New York studio Alda Ly Architecture has designed a taproom for female- and veteran-owned brewery Talea in the city’s West Village neighbourhood, which includes a place for groups to “scheme”.
Talea West Village is the beer company’s third outpost and its first Manhattan location, following two established in Brooklyn.
The main dining and drinking area at the Talea West Village taproom is anchored by a colourful bar
The space is located in a 1920s building on Christopher Street, an iconic thoroughfare that’s home to several landmarks, businesses and historic spaces associated with the LGBTQ+ rights movement.
“This new taproom on Christopher Street reclaims the masculine identity of a West Village saloon to celebrate voices of women and LGBTQ+ communities in the Village, all while serving Talea’s popular sour brews in an elevated, vibrant space,” said Alda Ly Architecture (ALA).
Bright hues chosen by ALA for the space include yellow for tiles, green seat backs and red dining chairs
Flooded with natural light thanks to large windows along the street facade, the main space is anchored by a purple-fronted bar with a curved white quartz countertop in one corner.
Behind, numerous beer taps are mounted onto a yellow-tiled partition, while glassware and cans are displayed on shelves above.
Exposed brick and stone floors allude to a saloon-style aesthetic
The bar is lit by Junit oak pendants from Schneid Studio and brass Dottie sconces by Visual Comfort are mounted around the perimeter.
“We opened up the space to provide as much open area for the front dining room, and brought the bar front and centre to highlight the taps with their extensive selection of beers,” said ALA founder Alda Ly.
The taproom was designed to celebrate its location in the West Village, which has played an important role in LGBTQ+ history
“We wanted the bar to be a welcoming beacon for all people in the neighborhood,” she added.
The other side features built-in, stained-oak seating and small circular tables against an exposed brick wall.
Behind the bar is The Revolution Room, intended for larger groups to gather
Pale green backrests and muted red Scroll dining chairs from Industry West continue the interior’s bright colour palette, which is also echoed in the works by local artists displayed on the walls.
“It was important to us to capture the spirit of Talea in a space that felt elevated but also very warm and welcoming,” said ALA project director Marissa Feddema.
Past the bar is a more intimate space called The Revolution Room, designed for groups of eight to 10 people to “scheme, hang and gather” according to the team.
A large table sits below a Nuura Miira 8 Oval chandelier that’s suspended from a skylight, and more brickwork is exposed to add to the saloon-like vibe.
At the back is the Snug, a cosy space furnished with jewel-tone pieces
Further back still, patrons will find the Snug – a much darker and cosier room decorated with jewel-toned furniture, navy limewash painted walls and a vintage fireplace mantle.
The moody bathrooms are adorned with images of prominent local residents and gender activists through the years, further emphasising the neighbourhood’s importance to the LGBTQ+ community.
Images of prominent local residents and gender activists are displayed in the moody bathrooms
The West Village is packed with bars and restaurants, from upscale dining spots like Cecchi’s to casual cocktail places like Donna.
Close by, in the Union Square area, ALA has previously designed the interior for a doctor’s office and clinic with earthy and homey details.
British fashion label Paul Smith’s iconic pink store in Los Angeles has received an interior makeover from Standard Architecture.
Standard Architecture collaborated with the Paul Smith design team to reimagine the 4,740-square-foot (440 square metres) store on Melrose Avenue, West Hollywood.
Standard Architecture and the Paul Smith team reorganised the LA store to better define the brand’s different collections
The studios also created a new VIP entrance patio for the building, which is notorious for its bright pink exterior that has become a pilgrimage spot for amateur photoshoots.
“The primary goal was to enhance the overall customer experience within the store, which was achieved by creating a more cohesive and immersive shopping environment across the different brand departments,” said Standard Architecture.
Stone-clad partitions help to define areas, but don’t reach the exposed timber ceiling
The entrance to the store – the only opening in the giant pink wall that faces the parking lot – leads shoppers through a glossy red metal vestibule into the main retail space.
Clearly defined yet interconnected areas for the menswear, womenswear and homeware collections help with navigation around the store.
Long brass rails are used to present tailoring
Partitions clad in dappled beige stone frame these zones, but don’t reach the exposed timber ceiling, to retain the sense of openness.
In places, the stone walls are inlaid with mosaic-style artworks depicting abstract flora, which add splashes of colour to the warm-toned surfaces.
Paul Smith’s collaborations with Gufram and Anglepoise are among the pieces on show
Black track lighting is suspended from the rafters, spotlighting the various clothing displays and lounge areas furnished with midcentury-style sofas and armchairs that are dotted around the store.
Long brass rails that appear to be suspended in midair are used to display suit jackets, which are carefully arranged by colour.
Shoes are presented on stepped white ledges that resemble bleacher seating
In an area dedicated to accessories, the shoes and bags are lined up on stepped white ledges that resemble bleacher seating.
Walnut is used for accents including shelving, door frames, and podiums, as well as for a large open storage system with compartments for presenting individual products and a row of sculptures by Alexander Calder.
Founded by fashion designer Paul Smith in 1970, his eponymous brand is synonymous with the brightly coloured stripes applied to many of its apparel products and other collaborations.
Many of these appear throughout the store, including a colour-tinted Anglepoise desk lamp and a striped version of Gufram’s cactus-shaped coat stand.
Entry to the store is via a vestibule wrapped in glossy red metal
“Overall, the design reflects a deep understanding of the brand’s identity, which places a strong emphasis on the use of colour and attention to detail,” Standard Architecture said.
Paul Smith retail spaces around the world are equally playful. On London’s Albemarle Street, its boutique has a patterned cast-iron facade by 6a Architects, while the shop in Seoul is encased in a curving concrete shell by System Lab.
The store on Melrose Avenue is an icon in Los Angeles thanks to its bright pink facades
Standard Architecture was founded by Silvia Kuhle and Jeffrey Allsbrook, who discussed their work with Dezeen during our Virtual Design Festival in 2020.
Past projects by the firm include a Hollywood Hills residence with a cantilevered swimming pool and a minimal showroom for fashion brand Helmut Lang – which was located just a few blocks from the Paul Smith store before it shuttered.
London studio Oskar Kohnen has outfitted a Mayfair office with mid-century modern furniture and contemporary pieces, which “are so well curated that no one would ever dare to throw them away”.
Spread across three floors, the office is housed within a rectilinear building in London’s Mayfair neighbourhood with a gridded facade.
Oskar Kohnen designed the office in London’s Mayfair area
“It has a townhouse feeling,” studio founder Oskar Kohnen told Dezeen of the office, which he designed for developer Crosstree Real Estate.
At its ground level, Kohnen clad the entrance hall with dark-stained wooden panels and added sconce lights to subtly illuminate the space.
A cream Djinn sofa was placed in the entrance hall
An amorphous Djinn sofa, created by industrial designer Olivier Mourge in 1965, was placed in one corner.
“We worked a lot with vintage furniture, and as for the new pieces we sourced, we hope they are so well curated that no one would ever dare to throw them away,” said Kohnen.
The first floor features a living room-style space
“Warm and inviting” interiors characterise a living room-style space on the first floor, which was created in direct contrast to the industrial appearance of the exterior.
An L-shaped velvet and stainless-steel sofa finished in a burnt orange hue was positioned next to white-stained brise soleil screens and a bright resin coffee table.
Terrazzo accents were chosen for the kitchen
“The social spaces have an earthy and calm colour palette – yet they are lush and dramatic,” explained Kohnen.
A pair of low-slung 1955 Lina armchairs by architect Gianfranco Frattini also features in this space, while floor-to-ceiling glazing opens onto a residential-style terrace punctuated by potted plants.
Oskar Kohnen added a bright gridded ceiling to one of the meeting rooms
Similar tones and textures were used to dress the rest of the rooms on this level.
These spaces include a kitchen with contemporary terrazzo worktops and a meeting room with a red gridded ceiling that was set against cream-coloured panels and modernist black chairs.
The second floor holds the main office, complete with rows of timber desks and an additional meeting room-library space characterised by the same reddish hues as the low-lit entrance hall.
“The idea was to create an office space that had soul to it and would offer a more personal take on a work environment, rather than the usual corporate spaces we are so familiar with in London,” Kohen concluded.
The second floor holds the main office
Founded in 2011, Kohnen’s eponymous studio has completed a range of interior projects, including a mint-green eyewear store in Berlin and a pink-tinged paint shop in southwest London.
Father and son architect duo Luís and Tiago Rebelo de Andrade explain how they furnished Lisbon’s Art Legacy Hotel entirely with Moooi products in this video produced by Dezeen for the Dutch furniture brand.
Lisbon practice Rebelo De Andrade designed the interiors of the five star Art Legacy Hotel, located in the Baixa-Chiado district in the city’s centre.
The hotel is notable for its exclusive use of Moooi products and rooms with bold primary colour schemes.
Art Legacy Hotel is a five star hotel in Lisbon
“Hospitality is always about image and stories,” said Luís Rebelo De Andrade, founder of the studio, in the exclusive Dezeen video interview. “We wanted the guests, when they come to this hotel, to have a completely unexpected experience.”
“So, we proposed to our client that we make a hotel with only Moooi products, to give it a very strong identity.”
Moooi’s products were used throughout the hotel, including carpets, furniture, lighting, wall coverings and art pieces.
“Moooi is everywhere in the building,” said Tiago Rebelo De Andrade, who is partner and principal architect at the studio and Luís Rebelo De Andrade’s son. “When you enter the hotel, all the colours, all the textures, all the furniture from Moooi helps us to tell a different story in every floor.
Rebelo De Andrade furnished the Art Legacy Hotel entirely with Moooi products
The project is a renovation of a historical office building. Alongside overhauling the hotel’s interior, Rebelo De Andrade also redesigned its facade.
According to Tiago Rebelo De Andrade, Moooi’s blend of modernity and classical references suited the studio’s approach to designing the hotel’s interiors.
“Moooi is classic but in a way that can also be modern,” he said. “It’s a modern-classic building.”
Art Legacy Hotel is a renovation of a historic building in Lisbon’s centre
Luís Rebelo De Andrade decided to partner with Moooi on the hotel’s interiors after visiting the brand’s Museum of Extinct Animals exhibition at Milan design week in 2018.
Each room in the Art Legacy Hotel has either a blue, red, yellow or green colour scheme, with matching wall coverings, furniture and tiling in the bathrooms.
“When I first met Moooi’s products, I felt that it uses a lot of primary colours,” he said. “So I used primary colours in a very strong way in the hotel. They are colours that provoke you.”
Moooi’s lighting, furniture, wall coverings and carpets are used throughout Art Legacy Hotel
In the video interview, the duo also discussed their working relationship.
“My son, he provokes me,” said Luís Rebelo De Andrade. “We had to educate ourselves on how to work together.”
“I offer my experience, he offers his youth in projects,” he continued. “So I think it’s a good mix.”
Rebelo De Andrade used primary colour schemes in Art Legacy Hotel’s rooms
“It’s difficult because it’s a father and son relationship,” added Tiago Rebelo De Andrade. “We are always arguing, but at the end of the day, we drink a bottle of wine so that we can make peace with each other.”
Other recent projects from Moooi include the IDEO-designed Pallana suspension lamp, made up of adjustable ring lights, and the rope-like Knitty Chair designed by Nika Zupanc.
The photography is by João Guimarães.
Partnership content
This video was produced by Dezeen for Moooi as part of a partnership. Find out more about Dezeen’s partnership content here.
Architect Arnaud Behzadi and artist Florence Bamberger have combined French and Brazilian influences to create interiors for a pair of adjoining restaurants.
Located in Paris’ 17th arrondissement, Oka Fogo is the latest eatery from Raphael Rego, a Michelin-starred chef who is originally from Rio de Janeiro.
Behzadi designed interiors that aim to capture the spirit of Rego’s cuisine, while Bamberger painted wall and ceiling murals that bring an extra spark of energy.
Bamberger reinterpreted Manet’s Le Déjeuner sur l’Herbe on the wall of Fogo
The two restaurants each have a distinct character.
Oka, which means “house” in the language of Brazil’s indigenous Tupi people, is an intimate 16-seat dinner-service restaurant with the feel of a grand yet cosy lounge.
The neighbouring Fogo, which translates as “fire”, is a less formal space that offers a sense of dining al fresco. With an adjoining bar and grill, this 40-seat space is open for lunch and dinner.
Oka is a 16-seat restaurant with the feel of a grand but cosy lounge
“I approached the project as a journey through a house,” Behzadi told Dezeen.
“I see Oka as a prestigious living room and Fogo as an interior garden.”
A ceiling mural incorporates references to Brazil’s flora and fauna
Bamberger’s expressive murals reinforce this approach.
In Fogo, she has painted a reinterpretation of the Édouard Manet artwork, Le Déjeuner sur l’Herbe. The work takes cues from the free-flowing lines of Brazilian artist José Francisco Borgès, resulting in a vibrant style.
The Oka mural features on the ceiling rather than a wall. This more abstract work is based on Brazil’s flora and fauna, along with objects that represent the nation’s culture.
The facade combines Jatoba wood with striated marble
Behzadi chose richly toned woods and highly textural marbles for the interior design palette, in a nod to materials favoured by Brazil’s prolific mid-century designers.
This partnering of stone and wood begins with the facade, where panels of Jatoba wood from the Amazon sit above a plinth of striated Iranian marble.
“I decided to interpret a classical style for the storefront,” said Behzadi.
“It’s a very Parisian approach, using an exotic material to start evoking the interior that you will discover inside.”
Fogo’s floor is a grid of green marble and travertine tiles
Inside, decorative wooden furniture and joinery are accompanied by a mix of different stones, including white travertine and various green-toned marbles.
Other eye-catching details include sculptural wall lights by Behzadi’s former business partner, designer Cathy Crinon, and chairs by the late Brazilian designer Sergio Rodrigues.
“There is a clear Brazilian inspiration,” added Behzadi.
Additional spaces include a private alcove
The venue also includes an alcove dining space with room for six, featuring a mirrored ceiling and curved banquette in red velvet, and a wine and champagne tasting room with a vaulted ceiling.
Oka Fogo opened earlier this month. Other recent openings in Paris include Moët Hennessy’s Cravan cocktail bar and oyster bar Citrons et Huîtres.
Greek architecture offices K-Studio and Monogon have converted the abandoned Manna Sanatorium in Arcadia, southern Greece, into a luxury forest hotel.
Originally built in the 1920s to give tuberculosis patients access to the healing power of nature, the historic structure is now a five-star wellness retreat.
Manna offers 32 rooms fitted out with natural materials and neutral tones, plus gym and spa facilities and a restaurant focused on local produce.
Manna hotel is housed in a former sanatorium for tuberculosis patients
The building sits within a fir forest on Mount Mainalo, the tallest peak in the mountainous region.
The design vision set out by Athens-based K-Studio was to amplify the sense of sanctuary offered by the remote location and enhance the feeling of connection to nature.
Manna owner Stratis Batayas, a Greek entrepreneur who had spent his childhood summers in the area, wanted to create a year-round destination that stayed true to the building’s history.
The building is set in a fir forest in Arcadia, a mountainous region of Greece
“The client’s ambition was to reinterpret the concept of a sanctuary in the mountains with contemporary terms,” reads K-Studio’s design statement.
“The hotel would have to be a place for isolation, as well as community-making and participation in the primary activities of everyday living.”
Design details include columns with curved corner reveals and ornate gridded ceilings
The renovation was overseen in collaboration with Athens-based Monogon and involved significant building work, including the reconstruction of a derelict rear wing and the installation of a new roof.
When the sanatorium closed – made obsolete following the introduction of penicillin in 1938 – the building had been emptied to prevent looting. Stone window sills were stripped out and relocated, while the original roof was removed and repurposed on a hospital in nearby Tripoli.
Concrete was used to replace the old sills, while the new timber roof was installed over rendered brickwork.
The bar features neatly crafted joinery
A reconfigured layout provides a new entrance on the side of the building.
This leads through into a series of elegant reception and lounge spaces where details include columns with curved corner reveals, ornate gridded ceilings and a herringbone-patterned fireplace.
Manna’s bar can also be found here, featuring neatly crafted joinery. Elsewhere, the restaurant run by chef Athinagoras Kostakos has a more casual feel thanks to an open kitchen.
Bedrooms are located on the upper floors of the main building, including a new attic level, and on all levels of the rebuilt northern wing.
Attic rooms offer the most modern feel, extending out to balconies set within large gable-ended dormers.
Interiors feature natural materials and neutral tones
The materials palette combines brushed timber with earth-toned textiles. Standout features include the elaborate privacy screens that form a backdrop to the beds.
Terrazzo flooring is inlaid with marble to define different zones, matching the stone used for wash basins. Room numbers are carved into the floor surfaces in front of each room entrance.
“Local craftsmen were involved in all construction phases, as they bear the knowhow of stoneworks, joinery and even the characteristic engraved grouting of the exterior stonewalls,” said K-Studio.
Terrazzo flooring is inlaid with marble to define zones
Manna opened its doors in the summer of 2023 and is represented by Design Hotels, a booking company that specialises in design-led retreats.
K-Studio co-founder Dimitris Karampataki presented the project at the 2023 edition of The Lobby, an annual hospitality conference in Copenhagen.
Manna’s restaurant features an open kitchen
He said the design for Manna “embraces the wear and tear, embraces the natural patina”.
“When we first arrived we saw something, which took about a century to make,” he said. “We didn’t want to clean it too much, to be selective of its heritage. It was more important for us to embrace the whole story.”
The design aims to reconnect people with nature
Other destination hotels to open recently include the Six Senses Rome, designed by Patricia Urquiola, and the Sanya Wellness Retreat in Hainan, China, designed by Neri&Hu.
California design studio Lovers Unite has reinvigorated a 1950s home with sweeping views of the Los Angeles hills, turning an unused balcony into an extension of the indoor social space.
The wooden dwelling in LA’s Silver Lake neighbourhood belongs to production designer James Chinlund and artist Clare Crespo.
Lovers Unite renovated the home for a creative couple in Los Angeles
A “previously a boring, nondescript mid-century house”, according to Lovers Unite, the property required some imagination to bring its interiors up to par with its setting.
Therefore, the studio “introduced a few carefully plotted architectural interventions and material shifts to completely reimagine the interior of the home and take full advantage of its prime site”.
The house has expansive views over the city’s hills
The most impactful of these interventions was to bring an underutilised balcony at the back of the house into the envelope, extending the open-plan living and dining area by several feet.
Beneath the large windows that were installed to fill the gap, Lovers Unite placed built-in seating with teal-upholstered cushions for relaxing and enjoying the panoramic vista.
Plenty of wood was used throughout the home, particularly in the kitchen
“With a large window wall and generous built-in banquette, the room finally celebrates the expansive views that had always been there,” the studio said.
In the kitchen, dark green soapstone used for counters and the backsplash contrasts with the honey-toned cabinetry, and a shiny copper range hood matches a panel installed at the back of a bar area on the opposite side of the room.
The honey-toned wood contrasts with soapstone surfaces and a copper range hood
Elsewhere, colourful furnishings, collectible design pieces and bold artworks stand out against the predominantly wood interiors.
A timber-lined lounge area features the classic modular Togo sofa system by Michael Ducaroy, which is wrapped in yellow corduroy fabric.
Meanwhile, in the den, a purple armchair is positioned beside a giant chair that Chinlund used as a prop for a shoot by Italian fashion outfit Roberto Cavalli.
Wood slats were employed to partially screen the staircase opening on the upper level, next to a central fireplace with a raised hearth.
As part of the renovation, an unused balcony was incorporated into the social space and a long window seat was installed in its place
Other decor items like vintage rugs, embroidered cushions and plenty of art and design books add even more character to the spaces.
“Ultimately, the mood of the home reflects the spirit and talents of the estimable homeowner,” said Lovers Unite, noting that Chinlund has worked as a production designer for the Avengers movie franchise.
Colourful furniture and set props are scattered through the different rooms
Silver Lake is home to a variety of architectural gems, many built on dramatically sloping sites, including residences designed by notable mid-century architects like Richard Neutra and Rudolph Schindler.
Led by Karen Spector and Alan Koch, Lovers Unite is based close to the neighbourhood, and has previously wrapped a bar and restaurant in Pasadena with expressive drapery.
Paris-based lifestyle brand Kitsuné has opened a cafe next to its boutique in Silver Lake, Los Angeles, both with minimalist interiors featuring white oak and stainless steel.
The interiors of the new Cafe Kitsuné and the renovated Maison Kitsuné store were designed by co-founder Masaya Kuroki to reflect the brand’s French-Japanese culture as well as the West Coast setting.
The Cafe Kitsuné interior includes a mural by Jeffrey Sinich that imagines the space as an old-school market
Facing Sunset Boulevard on the east side of the city, this is the brand’s fourth cafe in North America – following locations in Manhattan, Brooklyn and Vancouver – and its first in LA.
“A sprawling city of diverse findings, from cutting-edge restaurants to pockets of art and architecture second to none, LA has lent design inspiration and a backdrop to several campaigns for the fashion house,” said the Kitsuné team.
White oak tables and surfaces are set against stainless steel counters and panelling for a minimalist look
“Now, it’s the perfect setting for Café Kitsuné, a physical extension of the brand’s Franco-Japanese DNA, and reinvention of the classic Parisian cafe and wine bar experience with a Japanese twist,” they added.
The building’s red-tile exterior and poured concrete flooring were preserved, and hand-painted signage by Californian artist Jeffrey Sincich was added over the large street-facing windows.
Burnt orange dining chairs and upholstered benches highlight the colours of the mural
Inside the 700-square-foot (65-square-metre) cafe, white oak tables and brushed stainless-steel counters feature alongside burnt orange dining chairs and upholstered benches.
Another Sincich mural covers the full length of a wall, offering “a whimsical take on Café Kitsuné’s standard appearance” and presenting the space as an “old-school market”.
A speaker system by Japanese audio company Rotel was installed in the cafe “to provide a top-notch sound experience for customers”, according to Kitsuné.
Next door in the boutique, a similar material palette is used for elements including a built-in storage and display unit across the back wall.
The existing Maison Kitsuné boutique next door has also received a refresh
White oak forms the framing, shelves and doors that lead to the stock and fitting rooms, while ribbed stainless-steel sheets provide a backdrop for the items on show.
More oak was used for the minimalist service counter and panelling behind, and a bright blue table sits in the centre to add a pop of colour.
White oak and stainless steel are repeated in this space to create a visual connection with the cafe
Kitsuné was founded by 2002 by Kuroki and Gildas Loaëc and encompasses the fashion brand, Maison Kitsuné; a music label, Kitsuné Musique; and its line of cafes, bars and restaurants.
Back in 2017, French designer Mathieu Lehanneur designed the Kitsuné store interior in New York’s Soho, adding snaking metal rails for displaying garments.
Japanese architect Keiji Ashizawa has created the interior for a skincare clinic in Tokyo, using textiles and custom-made furniture to make it feel more residential than medical.
The Aloop Clinic & Lab, which provides “skin cure and care”, is located in the city’s upscale Ginza area and run by Japanese beauty company POLA. Ashizawa wanted to give it an interior that would feel peaceful, while also representing the brand.
The Aloop clinic has a calm minimalist interior
“As a clinic that uses medical technology to deal with beauty, we thought that the space should have sincerity, calmness, and beauty in order to create a comfortable time for customers to feel at ease,” Ashizawa told Dezeen.
“In addition, considering that this is a completely new business for the POLA beauty brand, we felt that it was necessary to create a space that would enhance the brand.”
Wood was used throughout the space
To do so, Ashizawa looked at the design of the 210-square-metre clinic like he would if he were designing a residential space, giving it a calm, minimalist interior.
“Although it is a clinic, I considered the space to be similar to a hotel or a living space,” he said. “Therefore, I used materials that I use in designing living spaces and hotels.”
“The walls are plaster and the floor is a wool rug from Hotta Carpet,” he added. “The sofa and furniture at the characteristic entrance are made of Kvadrat wool textile to create a pleasant texture.”
Treatment rooms were designed to have a residential feel
The architect used a clean, simple colour palette throughout the space, with white-painted walls contrasting against wooden panelling and wooden doors.
“Wood was used for doors, furniture and details because we wanted to create a residential calm rather than a clinic,” Ashizawa said. “We felt that a bright and healthy atmosphere was necessary.”
“The extensive use of wood was to create a residential atmosphere, and we wanted the space to be as far away from a typical clinic as possible,” he added.
Keiji Ashizawa created custom-made sofas with furniture brand Karimoku
His studio worked together with wooden furniture brand Karimoku to design the custom-made sofas for the space, which welcome customers as they enter the clinic.
“Of particular importance to this project were the custom sofas,” Ashizawa said.
“We asked Karimoku, with whom we communicate on a daily basis for furniture development and wood projects, to work with us on the development of the furniture.”
He compared his collaboration with the brand to that of mid-century modern Finnish architect Alvar Aalto and furniture brand Artek.
“For me, Karimoku has become an indispensable partner in thinking about space, just as Aalto is for Artek,” he explained.
Neutral colours contrast against pale wood
By creating the sofas with rounded edges, Ashizawa aimed for them to “gently envelop” customers after their treatments.
“The mere fact that something looks hard or painful makes the body tense, so we thought it would be desirable to eliminate such things,” he said.
“However, in order to maintain a comfortable sense of tension in the room, delicate details of metal and wood were used to achieve a balance.”
Small sculptures decorate the space
Small sculptures were dotted throughout the Aloop clinic, including in the treatment rooms.
Ashizawa has previously designed an interior with a similar colour palette for the Hiroo Residence in Tokyo, and also used plenty of wood for his and Norm Architects minimalist Trunk Hotel design.
The Sims has been allowing players to act out their architecture and interior design fantasies for more than two decades. Jane Englefield finds out how the makers of the iconic life-simulation video game keep up with shifting trends.
“People laugh when I mention playing The Sims, but it was hugely significant in terms of spatial planning and was a key part of how and why I have ended up in the line of interior design work that I have,” interiors stylist and editor Rory Robertson told Dezeen.
“The Sims offered people the opportunity to get a feel for design,” he reflected. “You could be as extravagant and outrageous, or as briefed and restricted as you liked.”
The Sims was first released in 2000 with three sequels since developed
Created in 2000 by American game designer Will Wright, The Sims is a video game where players make human characters – or “sims” – and build their virtual houses and lives from scratch, catering to their needs and desires.
With four iterations of the main game and dozens of themed expansion packs focussing on topics such as university, parenthood and cottage living, The Sims is one of the best-selling video-game franchises of all time.
“It’s really accessible”
Architecture and interior design has been a major part of The Sims experience from the very beginning.
Having previously created the city-building game SimCity in 1989 – which itself has been credited with inspiring a generation of urban planners – Wright was originally motivated to develop The Sims after losing his home in the Oakland firestorm of 1991 in California.
Design remained a core part of the offering, however, and the interface features tools that allow players to instantly build structures and decorate and furnish them from an extensive inventory of items.
Players can choose from a wide inventory of decor and furnishing options
“It’s really accessible, so I think a lot of people get into it without even realising that they’re playing with architecture and playing with space,” said video-games expert and historian Holly Nielsen.
“While it was like catnip for design budding minds, it was also just a wonderful opportunity for procrastination and frivolity for people who aren’t particularly confident or tuned in to interiors or architecture,” echoed Robertson.
Since the original The Sims, a broad set of options has been available for players to suit their tastes and imaginations.
Possibilities have ranged from minimalist bungalows filled with neutral furniture to more outlandish dwellings, such as castles defined by Dalmatian-print wallpaper or hot tubs parked in the middle of multiple living rooms.
“We’ll take any source”
The team behind these possibilities described how they ensure that the architecture and interior design options stay feeling fresh and contemporary with each new game in the series.
“Since we’re a game about real life, anytime we step outside our door we have inspiration by just looking at what’s in our immediate environment,” game designer Jessica Croft told Dezeen.
Art director Mike O’Connor added that he and his team scour the real world and the web for up-to-date references.
“We’ll take any source,” he said. “We’re looking for patterns. If we start to see round furniture, or bouclé, or whatever the trend is, [we ask] has it already gone?”
“The internet doesn’t scrub old ideas. So you know, it’s seeing if there’s a trend, is it sticking, does it apply to what we’re doing now?”
The in-game design possibilities have evolved over time to keep up with trends
Furniture and appliances within the game are regularly revised over time to reflect cultural and technological progression in the real world, Croft explained.
“In Sims 2 [released in 2004] I would not be surprised if there was a landline phone – and there definitely isn’t a landline phone in my own house, or Sims 4,” she said.
“Even things like VR [virtual reality] didn’t really exist back in The Sims 2 days, so things like VR consoles, computers – we just added dual-monitor computers, and LEDs are now in most households,” she continued.
That in turn sees the team take a surprisingly deep dive into how interiors are changing, O’Connor acknowledged.
“Over the life of this game, you see an evolution,” he said. “Electronics are probably the biggest category [of change]. Even just how people use TVs, how they place them, has changed.”
The idea, says Croft, is to ensure that The Sims players feel a close connection to the world they are building for their sims.
“The most fun thing for me is being able to allow players to craft stories that are relatable to them,” she said. “So, looking for opportunities to make players feel seen.”
“An element of freedom and fantasy-building”
But, as Nielsen points out, there is an additional aspect to the game’s architecture and design possibilities that is central to its appeal.
“In one sense, it’s reflective of society, but in another way, it’s aspirational,” she said.
“There’s an element of freedom and fantasy-building to playing The Sims,” she continued. “Homeownership is a thing that a lot of us will not get to do.”
As in real life, everything you build or buy in The Sims has a cost.
However, unlike in real life, punching “motherlode” into The Sims cheat-code bar will immediately add a healthy 50,000 simoleons to your sim’s bank account, putting that luxury sofa easily within reach.
The game offers people “the opportunity to get a feel for design”
That possibility remains central to Robertson’s nostalgia for playing The Sims as a young would-be interior designer.
“Once you double-clicked The Sims graphic on your Microsoft desktop, a multi-roomed mansion cost nothing to design,” he said.
This aspirational element has become an increasingly large part of The Sims’ commercial model over the years.
The Sims 4, as an example, is accompanied by 19 purchasable “Stuff Packs” that expand the options of items available to buy, including “Perfect Patio”, “Cool Kitchen” and one based on the products of Milan fashion label Moschino.
And the latest of the more extensive expansion packs is For Rent, which allows players to build rental houses where some sims are landlords and others are tenants.
Within the game, landlords encounter various true-to-life issues, including the potential for toxic mould build-up in their properties – although, unlike in the real world, the mould feature can be toggled on and off.
For Nielsen, that traces back to a significant foundational element of the game’s widespread appeal – as well as being one of the reasons it has had such strong interior-design influence.
“It didn’t feel like it was aiming for anyone,” she explained. “One of the things that people bring up a lot is that it has a very female player base.”
“For me, it was a big turning point – it was getting to create the spaces but also play around with the people inside them. It felt like a socially acceptable way to play dollhouses.”
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