezeen.

“By blending the expressive elements of Catalan modernism with the organic forms inspired by La Manso design, our goal was to craft a visually captivating environment that elevates the overall shopping experience.”

Floral details in Barcelona store — External Reference created wavy shapes for the space

The designers selected fragments from the decorative facade and abstracted them using a process involving hand drawing and computational design techniques.

In particular, floral details from the elaborate canopy at the store’s entrance were reinterpreted as large rosettes incorporating futuristic glitches and bas-reliefs.

The organic shapes form shelving units that range in height from 90 centimetres to 1.7 metres. Jewellery and accessories are displayed on the shelves, as well as on a small table at the centre of the space.

The furniture is made from biodegradable cellulose and was produced with technical support from specialist 3D-printing workshop La Máquina.

Zappulla and his team refined the digital models to optimise them for printing. This involved splitting them into manageable parts that could be processed by the machine’s robotic arm.

Barcelona jewellery store — The aim was to provide a neutral backdrop

All of the printed elements are finished in a muted off-white shade that matches the rest of the interior and provides a neutral backdrop for displaying the jewellery.

Large, mirrored surfaces help to make the interior feel more expansive, while spotlights provide targeted illumination for highlighting the collection.

In addition to the main furniture, the designers also developed a window display and 3D-printed signage that extend the store’s conceptual design out into the street.

Shelving at La Manso — The La Manso interior has a muted colour palette

Large-scale 3D-printing technology offers designers possibilities to create unique elements for branded interiors, which makes it increasingly popular for retail spaces.

Spanish design studio Nagami has created a store for sustainable clothing brand Ecoalf featuring transparent 3D-printed displays that recall melting glaciers, while Dutch architecture practice Studio RAP used the technology to produce a wave-like tiled facade for an Amsterdam boutique.

The photography is courtesy of External Reference.

Reference

Interior Design

Rockwell Group creates atmospheric lobby and restaurant at PAC NYC

By Zarkon Group,20/12/2023

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

The studio founded by designer David Rockwell recently completed the public spaces that include the Metropolis restaurant and adjoining lounge areas within the cube-shaped building, which local architecture studio Rex wrapped in thin marble panels.

Small stage with low lounge seating in front — The lobby of the PAC NYC venue includes a stage for programmed performances

The volume holds three flexible and interchangeable theatres that can be infinitely customised for different performance styles, artistic expressions and viewing experiences.

These are accessed via the elevated lobby level, reached by climbing a grand exterior staircase that draws visitors under the building’s cube form and up through its base.

A bridge with seating behind a translucent marble facade — A bridge behind the building’s translucent marble facade accommodates seating

This dramatic entry sequence culminates at a lobby lounge and restaurant that form a new 9,120-square-foot (847 square metres) “community space” for Lower Manhattan, according to Rockwell.

“The restaurant is intentionally woven throughout the public experience,” he told Dezeen. “There is no hard line between the lobby lounge, restaurant, and terrace, with one space melting into the next.”

Entrance to Metropolis restaurant at PAC NYC — The lobby flows into the Metropolis restaurant, located the other side of angled trusses

The designer’s primary aim was to provide “a celebratory, communal atmosphere; connecting guests, whether you’re the first party there for dinner or the last one there post-show”.

Rockwell’s combined experience in hospitality and performance design – he has won multiple Tony Awards for his Broadway sets – helped him to craft a seamless experience between these connected functions.

LED lights within wooden ribbons across the ceiling — LED lights within wooden ribbons follow pathways and form “nodes” above gathering areas

“Creating a magical journey up into PAC NYC and intertwined with the lobby was a thrilling challenge, especially because the lobby and Metropolis will be host to many free performances on the small stage there,” said the designer.

This stage will feature a varied program of performers who will entertain diners from a carefully placed vantage point, which allows sightlines from all corners of the lobby and restaurant.

The highlighted gathering spaces include the bar

Lounge seating for up to 30 positioned closest to the stage is intentionally low-slung, so as not to obstruct the views for those further away.

A bridge that runs along the inner side of the translucent stone facade holds additional seating, overlooking the grand entry staircase through huge panes of glass.

Dining tables between leather chairs and banquettes — Jewel-toned fabrics and textured surfaces warm the interiors

The Metropolis restaurant is helmed by Swedish-Ethiopian chef Marcus Samuelsson, and serves an elevated, eclectic menu billed as “a love letter to New York City” to both performancegoers and the general public.

Beyond the host stand and the diagonal structural trusses that flank it, the layout is split down the middle, with soft seating arranged on either side of the central axis.

Wide view of Metropolis restaurant — Rockwell Group designed the restaurant and lobby to act as a “communal space” for Lower Manhattan

“The furniture is designed for flexibility and comfort, defined by several smaller areas with lots of seating variety, made up of banquettes and loose furniture and organised around a collection of vintage area rugs,” said Rockwell.

Glowing bands within sapele wood ribbons trace curved shapes across its ceiling, beckoning guests into the space and also highlighting key areas for gathering such as the bar with chandelier-like “nodes” overhead.

Jewel-toned upholstery pairs with rich walnut panelling for a warm and inviting feel, and the fabrics and other textured surfaces soften the polished concrete flooring.

A 70-seat outdoor terrace at the back of the building will also offer al fresco dining during the summer months, visible from the interior through a huge glass wall.

Outdoor dining terrace in front of marble building facade — There’s space for 70 al fresco diners on the outdoor terrace

There’s also a speakeasy-like private dining room for intimate gatherings of up to 16.

PAC NYC is one of the final pieces in the 16-acre World Trade Center redevelopment masterplan, joining skyscrapers by SOM, RSHP, and SANAA, the transit hub and a church by Santiago Calatrava, and a 9/11 Museum by Snøhetta.

Seating on outdoor terrace with New York skyscrapers in the background — Rockwell aimed to create “a celebratory, communal atmosphere” both inside and out

Celebrating its 40th anniversary next year, Rockwell Group has designed interiors for restaurants all over Manhattan, including Zaytinya, Katsuya, Casa Dani and Wayan.

The firm also worked on The Shed venue at Hudson Yards, which also hosts performances along with exhibitions and other events within a highly flexible space beneath a giant “telescoping” cover.

The photography is by Adrian Gaut.

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Interior Design

Martin Brudnizki designs Gilded Age-interiors for Fifth Avenue hotel

By Zarkon Group,18/12/2023

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

The Fifth Avenue Hotel sits on the site of what was once one of the last mansions of The Gilded Age.

Throughout the late 19th century, the home of Charlotte Goodridge at 250 Fifth Avenue hosted receptions and musical evenings as part of New York’s social season.

Green classical screen separates bedroom spaces — Classical fixtures contrast a contemporary colour palette in the hotel’s rooms

Perkins Eastman added a 24-storey glass tower, designed with PBDW Architects, to the five-storey brick and limestone building.

This was originally designed by McKim, Mead & White as the Second National Bank in 1907, replacing Goodridge’s 19th century home.

Drawing on the history of the neighbourhood and heritage of the building, Martin Brudnizki Design Studio (MBDS) aimed to create an aesthetic for the new hotel that would embrace “Bohemian romanticism and the glamour of the gilded age,” while maintaining contemporary styling.

Green walls and ornate fittings and fixtures — Martin Brudnizki has employed colour and texture to reflect global travels

“One of the biggest challenges was that we were working with both an existing and a new building at the same time, which each presented their own challenges architecturally,” studio founder Martin Brudnizki told Dezeen.

“We worked with the architects to marry the historic narrative with the contemporary tower addition, which reflects New York today, and the concept of the modern traveller,” he said.

Yellow curtains in The Fifth — A corner bedroom features yellow curtains

Rooms feature a rich colour palette of garden greens, buttercup yellow and peony pink with gold accents.

Bold patterns and textures jostle each other in a “harmonious and fun way, juxtaposing modernity with the classic finishings,” the designer said.

green walls and bespoke coffee tables at The Fifth Avenue hotel — The hotel’s walls host an extensive art collection

“The intersection of interiors with architecture is so important. The mansion is a much more classical response to the history and details of the building, whilst the tower enthuses a more modern touch,” Brudnizki explained.

“Both are unified by the choices of colours and certain furniture, fixtures and equipment that carry between the two sites.”

Bedrooms feature a global blend of references, including Pagoda-style table lamps, custom wardrobes informed by traditional Chinese cabinets, antique inlaid side tables, Murano glass chandeliers and star-like ceiling lights.

The double-height entrance lobby features walls panelled with faceted antique mirrors, marble floors and grand arched windows – which echo throughout the hotel bedrooms as room dividers between sleeping and sitting areas.

Rich colours evoke the gilded age — Rooms have been designed to have a residential feel

“We loved the idea that all these great characters had once walked along the boulevard of Fifth Avenue and the fabulous parties hosted within the mansions of Fifth Avenue; the people and the conversations that took place,” said Brudnizki.

“We wanted to create a space that felt as though its interiors had been brought together over time, pulling items from our muse’s travels and adventures from across the globe.”

Double height lobby at The Fifth Avenue Hotel manhattan — Antique glass panelling and modern mirrored artworks fill the double-height lobby

“It is a truly eclectic and layered project that is intended to feel as though it has been around since the days of The Gilded Age,” the designer concluded.

Other boutique hotels recently published on Dezeen include Christian Louboutin’s hotel Vermelho in Portugal and Trunk Hotel Yoyogi Park in Tokyo, by Keiji Ashizawa Design and Norm Architects.

Photography is by William Abranowicz.

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Interior Design

Pierre Yovanovitch opens design gallery in New York City penthouse

By Zarkon Group,17/12/2023

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

Recognisable designs including the iconic Bear Chair fill the 10,000 square feet (930 square metres) of gallery and office space on the penthouse level of 555 West 25th Street.

Dining table with eight round-backed chairs, and a light fixture above — Pierre Yovanovitch chose a penthouse in a pre-war building for his New York gallery

This business expansion offers a permanent base for Yovanovitch and his team in New York, and allows customers and clients from his largest retail market to see the Pierre Yovanovitch Mobilier products first-hand.

“Having worked on residential projects in the US since the beginning of my practice in 2001 and with two successful furniture collection debuts (2017 and 2019) in New York, the opening of my first gallery space in America and new official New York headquarters, is a long-awaited realization for me,” said Yovanovitch.

Room with exposed ceiling beams, whitewashed brick and dark wood floors — The exposed ceiling beams, whitewashed brick and dark wood floors are all typical of a New York loft

Inside the pre-war building, the gallery unfolds through a series of partial rooms that flow into one another without doorways or thresholds.

Throughout, exposed ceiling joists and ductwork are paired with dark wood flooring and whitewashed brick, typical of a New York loft space.

Furniture pieces styled like a living room — The gallery is laid out as a series of residential-style vignettes, which flow into one another

The largest display area centres around a sculptural fireplace, with a smooth plaster form that curves outward towards the base.

Furniture is oriented around the hearth, including a gently arced sofa and a chartreuse-toned resin coffee table, accompanied by the fluffy wing-backed Clifford armchair.

Wooden dining table with glass light above — Yovanovitch curated a selection of artworks to accompany his furniture pieces

A variety of lounge and dining room vignettes showcase the products in suggested combinations with one another in residential-style layouts.

Other designs on show include the new Callis Table Lamp, the Roze Dining Table, the Arthur Sofa and the Artemis Rug.

Living room vignette facing a fireplace — A variety of signature furniture and lighting designs are on display alongside new pieces

All are made in collaboration with specialist craftspeople and are “created with longevity and exceptional quality in mind” according to the brand.

“The brand pays homage to Yovanovitch’s Provencal roots, in particular the region’s natural light, rich and varied natural materials and colourways of the surrounding nature, as well as the historic commitment to craft associated with the region,” said a statement from the gallery.

The wide array of furniture and lighting pieces are presented alongside a selection of contemporary art curated by Yovanovitch – including works by Camille Henrot, Wolfgang Tillmans and Alicja Kwade – in an attempt to tie the gallery in with Chelsea’s status as an arts destination.

“It seems only fitting to open my first gallery location in the epicenter of New York’s art scene,” he said. “Not only is contemporary art central to my design practice, the neighborhood’s architectural history serves as reflection to my approach of revitalising historic spaces to fit a contemporary design aesthetic.”

Long dining table with blue and white upholstered chairs — All of the Pierre Yovanovitch Mobilier products are “created with longevity and exceptional-quality in mind”

The New York gallery opening follows the debut of the brand’s new Paris showroom, which began welcoming visitors to a street-level space in the Marais neighbourhood from October 2023.

This move from the previous location in the 2nd arrondissement also strategically places Pierre Yovanovitch Mobilier amongst the city’s art galleries.

Sculptural fireplace accompanied by Pierre Yovanovitch's iconic Bear Chair — A sculptural fireplace anchors the largest area, accompanied by Yovanovitch’s Clifford chair

Yovanovitch founded his design practice in 2001 after working for fashion house Pierre Cardin. His interior design work has ranged from the salmon-pink and butter-yellow gift shop at Villa Noailles and ski hotel Le Coucou in France, to the high-end Hélène Darroze restaurant at The Connaught in London and ski hotel Le Coucou.

Earlier this year, the designer created a set with moving elements for Verdi’s Rigoletto at the Basel Opera.

The photography is by Stephen Kent Johnson.

Reference

Interior Design

Dezeen’s top 10 restaurant and bar interiors of 2023

By Zarkon Group,16/12/2023

For the latest roundup in Dezeen’s 2023 review we’ve selected 10 of this year’s most popular and evocative restaurant and bar interiors, ranging from a space-themed sushi bar in Milan to a beach-style eatery in London.

Also among this year’s eclectic roundup of restaurant and bar interiors is a renovated 16th-century brewery in Poland lined with a bold interior of red brick and ceramic tiles, as well as a bar and restaurant informed by Japanese psychedelia and cabins in Canada.

Read on for Dezeen’s top 10 restaurant and bar interiors of 2023:

Interior of Ikoyi restaurant by David Thulstrup — Photo by Irina Boersma

Ikoyi restaurant, UK, by David Thulstrup

Copenhagen-based designer David Thulstrup designed a copper and oak interior for the Ikoyi restaurant, situated within London’s 180 The Strand building.

Drawing on spice-making processes from sub-Saharan west Africa, the interior features ceilings clad with metal-mesh panels and walls lined with oxidised copper sheets.

Find out more about Ikoyi restaurant ›

Sando burger restaurant in Geneva by Sapid Studio — Photo by Alicia Dubuis

Sando, Switzerland, by Sapid Studio

Sapid Studio used Japanese patchwork techniques to inform the renovation of a burger restaurant in Geneva.

Named after the Japanese word for sandwich, Sando features a largely retained interior decorated with a corrugated stainless steel bar, patched up tiled flooring, and translucent tapestries.

Find out more about Sando ›

The Taproom bar at Tenczynek Brewery by Projekt Praga — Photo by ONI Studio

Tenczynek Brewery, Poland, by Projekt Praga

Red brick, ceramic tiles and oak furniture define the Tenczynek Brewery interior, designed by Polish design studio Projekt Praga.

Located outside of Krakow, the centuries-old brewery was converted into a bold-coloured restaurant and bar, with a self-service beer fountain occupying the centre of the historic brick-vaulted space.

Find out more about Tenczynek Brewery ›

Photo of Prada Caffè at Harrods — Photo courtesy of Prada

Prada Caffè, UK, by Prada

Located in London’s luxury department store Harrods, fashion house Prada opened a cafe informed by one of Milan’s oldest patisseries.

Contrasting with Harrods’ baroque facade, Prada Caffè’s mint green latticed storefront references the brand’s signature green hue, which extends to the interior walls, ceilings and furniture.

Find out more about Prada Caffè ›

Bar area of Milk Beach Soho restaurant by A-nrd — Photo by Charlie McKay

Milk Beach Soho, UK, by A-nrd

London-based design studio A-nrd brought a “beachfront feel” reminiscent of an Australian beach club to this restaurant interior in Soho, London.

Milk Beach Soho’s minimal interior has a neutral material palette featuring a polished terrazzo floor and art deco-style furniture and lighting.

Find out more about Milk Beach Soho ›

ICHI Station restaurant in Milan by Masquespacio — Photo by Luis Beltran

Ichi Station, Italy, by Masquespacio

Ichi Station, by Valencian design studio Masquespacio, is a dine-in restaurant in Milan that draws on sci-fi and space tourism.

Designed to resemble a futuristic spaceship, the cylindrical restaurant interior has a material palette of glass and micro-cement along with rounded, custom-made furniture.

Find out more about Ichi Station ›

Drift Santa Barbara by Anacapa Architecture — Photo by Erin Feinblatt

Drift Santa Barbara, US, by Anacapa Architecture

US studio Anacapa Architecture transformed a formerly closed early-1900s building into a hotel – hosting a ground-floor bar and cafe for both hotel guests and local visitors.

Located in central California, the rustic interior accentuates the building’s historical character and is complemented by concrete and wooden furniture.

Find out more about Drift ›

Wooden seating area below hand-painted mural by Álvaro Siza — Photo by Luís Moreira / Matilde Cunha

Cozinha das Flores, Portugal, by Space Copenhagen

Located in a 16th-century building in Porto, Cozinha das Flores’ interior is decorated by a ceramic mural created by Portuguese architect Álvaro Siza.

Designed by Space Copenhagen, the rustic interior is lined with green and burnt orange tiles, along with oak furniture and brass accents.

Find out more about Cozinha das Flores ›

Corner cafe and bar at Tate Modern by Holland Harvey — Photo by Jack Hobhouse

Corner, UK, by Holland Harvey

London-based architecture studio Holland Harvey revamped Tate Modern’s ground-floor cafe to be less “Herzog & de Meuron-y”.

Doubling as the gallery’s first late-night spot, the interior is organised around a grey stone bar, while salvaged chairs and bespoke tables are used throughout the space.

Find out more about Corner ›

Cabin-like Japanese restaurant in Banff — Photo by Chris Amat

Hello Sunshine, Canada, by Frank Architecture

Situated within the mountains of Alberta, Hello Sunshine is a bar and restaurant informed by Japanese psychedelia and cabins in collaboration with Little Giant.

Designed by Canadian studio Frank Architecture, the wooden interior features two raised fire pits accompanied by large flues clad with glazed ceramic tiles, along with paper lanterns and textile artworks.

Find out more about Hello Sunshine ›

2023 review

This article is part of Dezeen’s roundup of the biggest and best news and projects in architecture, design, interior design and technology from 2023.

Reference

Interior Design

Wooden elements “take centre stage” in Studio Frantzén restaurant

By Zarkon Group,15/12/2023

Scandinavian and Japanese influences come together at Studio Frantzén, a restaurant in London’s Harrods department store designed by Joyn Studio.

Stockholm-based Joyn Studio created the sleek interiors for Studio Frantzén – the latest restaurant opened by chef Björn Frantzén.

Back-lit glass brick bar at the Studio Frantzén restaurant — Top: visitors enter via a domed reception area. Above: the bar is characterised by back-lit glass bricks

The two-storey eatery is arranged across a main restaurant and bar on the fifth floor, as well as on an additional mezzanine and rooftop terrace on the sixth floor of Harrods.

In stark contrast to the department store’s famed Edwardian baroque terracotta facade, Studio Frantzén features a contemporary palette that takes cues from both Scandinavian and Japanese design – a trend known as Japandi.

Bar at Harrods by Joyn Studio — Studio Frantzén is located across two levels at Harrods

Visitors enter the restaurant at a domed reception area, which references Scandinavian churches and forest chapels, according to the studio.

The curved walls were clad with blocky cherry wood while illustrations of Nordic animals by Ragnar Persson decorate the ceiling and a Swedish wooden Dala horse was perched on the welcome desk.

“Undoubtedly, wood takes centre stage in this restaurant,” Joyn Studio founding partner Ida Wanler told Dezeen.

Main restaurant with bespoke timber seating by Joyn Studio — The main restaurant is composed of two dining halls

The reception area gives way to a “glowing” bar composed of stacks of glass bricks bathed in amber light, which is mirrored by a ceiling of gridded copper.

Informed by traditional Japanese izakaya – a type of casual watering hole serving snacks – the large main restaurant is composed of two dining halls with bespoke geometric terrazzo and marble flooring.

Bespoke timber seating illuminated by a chandelier — One features bespoke timber seating

One hall features an open kitchen and Joyn Studio-designed chunky seating booths and sofas carved out of end-grain wood. This was sourced from a large Hungarian pine tree, cut into cubes and then glued together piece by piece.

This double-height space is illuminated by a spindly oversized chandelier by Swedish studio Front.

Gridded ceiling within dining hall — The other follows the same gridded geometry as the bar

The other dining hall, tucked around the corner and connected to a wine cellar, follows the same geometry as the bar.

Sliding timber doors and a gridded wooden ceiling are interrupted by ultramarine benches in booths and delicate, ribbed paper lampshades.

“To create a distinctive Nordic dining experience with Asian influences within a historic London building, we delved into the architectural and design legacy of the early 20th century,” explained Wanler.

“Inspired by the journeys of our predecessors to the far east, where they assimilated influences and pioneered a style known as Swedish Grace, we embraced the resonances between traditional Japanese and Nordic architecture and craftsmanship,” she continued.

Mezzanine level by Joyn Studio — Mirrored artwork by Caia Leifsdotter was included in the mezzanine

On the upper floor, the mezzanine includes three intimate dining booths accentuated by a burnt orange carpet and a wall-mounted Psychedelic Mirror by designer Caia Leifsdotter.

Characterised by marble, rattan and wooden accents, the rooftop terrace offers expansive city views.

“Aiming to infuse creativity into the traditional luxury context of Harrods, we envisioned a relaxed and comfortable ambiance with sparks of richness created in unexpected ways,” said Wanler.

In 2022, Joyn Studio was longlisted for the title of emerging interior design studio of the year at the Dezeen Awards.

Elsewhere at Harrods, fashion house Prada recently opened a green-hued pop-up cafe that referenced one of Milan’s oldest patisseries.

The photography is by Åsa Liffner.

Reference

Interior Design

Bentley curates Scandinavian architecture and design travel experience

By Zarkon Group,14/12/2023

Promotion: in 2023 Bentley Motors launched an architecture and design-centred travel experience around Scandinavia, with highlights that included a stay at Wingårdhs’ forest hotel in Sweden and a tour of BIG’s studio in Copenhagen.

The Extraordinary Journey Scandinavia tour was one of a series of curated travel experiences presented by Bentley in 2023, offering the opportunity to explore attractive destinations from behind the wheel of its luxury cars.

The five-day, four-night tour started in Stockholm, where guests were collected from the airport in a chauffeured Bentley and taken to their first night’s stay in the world-renowned Ett Hem hotel.

Photograph of a sitting room at the Ett Hem hotel in Stockholm — The first night’s stay was at Stockholm’s Ett Hem hotel

With interiors created by designer Ilse Crawford, the hotel is known for merging luxury with a feeling of home, with spaces that encourage guests to relax and mingle as if at a manor house.

The hotel hosted a welcome reception, dinner in the library and a nightcap for the small party of guests on day one to get to know each other.

On day two, attendees took the wheel of one of several Bentley models on offer and began the journey south through Sweden’s forests, with Scandinavia’s finest architecture and design destinations guiding the way forward.

For lunch on day two, attendees stopped at Naturehouse

For lunch, the tour stopped at Naturehouse, a sustainability-focused lakeside spa by Tailor Made Arkitekter that merges the forms of a barn and a greenhouse, before continuing to reach the Trakt Forest Hotel in Småland in the afternoon.

Designed by Wingårdh architecture studio, the hotel features just five suites that are raised high into the treetops on stilts, giving guests the chance to feel immersed in nature.

The suites are “a true representation of Bentley’s design values of sustainability, materiality, and innovation” said the brand, and guests had the opportunity to relax in the sauna or hot tub before joining the hotel owners Sandra and Mattias Sälleteg at a drinks reception.

The evening also included dinner in a forest near the hotel, which was made by Michelin star chef Niklas Ekstedt and celebrated natural ingredients coming together “to create something greater than the sum of its parts”.

Photo of Wanås Hotel and Sculpture Park — Lunch on day three took place at Wanås Hotel and Sculpture Park

Day three saw the group continue the drive south through Sweden’s forests and stop for lunch at Wanås Hotel and Sculpture Park, built around two converted stone barns with interiors by Kristina Wachtmeister.

They then drove on through Malmö and across the Öresund Bridge, the longest bridge in Europe, connecting Sweden and Denmark, before switching to chauffeured transport once again for the final stretch of the journey to Copenhagen.

With accommodation at the Nimb Hotel in Tivoli Gardens, guests had ample opportunity to explore Copenhagen, including dinner at a world-renowned Nordic restaurant and then a city tour hosted by the Danish Architecture Centre.

Photo of a big group of people having lunch and sharing a toast at BIG's studio — Day four included a tour and lunch at Bjarke Ingels Group’s studio

There was also a tour of Bjarke Ingels Group’s studio, hosted by a member of the team who gave insights into their creative practice. Lunch was also held within “the beating heart” of the office.

Bentley‘s Extraordinary Journey continues in the UK in 2024 with a programme where attendees will experience a scenic route starting at Crewe, the home of Bentley Motors, to The Macallan Estate in Speyside, Scotland. The UK programme runs from 19 to 22 August and 2 to 5 September.

For more information and to register interest, visit the Bentley website.

Partnership content

This article was written by Dezeen for Bentley as part of a partnership. Find out more about Dezeen partnership content here.

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Interior Design

Tara Bernerd fills Maroma hotel in Mexico with artisanal elements

By Zarkon Group,12/12/2023

Interior designer Tara Bernerd worked with local artisans when dressing the cavernous rooms at the Maroma hotel in Riviera Maya, Mexico, which were renovated to reflect hacienda-style living.

Housed within white stucco volumes arranged on a coastal plot between lush jungle and the Caribbean sea, the longstanding Maroma, A Belmond Hotel was renovated earlier this year but retained much of its traditional-style architecture.

Bernerd and a team of local artisans conceived the eclectic interiors to reflect the palapa-topped structures, creating a range of bespoke curved furniture and ornaments.

“The buildings themselves are organic in shape and form and were originally positioned in response to the sacred Mayan geometry,” she told Dezeen.

“We sought to retain and enhance the beauty of the hotel’s original character.”

Guest room with a rounded alcove — Tara Bernerd sought to reflect this “Mayan geometry” in the interior design

Among the custom pieces are over 700,000 tiles hand-painted and crafted by ceramicist José Noé Suro using clay from Mexico’s Jalisco region.

The tiles cover the floors in all of the 72 guest rooms, which are characterised by rattan wardrobes and amorphous timber furniture pieces – 80 per cent of which were hand-carved.

Rattan wardrobes at Maroma — The guest rooms are characterised by rattan accents and blown glass

Artisan Max Kublailan blew bulbous glass sconce lights, which feature throughout the rooms and are reminiscent of glowing gemstones.

“It was a joy working with the local artisans who brought our designs to life and the process was more like a conversation between artisan and designer, with each inspiring and on occasion challenging the other,” reflected Bernerd.

Guest bathroom at Maroma — Eclectic design choices were also made for the guest bathrooms

The entrance to each guest room also features individual ceramic, painted signs informed by traditional Lotería cards, which are used to play a similar game to bingo in Mexico.

“We built up the layers of design within the spaces, with rich pops of colour being brought in through the tiled or mosaic floors, the use of decorative tiles in the walls and dado rail as well as cushions and fabrics,” explained Bernerd.

Open kitchen clad in ceramic tiles — An open kitchen clad in glazed ceramic tiles features in one restaurant

Maroma’s two restaurants follow a similar design, with accents such as rattan pendant lights and tables featuring textured legs that give the appearance of tree trunks.

An open kitchen clad entirely in caramel-hued glazed ceramic tiles was tucked into a corner of the Woodend eatery while Casa Mayor includes clusters of hand-painted plant pots.

Painted pots and rattan lampshades in Casa Mayor — The other restaurant includes painted potted plants and oversized rattan lampshades

Throughout the hotel, cavernous alcoves were also dressed with custom interiors made up of stone, clay, wood and natural fibres.

“Location and layout were key and I am especially proud of how we have managed to reimagine previously under-utilised areas and have created a balance between unique, dramatic spaces and cosier, slightly hidden areas,” said Bernerd.

Traditional Yucatán doors with dense timber frames and chandeliers made from clusters of seashells were chosen to respond to Maroma’s setting.

The hotel’s central swimming pool was renovated with Sukabumi turquoise tiles handmade from volcanic stone to emulate the cenotes – water-filled sinkholes formed by the collapse of limestone – found in the Yucatán Peninsula.

Cavernous corridor with a curved staircase — Cavernous corridors reflect the hotel’s architecture

“In essence, we wanted to create something that was effortlessly serene and had the feeling of a chic home,” said the designer.

“So we also drew inspiration from traditional hacienda-style living to create a relaxed, almost residential vibe throughout the resort and evoke a sense of connection, unity and flow between all of the public area buildings,” she concluded.

Cenote-style swimming pool — The central swimming pool was informed by cenotes

The British designer is the founder of the London-based architecture and interiors office Tara Bernerd & Partners.

Elsewhere in Mexico, local firms Productora and Esrawe Studio designed a San Miguel de Allende hotel with planes of green tile. Architect Alberto Kalach added a series of vaulted, brick arches to a resort in Oaxaca.

The photography is courtesy of Belmond.

Reference

Interior Design

Format Architecture designs “delightfully untraditional” Brooklyn restaurant

By Zarkon Group,10/12/2023

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

Cafe Mars is an Italian eatery located in Gowanus, founded by co-chefs Jorge Olarte, and Paul D’Avino – whose grandfather lived across the street when he first emigrated from Campania in 1901.

White oak arch over light grey bar counter, accompanied by hot pink chairs — Playful furniture throughout Cafe Mars includes chairs with hot-pink arched and zigzag legs

Honouring these roots, the restaurant is designed as a celebration of all things Italy: from the Memphis design movement of the 1980s to the glamorous Amalfi Coast.

“It was important to connect the intent of the culinary experience with the intent of the spatial experience,” said Format principal and co-founder Andrew McGee.

The bar and open kitchen framed by white oak panels — The bar and open kitchen are framed by white oak panels

“If the driving force of the menu was to showcase knowledge and love of traditional Italian cuisine, twisted and subverted at just the right moments to create something playfully rebellious and unusual, it seemed only natural to reference the character and movement in [Ettore] Sottsass and the Memphis style with a similar vintage in the architecture and design realm,” he continued.

View through arch towards banquette seating and tables with exposed brick above — Above each table in the main dining space is a yellow panel with a hole cut-out, exposing the building’s original brick

To enter the 1,100-square-foot (100-square-metre) restaurant, visitors must turn a pasta die door handle sourced from local third-generation manufacturer D Malardi & Sons.

“The detail is a charming nod to the building’s pasta factory and Italian grocery history whilst ushering in its restaurant future,” the studio said.

Row of white and yellow double-sided banquettes — The custom banquettes are coloured one yellow for every two white

Once inside the long narrow front space, the bar area can be found on the right and a row of back-to-back banquettes runs along the left.

The bar and the open kitchen further down are framed by white oak panelled arches, revealing a bright blue back bar that echoes the same shape.

Dining room with cobalt-coloured seating and exposed brick walls — The “blue room” in the back features cobalt-coloured seating that contrasts the exposed brickwork

A tall, light grey counter forms an L-shape within the first arch, with a lower surface for diners seated in custom chairs by Studio Apotroes with hot pink zig-zag legs.

More seats – this time with white details – face the kitchen area, beside a bright green shelving unit for tableware tucked under the bar counter.

Pendant light with hot pink cord above blue banquette and wood tables — Hot pink reappears in the cords of pendant lights, which have shades made from mushroom mycelium

Opposite, the custom double-sided banquettes have ribbed edges and are coloured one yellow for every two white.

In between are arched yellow panels with circular holes that expose the original brick walls behind, and Stuff by Andrew Neyer globe pendants that hang above each table.

View through black archway into purple-hued bathroom — Pasta illustrations by artist Massimo Mongiardo are found throughout the interior, including in the bathroom

The “blue room” in the back features cobalt-coloured seating that contrasts the exposed brick walls, black window frames and white hexagonal floor tiles.

Hot pink reappears in the cords of pendant lights with MushLume shades made from mushroom mycelium, while bespoke wooden tables have puzzle-piece tops that slot together in various configurations.

At night, colourful LED lights within the circular wall elements, under the bar counter and above the back bar all match a neon sign in the window, which traces the Cafe Mars logo designed by artist Massimo Mongiardo.

His illustrations of pasta shapes can be found throughout the interiors, including in the bathrooms, and across the black-painted roller shutters pulled down when the restaurant is closed.

Black roller shutter covered with colourful illustrations of pasta shapes — Mongiardo’s illustrations also cover the black roller shutter on the exterior

“The goal was to strike a delicate balance between fanciful and comforting, transformative and familiar,” said Format co-founder and principal Matthew Hettler.

“The design, however loud, becomes a backdrop for a quality experience, and that is something we are excited about.”

A neon version of the Cafe Mars logo sits in the window, matching the colorful LED lighting inside

Other relative newcomers to Brooklyn’s ever-evolving culinary scene include Nabila’s, a Lebanese spot designed by Frederick Tang Architecture, and Usonian-inspired eatery Sereneco featuring interiors by Carpenter + Mason.

Over in Manhattan, the number of Italian restaurants continues to balloon, with Bad Roman and Cucina Alba among the many to have opened in the past year.

The photography is by Nick Glimenakis.

Project credits:

Architecture and interior design: Format Architecture Office
Project team: Clare Hačko, David Hettler, Matt Hettler, Andrew McGee
Construction: Rusk
Structural engineer: Blue Sky Design
MEP engineer: Department of Approvals

Reference

Interior Design

Cake Architecture draws on Bauhaus principles for Hoxton bar

By Zarkon Group,08/12/2023

Cake Architecture has renovated A Bar with Shapes for a Name, an east London cocktail bar featuring “utilitarian” interiors.

A Bar with Shapes for a Name owes its title to the yellow triangle, red square and blue circle that are emblazoned on its facade in a nod to the primary colours and understated geometry commonly associated with the Bauhaus.

Tall tubular chairs at A Bar with Shapes for a Name by Cake Architecture — Tall tubular chairs feature on the ground floor

When creating the bar’s minimalist interiors, Dalston-based Cake Architecture took cues from the influential German art and design school that was established in 1919 and advocated for an emphasis on functionality, among other similar principles.

Located at 232 Kingsland Road in Hoxton, the cocktail bar was renovated by the studio to serve as a multipurpose venue.

Reddish plywood bar — Cake Architecture created a smooth ground-floor bar from reddish plywood

Cake Architecture doubled the bar’s capacity by adding a basement, which acts as a “kitchen-bar” room, and refurbished the ground floor’s existing seating area as well as a classroom-style space that offers a location for rotating events or workshops.

“These spaces have specific functional requirements and we selected colours and materials to suit,” studio director Hugh Scott Moncrieff told Dezeen.

Rectilinear light installation within bar by Cake Architecture — It was positioned opposite a rectilinear light installation

Upon entering the bar, visitors are greeted by the main seating area or “showroom”, which was designed to be warm and inviting.

Tall tubular chairs finished with neutral rattan were positioned around chunky geometric tables made from birch ply stained to a rich, reddish-brown hue.

Glass-topped central table in the basement — The renovation included the addition of a new basement

The team also used the same timber to create the space’s curving bar, which is illuminated by a squat, cordless table lamp by lighting brand Flos.

Opposite the bar, a glowing rectilinear light installation by photographer Steve Braiden was fitted to the wall underneath bench-style seating reminiscent of early Bauhaus furniture designs.

Close-up of the steel, glass-topped table — A steel, glass-topped table sets an industrial tone

“We looked in particular at projects by the Bauhaus founder Walter Gropius,” reflected Scott Moncrieff.

“Gropius is a master of this elegant zoning through the application of colour and form,” he added.

Steel-framed tables in the classroom — The “classroom” includes steel-framed tables

Downstairs, the low-lit basement was created to house additional seating as well as “all of the crazy machinery they use to prepare the drinks,” the designer said.

The basement is characterised by a bespoke central table by Cake Architecture and furniture designer Eddie Olin.

Sculptural, colourful lamp — Red, yellow and blue accents define a sculptural lamp

Consisting of a steel frame that “floats” over a central leg, the table was topped with a glass surface and its base was clad in phenolic-coated plywood to match the floor and walls.

“This new basement is predominantly a production space – so the palette reflects this with hardwearing, utilitarian and industrial materials,” said Scott Moncrieff.

A thick, felt curtain in ultramarine adds a pop of colour to the otherwise pared-back space.

With its pale blue walls and Valchromat-topped, steel-framed tables, the ground-floor “classroom” pays homage to the Bauhaus as an educational institution.

Tall blackboard in the classroom — A tall blackboard provides space to learn in the classroom

Brighter blue vinyl covers the floors while a sculptural lamp featuring red, yellow and blue circles echoes the bar’s logo.

A tall blackboard and overhead strip lighting add to the classroom feel of the space, which is used for various group events.

Illuminated bathroom sink — Thin vertical lights frame the bathroom sink

Cake Architecture worked closely with the bar’s founders Remy Savage and Paul Lougrat when creating the interiors, which were primarily informed by the duo’s way of working.

“The team has a conceptually driven ethos drawn from the theory and practice of Bauhaus embedded in everything they are doing. We found that incredibly exciting,” explained Scott Moncrieff.

Sconce lighting on the wall — A Bar with Shapes for a Name is located on London’s Kingsland Road

“The Bauhaus phrase ‘party, work, play’ was pertinent to some early ideas and this carried through all our design discussions,” noted the designer.

“The space enables these three things. Separately as individual functions and simultaneously as a representation of the overall atmosphere of a bar!”

Cake Architecture previously worked with interior designer Max Radford to create a curtain-wrapped speakeasy in London’s Soho. The studio also designed a workspace for London agency Ask Us For Ideas in the same part of the city.

The photography is by Felix Speller.

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