Interior Design March 2024

MARCH 2024

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THERE ARE PIECES THAT FURNISH A HOME AND THOSE THAT DEFINE IT.

T HE VIGO COL L ECT ION IN N AT UR A L T E A K

CONTENTS MARCH 2024

VOLUME 95 NUMBER 2

ON THE COVER

03.24

At Shanan Anji Deep Stream, a three-building, 17-key property in China by Fununit Design that’s all about a wholly meditative hospitality experience, a meandering staircase flanked by rammed-earth balustrades and lush bamboo leads up from the parking area to the main entry, encouraging guests to slow down and be at one with nature. Photography: Aogvision.

features 112 NATURAL CURE

by Rebecca Dalzell

Surrounded by the Carpathian Mountains, Hay Boutique and Spa

by Edem Family is a small, serene hotel in Polyanytsya by YOD Group where Ukrainians can retreat.

122 HÔTEL PARTICULIER

by Michael Lassell

Perron conjures a family weekend ski chalet that also doubles as an urbane five-star rental property in Baie-SaintPaul, Canada.

130 BANDED TOGETHER

by Elizabeth Fazzare

The striped facade of a centuries-old Italian duomo inspired the renovation of the nearby, equally historic Palazzo Petrvs, a boutique hotel in Orvieto by Giuliano Andrea dell’Uva Architetti.

138 UPWARDS AND ONWARDS

by Edie Cohen

Clive Wilkinson Architects and WRNS Studios deposit a postpandemic workplace for Intuit, a financial-software company in Mountain View, California.

148 FIRST TIME’S A CHARM

by Dan Howarth

Rammed earth, purity of concept, and immersion in the landscape add up to an extraordinary hotel experience at China’s Shanan Anji Deep Stream, Fununit Design’s debut.

158 BRAVE NEW WORLD

by Peter Webster

Across the Americas, from Canada to Argentina, a fresh crop of restaurants and bars is serving up truly innovative F&B design.

ULYSSE LEMERISE

122

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MONTEREY

LOS A N G EL ES

PA L M BEAC H

LO N D O N

M O N ACO | S U M M I TF U R N I TU R E .CO M

03.24

CONTENTS MARCH 2024

VOLUME 95 NUMBER 2

special hospitality section ON THE COVER

The Wayback is a 60,000-square-foot property in Pigeon Forge, Tennessee, a former Days Inn that’s now part of Marriott’s Tribute Portfolio, where Dryden Studio outfitted the 134 guest rooms in a retro motor lodge–vibe of mixed prints and artwork packaged by consultant Local Language. Photography: courtesy of The Wayback, Pigeon Forge, Marriott Tribute Portfolio.

69 BATHHOUSE

by Rebecca Dalzell 75 KIMPTON HOTEL THETA

by Lisa Di Venuta 83 THE ROYAL HOTEL

by Wilson Barlow 89 THE WAYBACK

by Stephen Treffinger 93 COSME, A LUXURY COLLECTION RESORT

by Stephen Treffinger 97 MOXY SYDNEY AIRPORT

by Georgina McWhirter 101 THE HANOK HERITAGE HOUSE

by Edie Cohen

departments 23 HEADLINERS 27 DESIGNWIRE

by Annie Block 34 BOOKS

by Wilson Barlow 36 SHOPTALK 38 PINUPS

by Rebecca Thienes 45 MARKET edited by Rebecca Thienes text by Rebecca Dalzell, Georgina McWhirter, Jen Renzi, and Rebecca Thienes 107 CENTERFOLD Butterfly Effect

by Athena Waligore

172 CONTACTS 175 INTERVENTION

by Athena Waligore 83

DOUBLESPACE

Architect Emmanuelle Moureaux continues her 100 Colors series, this time forming her signature paper into thousands of insects that took flight in Shanghai.

f ur n i t u re

lig h t in g

o utdo o r

134 Ma d is o n Av e N e w Yo r k d d cny c . c o m

a c c e sso r ie s

syste ms

kitchens

Learn More

Seba Mobile Collection by Sebastian Herkner

editor in chief chief content officer

Cindy Allen, hon. IIDA MANAGING DIRECTOR

DESIGN DIRECTOR

Helene E. Oberman

Karla Lima

EXECUTIVE EDITOR

CREATIVE SERVICES

Annie Block

Marino Zullich

SENIOR EDITOR

PRINT OPERATIONS MANAGER

Georgina McWhirter MARKET DIRECTOR

Rebecca Thienes ASSOCIATE EDITOR

Wilson Barlow

Olivia Padilla SENIOR PREPRESS AND IMAGING SPECIALIST

Igor Tsiperson

digital

ASSISTANT EDITOR

Lisa Di Venuta

SENIOR WEB EDITOR

Carlene Olsen

EDITOR AT LARGE

WEB EDITOR

Elena Kornbluth

Michelle Yee

CONTRIBUTING EDITORS

Stanley Abercrombie Raul Barreneche Mairi Beautyman Edie Cohen Rebecca Dalzell Jesse Dorris Laura Fisher Kaiser Craig Kellogg Jane Margolies Murray Moss Jen Renzi Peter Webster Larry Weinberg

interiordesign.net @interiordesignmag @intdesmag @Interior Design Magazine

CONTRIBUTING PHOTOGRAPHERS

Benny Chan/Fotoworks Jimmy Cohrssen Art Gray Eric Laignel Michelle Litvin Garrett Rowland CHIEF EXECUTIVE OFFICER

Erica Holborn CHIEF OPERATING OFFICER

Michael Shavalier CHIEF DESIGN OFFICER

Cindy Allen EXECUTIVE VICE PRESIDENT, STRATEGY

Bobby Bonett SANDOW was founded by visionary entrepreneur Adam I. Sandow in 2003, with the goal of reinventing the traditional publishing model. Today, SANDOW powers the design, materials, and luxury industries through innovative content, tools, and integrated solutions. Its diverse portfolio of assets includes Luxe Interiors + Design, Interior Design, Metropolis, and DesignTV by SANDOW; ThinkLab, a research and strategy firm; and content services brands, including The Agency by SANDOW, a full-scale digital marketing agency; The Studio by SANDOW, a video production studio; and SURROUND, a podcast network and production studio.

SANDOW is a key supporter and strategic partner to NYCxDESIGN, a not-for-profit organization committed to empowering and promoting the city’s diverse creative community. In 2019, Adam Sandow launched Material Bank, the world’s largest marketplace for searching, sampling, and specifying architecture, design, and construction materials.

Fine Solid Bronze Architectural Hardware 866-788-3631 • www.sunvalleybronze.com Made in the USA 16

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EXECUTIVE VICE PRESIDENT & DESIGN FUTURIST

AJ Paron VICE PRESIDENT, DIGITAL

Caroline Davis VICE PRESIDENT, HUMAN RESOURCES

Lisa Silver Faber VICE PRESIDENT, BUSINESS DEVELOPMENT

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Lorri D’Amico DIRECTOR, VIDEO

Steven Wilsey

vice president, sales John Crosby marketing

advertising

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Pfeifer Studio is your go-to for striking design.

Created with hospitality in mind, we unite the beauty and durability of solid wood in sculptural forms with easily customizable sizes and finish options. Shop us online for a vast selection of exclusive products in stock.

A MORE SUSTAINABLE INTERIOR DESIGN As part of the SANDOW carbon impact initiative, all publications, including LUXE INTERIORS + DESIGN, INTERIOR DESIGN, and METROPOLIS, are now printed using soy-based inks, which are biobased and derived from renewable sources. This continues SDG’s ongoing efforts to address the environmental impact of its operations and media platforms. Earlier this year, we announced a yearlong partnership with Keilhauer to offset all estimated carbon emissions for the printing and distribution of every print copy of INTERIOR DESIGN in 2023 with verified carbon credits, including the one you hold in your hands.

This magazine is recyclable. Please recycle when you’re done with it. We’re all in this together.

pfeiferstudio.com | 866-804-1909 18

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Michelle Gerson, Founder, Michelle Gerson Interiors in her office featuring Calacatta Vagli Extra marble slabs

A N U N PA R A L L E L E D S E L EC T I O N O F N AT U R A L S TO N E S L A B S D I S COV E R A R T I S T I C T I L E’ S S L A B G A L L E R I E S N A S H V I L L E | N Y M E T R O | DA L L A S C O M I N G S O O N | A R T I S T I C T I L E .CO M/S L A B

e d i t o r ’s welcome

hospitality’s get-up-and-go!

By all accounts, it appears the business spring-back of the last few years in our hospitality patch has no intention whatsoever of letting up. It’s at full thrust, as a matter of fact—simply going and going and going—so much so we decided to officially nickname this little spring bunny the “GO” issue (vroom). And no joke here, March truly did require a ton of get-upand-go. We were so inundated by impossibly good submissions, from legions of designers, with an ocean of back and forth, it became an almost Herculean labor. I usually frame and develop the character of an issue using five or six stories as leads and checks. This beastie bunny asked for more than a dozen just in the front of the book alone! Yet, judging exclusively by the results, it was all damn worth it— and more! Our hospitality issue is the most accurate gauge and the clearest mirror of design for this incredibly successful category in our industry… and anywhere.

So, where did we go? Well, everywhere! We took in the peaks at not one but two gorgeous getaways: a 40-room spa in the Carpathian Mountains of Ukraine (designed to feel protected from the outside) and a family ski chalet on the Laurentian Mountains of Quebec, Canada (designed to feel the outside when inside). We put our feet on solid ground in Orvieto, Italy, with the renovation of a historic palazzo that— influenced by the town’s duomo—is super-stripey and super-cool! And finally, we showcase an innovative global roundup of bars and restaurants that fed our design minds and bellies (yum yum)!

Cheers to all the designers and architects driving this exciting segment forward, and remember, for all the go-go-go in the issue, you don’t actually need to go anywhere to be inspired…just turn the page! xoxo Cindy

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YOD Group “Natural Cure,” page 112

headliners

headliners

ULIANA VINICHUK

“No restaurant, bar, or hotel exists in a vacuum. They are all part of the general eco-system—fragments of the cultural, gastronomic, recreation, and social context.”

cofounder: Dmytro Bonesko. cofounder: Volodymyr Nepyivoda. firm site: Kyiv, Ukraine. firm size : 20 architects and designers. current projects: Cukiernia restaurant in Lviv, Ukraine; Caro Steakhouse in Dubai and Sfumato restaurant in Abu Dhabi, both in the United Arab Emirates. honors: Interior Design Best of Year Awards; Architecture MasterPrize; International Design Award; LIV Hospitality Design Award. milestone: YOD celebrates its 20th anniversary this year. mascot: Shtrudel, the office dog, is part of the team. yod.group

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h e a d l i n e rs

Clive Wilkinson Architects “Upwards and Onwards,” page 138 president, design director: Clive Wilkinson, FAIA, FIIDA. associate principal, project director: Caroline Morris. firm site: Culver City, California. firm size: 15 architects and designers. current projects: UCLA TFT Macgowan Hall in Los Angeles;

Blizzard Entertainment campus master plan in Irvine, California; Lululemon headquarters expansion in Vancouver, Canada. honors: Interior Design Best of Year Awards; AIA National Healthcare Design Awards; ArchDaily Building of the Year Award finalist. travelers: Frequent house-swappers, the Wilkinson family recently stayed at an art nouveau gem in Antwerp, Belgium. artists: Morris enjoys applying oil and acrylic to canvas, plus finger-painting with her 3-year-old son. clivewilkinson.com

Giuliano Andrea dell’Uva Architetti “Banded Together,” page 130 founder: Giuliano Andrea dell’Uva. firm site: Naples, Italy. firm size: 20 architects and designers. current projects: Palazzo Avino hotel

renovation in Ravello, a residence in Venice, and a private villa in Bellagio, all in Italy.

Perron “Hôtel Particulier,” page 122 founder, lead designer: Nathalie Perron. project manager: Rebekah Maciagowski. artistic direction: Sarah Eve Hébert firm sites: Québec City; Montreal. firm size: 12 designers. current projects: Le Beau Croissanterie in Toronto; Le Petit Roy hôtel particulier in Fort Lauderdale, Florida; a house in Malibu, California. honors: Grands Prix du Design. diet plan: Perron, a veteran traveler, skips meals here and there to accomplish more design-related activities. creative touch: Maciagowski is also a visual artist whose work is often included in the firm’s projects. gentle hues: Hébert has two young daughters, who live their lives in pastel colors like their mother. perrondesign.ca 24

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CENTER: NATHALIE KRAG/LIVING INSIDE; BOTTOM: DIANE BLANCHARD (3)

italy: Dell’Uva is the owner of Capri Suite, an inn in Anacapri. switzerland: Last spring, he launched Dreaming of Capri, an indoor/outdoor textile collection with Swiss manufacturer Christian Fischbacher. giulianoandreadelluva.it

©2023 ©2019

Strata™

Ventanas™

Fununit Design ©2023

“First Time’s a Charm,” page 148 founder, design director: Eason Zhu. firm site: Hangzhou, China. firm size: 20 architects and designers. current projects: A pet hospital in Hangzhou and a tearoom in Shanghai. honors: A’ Silver Design Award; World Architecture Festival award.

©2020

Shayle™ Spectra™

mind: Zhu earned a master’s in architecture from the University of the Arts London. body: He mixes high-intensity training with stretching, alleviating stress and allowing for more creativity. fununitdesign.com

WRNS Studios

work hack: Milman loves learning and embracing new technologies. kick back: He enjoys cooking to unwind. wrnsstudio.com

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INTERIOR DESIGN

©2022

BOTTOM: SHAE ROCCO

©2017

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“Upwards and Onwards,” page 138 partner: Brian Milman, AIA. firm hq: San Francisco. firm size: 150 architects and designers. current projects: The Kelsey Civic Center afford­ able housing community in San Francisco; Peninsula Crossing Life Sciences mixed-use development in Burlingame, California; Princeton University’s Frist Health Center in New Jersey. honors: IIDA Hawaii Pacific Chapter Ho’ohuli Awards honorable mention; AIA Honolulu Design Awards honorable mention.

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design wire edited by Annie Block

all the feels A mere 28 years old, Barbora Žilinskaitė has already had a noteworthy trajectory. She was born and educated in Lithuania, where she earned a bachelor’s degree in product and spatial design, lives in Brussels, and, lately, has been taking California by storm: recently participating in a group show at San Francisco gallery Jessica Silverman and now the subject of a solo exhibition, “Chairs Don’t Cry,” currently on view at Friedman Benda Los Angeles. All showcase not only her vivid, anthropomorphic work that blurs the line between person and object—the show title attributing emotion to furniture—but also her signature medium, reclaimed sawdust, which she sources from a nearby timber workshop. “Beyond its aesthetic value—texture, malleability, porosity—I also appreciate the narrative behind using the material,” Žilinskaitė says. “Objects made from it already carry a story, and it continues to ‘live,’ shaping new forms instead of ending up in a landfill.” But for Art Basel Switzerland in June, she’s switching things up, crafting her Sunbather bench—which is debuting in L.A. in blue-pigmented wood dust— in pale-yellow concrete, her first of the kind.

TIMOTHY DOYON/COURTESY OF FRIEDMAN BENDA

From top: “Chairs Don’t Cry,” Barbora Žilinskaitė’s 10-piece solo exhibition at Friedman Benda gallery in Los Angeles through March 30, features the 9-foot-long sideboard While we hide our secrets there, they hide theirs, the 3-foot-tall mirror Mr. Judgy, and the 6-foot-long Sunbather bench, all in pigmented reclaimed sawdust.

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#techhotel Clockwise from bottom: Recently opened on the Meta campus in California is citizenM Menlo Park, by Dutch firm Concrete with local studio Baskervill, its 160 stacked modules totaling nearly 80,000 square feet.

One of the 240 guest rooms, its 150-square-foot plan identical to all those in the 33 citizenM properties worldwide. The lobby with a Facebook portrait–inspired custom rug manufactured by Moooi.

Alexandra Bowman’s 60-foot mural Taking Flight and stair guardrails in painted steel plate.

With the opening of citizenM Menlo Park, visitors to Meta’s California headquarters aren’t the only ones in luck. Facebook, Instagram, and Messenger employees needing a midday workout or place to crash after a late night of engineering software are, too. The 240-key outpost is the Amsterdam-based hotelier’s 15th in the U.S. (with two more opening in Boston and Miami later this year) and, like all of them, embodies a tech- and sustainability-driven, accessibly priced concept by fellow Dutch firm Concrete. The exterior is a restrained composition of three adjoining masses in glass and aluminum. But the mood skews lively inside: The lobby is a riot of color, thanks to Facebook-blue Antonio Citterio sofas, and lighting, the ceiling a veritable constellation of white Isamu Noguchi pendant fixtures; in a corner is a famous Wiggle chair by Frank Gehry, who designed part of the 250-acre campus in 2018. Guest rooms epitomize efficiency, their modular approach reducing construction waste by up to 60 percent, and the blinds, climate, TV, and color-changing lights controlled by iPad. World-class art unites indoors and out, the latter emblazoned with a diversity-themed mural by Oakland artist Alexandra Bowman.

COURTESY OF CITIZENM

d e s i g n w ire

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moltenigroup.com

Clockwise from top left: The entry hall of Gardiner House, a boutique waterfront hotel opening April 1 in Newport, Rhode Island, by firms Herk Works and Space Exploration, features a recreation of a mural done by the property’s namesake, late painter Howard Gardiner Cushing, in 1905, a Goyard trunk, and a peacock chair, both vintage, the latter sourced locally from Ré antiques shop, as well as flooring from BelTile. The new clapboard mansard-style structure, encompassing 25,000 square feet and 21 guest rooms and suites, scaled to blend with the surrounding 18th- and 19thcentury architecture. A closeup of the mural, reproduced by twenty2 wallpaper + textiles. The Studio Bar’s walls, coated in Moorland Green by Fine Paints of Europe and hung with 35 traditional and contemporary artworks curated by co-owner Howard Cushing.

d e s i g n w ire Celebrated early 20th–century American painter Howard Gardiner Cushing died at just 47. But, over a century later, his influence lives on at Gardiner House, a luxury harbor-front hotel opening April 1 in Newport, Rhode Island, where the artist had a residence and studio. It’s the vision of his great-grandson, Howard Cushing, and Wirt Blaffer, who collaborated with local architecture firm Herk Works and Brooklyn, New York, design studio Space Exploration on the fiveyear, ground-up project that’s residential in scale and spirit. The centerpiece of the 21-room property is the entrance hall, a double-height space floored in black-and-white limestone and marble tile, centered on a grand spiral stair, and wrapped by wallpaper that recreates a lush landscape mural painted by Cushing the senior in 1905 at the Ledges, his nearby family home. Right off the lobby is Studio Bar, its rich green walls hung salon-style with dozens of paintings, satirical cartoons, and original signed prints by the likes of Slim Aarons, H.M. Bateman, and Brandon Best, an eclectic mix curated by Cushing the junior.

CLOCKWISE FROM TOP LEFT: NICK MELE (3); MICHAEL CLIFFORD

next-gen glamour

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T HE L A M P T H AT C H A NG ED E V ERY T H ING.

The Pina Pro Cordless Lamp is now available in Glossy Gold and Chrome finishes. Shown with handmade stemware and stoneware by Zafferano.

Visit the Zafferano Showroom: 121 Varick Street, New York City - 212 377 3342 - zafferanoamerica.com

d e s i g n w ire

An about-to-launch hospitality brand has an inviting moniker. It’s Arev, and it’s derived from the French word for dream. Indeed, the debut property, Arev Saint Tropez, opening March 15 in the south of France, is certainly swoon-worthy. Local firm François Vieillecroze Architecte and Madrileños Luis Bustamante Interiors and Jesús Ibáñez Paisajismo have dreamt up an experience that is not only quintessentially French Riviera but also feels like an exquisite private estate. A tree-lined drive leads past manicured gardens to six compact buildings, their facades, in a plaster color appropriately named Provencal Crème, fronted by pale-blue shutters and capped by Mediterranean-style terra-cotta roofs. Inside, the spirit of Saint-Tropez is captured in a palette of blue, white, beige, and red, often rendered in nautical stripes, a nod to the region’s yachting DNA. Luis Bustamante outfitted the 43 guest rooms and suites in pristine custom furnishings and vivid patterns ranging from toiles and florals to more stripes. Rounding out the hotel is a spa, a revival of the legendary Strand Restaurant and Champagne Lounge, and a glittering sundeck, its pool bottom spelling out “a rêve in the sun.”

Clockwise from top: In a suite at Arev Saint Tropez, a new boutique hotel in Southern France, the wall and ceiling fabric panels and furnishings are all custom by Luis Bustamante Interiors. The pool area with custom towels by French manufacturer Garnier-Thiebaut. Flooring of painted wood parquet in the lobby. One of the hotel’s myriad artworks, a varied collection of abstract and photographic pieces that depict the French Riviera’s carefree lifestyle.

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COURTESY OF AREV SAINT TROPEZ

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Designed for Life: The World’s Best Product Designers

By Phaidon Editors and Kelsey Keith New York and London: Phaidon, $70 304 pages, 500 color illustrations

Most of us in the A&D community can appreciate a well-designed houseware, whether a tea kettle or a hair dryer. With its Useful Objects and Good Design exhibition series that began in 1938, the Museum of Modern Art in New York helped raise the layperson’s awareness of the beauty of and ingenuity in commercially available, contemporary objects. That bridging of art and com­merce sparked an interest that has persisted, and inspired, for generations.

Designed for Life: The World’s Best Product Designers is a survey of such objects, featuring a global roster of 100 designers and artists. As Herman Miller brand creative director Kelsey Keith notes in her introduction, every conti­nent except Antarctica is represented.

Among the pages are such items as the glass, brass, and enamel Tantra glasses and plates by India’s Gunjan Gupta and Arcobaleno (Italian for rainbow), polychromatic wood veneers by Germany’s Konstantin Grcic. But not every­thing in the book is a product. Launderette of Dreams was an inter­ active installation by London-based Yinka Ilori built of more than 200,000 LEGO bricks that sought to replicate his whimsical childhood vision of the every­day. Some works are in classical materials like iron, hardwood, and resin, while others use more novel techniques, utilizing recycled computers, Kevlar, volcanic rock. . . even bone and blood. All were chosen by a diverse nom­inating committee composed of makers, writers, and curators, including Interior Design contributing editor Aric Chen.

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Ph: T. Pagani

italian design story

Marenco sofa design Mario Marenco

Salone Internazionale del Mobile A p r il 1 6 th - 21st Hall 09 Stand E02 - E04 www.arflex.com instagram: arflex_official Giussano (MB) - IT +39 0362 85 30 43

Chicago 213 W Institute Place - Chicago, IL 60610 - Cincinnati 1401 Elm Street - Cincinnati, OH 45202 - New York 51 Hudson Street, New York, NY 10013 / Saint Luke’s Place, New York, NY 10014 / 227 W 17th Street, New York, NY 10011 - Los Angles 8770 Beverly Blvd. - West Hollywood Los Angeles, CA 90048 - San Francisco 3085 Sacramento Street - San Francisco, CA 94115 Miami Design District 3621 NE 1st Ct - Miami, FL 33137 - Dallas 1019 Dragon Street Dallas, TX 75207 - Atlanta 349 Peachtree Hills Ave Suite B2, Atlanta, GA 30305 - Vancouver 1672 W 1st Ave, Vancouver, BC V6J 1G1 - Toronto 80 Ronald Avenue, Toronto, ON M6E 5A2 / 24 Mercer Street, Suite 100, Toronto, ON M5V 0C4- Montreal 4396 Saint Laurent Blvd, Montreal, Quebec H2W 1Z5 .

Agent DzineElements Tel: +1 (917) 594 5550 info@arflex.com

What shifts, positive or negative, are shaping the future of hospitality design?

“Context has become a strong source of inspiration and programming: leveraging aspects like the cultural importance of place, the history of a building, and regional art.”

“The pandemic changed the way we think about personal space. We came to realize that physical and mental boundaries are important and learned to maintain them.

I can speak from both the architect’s point of view and the restaurateur’s perspective. Customers seek privacy and distance subconsciously, often choosing a separate table over a communal one.

I own three cafés in Kyiv and the safety of my guests is always back of mind.

Instead of full glass windows, we opt for sturdier options. We think of evacuation routes and shelters. Since war and the destruction it brings can happen anywhere, the more you prepare, the easier it will be to get through the unthinkable.”

—Slava Balbek, Balbek Bureau

—Little Wing Lee, Studio & Projects

s h o p talk “Consumers have become much more aware of greenwashing and are rewarding developers taking real sustainability measures.

Regenerative architecture and sustainable design mark a positive shift, with the two largest hotel franchises setting measurable targets for the not-so-distant future.

Adaptive reuse of existing structures will continue to be part of that sea change, as it’s now recognized to be the most sustainable act in construction.”

“Our guests’ needs are becoming more nuanced—continually shifting between work, leisure, entertainment, and wellness within a single stay—so our designs must serve more functions. Hyper-personalization presents a great opportunity to foster brand loyalty. The challenge is figuring out how to create custom stays without collecting and retaining too much personal data and invading privacy.”

—Stanley Sun, Mason Studio “The sensory power of design. We’ve seen increased sensitivity to how hospitality spaces make guests feel, and how that emotional response creates distinction in a competitive marketplace. Whether introducing scents to environments or integrating elements of nostalgic significance, there’s incentive to include thoughtful details that conjure deeply felt experiences.”

—Ali McQuaid Mitchell, Futurestudio

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CLOCKWISE FROM MIDDLE: JAIME HOGGE; BRITNEY TOWNSEND; TATUM MANGUS

—Larah Moravek, Dutch East Design

Sharper lines, Sleeker Spaces:

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p i n ups edited by Rebecca Thienes

the blue zone Aqueous forms and cool-blue hues make for water sign–worthy furniture that addresses big issues, from factory waste to climate change

ADIL KHANNA/UNOMONO

To “recycle the past for the future,” Delhi, India–based interior/ product design studio Daera partnered with sustainable fashion label Cancelled Plans on Trapeze Swing, a handpainted tubularframe chair with a sling seat crafted of fabric waste from sock production. daeralife.com

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Custom Digital

Make it Yours MAKE IT WITH

Digital Creations Wallcovering MakeArtwithMomentum.com

p i n ups

Vienna-born designer Anna Resei pondered the cost of rising ocean levels in her recent “Water Carriers” exhibition, which includes a foldable room divider, its aluminum-composite sheets, with light-catching gloss finish, UV-printed with a digitally produced pattern of seafoam and nautical-chart grid lines. annaroro.com

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COURTESY OF STUDIO ANNA RESEI

new wave

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market edited by Rebecca Thienes text by Rebecca Dalzell, Georgina McWhirter, Jen Renzi, and Rebecca Thienes

Bina Baitel’s curious Tremblay rug was originally commissioned for Parisian gallery owner Christophe Gaillard’s Tremblay castle in Normandy, France, alongside dozens of other quirky Baitel pieces (think a fur-trimmed mirror). Now, it’s part of her Unusual Objects collection. The rug’s twist is that its wool carpet, depicting a surreal dreamscape inspired by earthly topographies, spills like paint from an open-sided brass receptacle perched on four legs. The resulting “puddle” is enormous, stretching over 200 square feet. (It was at one point the centerpiece of the castle’s main salon.) Designed by Baitel and crafted by the Manufacture de Tapis de Bourgogne workshop, it’s both flooring and sculpture, art and design.

bina baitel studio

DIDIER DELMAS

binabaitel.com MARCH.24

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ANDROMEDA

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Interior Design Hall of Famer Debra Lehman Smith and her Washington- and New York–based firm, LSM, are renowned for exacting, elemental, and art gallery–esque corporate environs for the Fortune 500 set. The firm’s lifeblood, she explains, is deep, decades-long relationships with likeminded clients, from Bloomberg to Gulfstream, as well as artists and manufacturing partners. Among her frequent teammates is Molteni Group’s UniFor, with whom she’s worked for 20-odd years on furniture designs that, courtesy of “the company’s engineering expertise and craftsmanship,” rise to the status of “all-inclusive environments,” Lehman Smith notes. Building on that relationship, LSM will debut at Salone del Mobile Milano in April an ongoing series, Andromeda, its name a nod to a land art monument in Sicily by shepherd-turned-sculptor Lorenzo Reina (also the location in which the pieces were photographed). Designed with firm director Mark Alan Andre, the range encompasses a looks-good-from-all-angles curved or linear seating unit, a conference table, side table with round or oval top, and a “bare-minimal” credenza. The palette is succinct but ultra-refined—leather upholstery; beveledged tabletops in Italian travertine, terra-cotta, and concretelike ceramic— with the commonality being polished-aluminum bases that reflect their surroundings, providing an ethereal, floating feel and a chameleonlike quality: both transformed by and transforming their environment. unifor.it/en

ALBERTO STRADA/UNIFOR

unifor

m a r k e t furniture

“The pieces change according to context—and the unique hand of the person who’s designing with it” DEBRA LEHMAN SMITH

PRODUCTS: ALBERTO STRADA/UNIFOR

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marimekko

UNIKKO 60TH ANNIVERSARY

ISO UNIKKO

The Finnish design house known for its eye-popping patterns celebrates an anniversary: Its iconic Unikko print turns 60. Dreamed up in 1964 by prolific designer Maija Isola (she created more than 500 textile patterns over her 38 years with the company), the stylized poppy almost wasn’t—brand founder Armi Ratia believed a flower’s essence couldn’t be captured in a print. Yet the motif was a hit. For its anniversary, a glow up: Unikko dons a new palette of green, off-white, and orange for a special edition printed on cotton sateen at the brand’s Helsinki factory. Iso Unikko acts as a large-scale minimalist version, stripping back the details by removing the flower’s eye and stem. Items such as a wool jacquard fringed blanket and cushion cover in Vesi Unikko employ two Isola patterns at once: the striped lines of Vesi atop an abstraction of the celebrated floral.

Captured in situ at Alvar Aalto’s renowned Paimio sanatorium project from 1932, the collection surely calls for a toast. marimekko.com

VESI UNIKKO

“The original Unikko pattern continues to evolve with new scales, colorways, and techniques”

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market

fabric

“Fabrication and textile design have always been defining elements of my work, and this collection allows me to explore them in a new dimension”

TRIBAL ON CHESTER

m a r k e t furniture

poltrona frau Born in London to Ghanaian parents, tailor and menswear designer Ozwald Boateng has had a storied career. He’s designed costumes for Hollywood, led Givenchy Homme, and brought the joyousness of African clothing to the runway.

This fall, he made his first official foray into furnishings, launching a new collection with Poltrona Frau. His swirling signature print, Tribal, a reinterpretation of traditional African cloth, now dresses the maker’s classic Vanity Fair armchair and Chester armchair and sofas. The former gets a digital print on bold velvet upholstery. For Chester, the manufacturer developed a hot embossing technique to manually apply the Tribal pattern to Nubuck leather, which creates a textural, three-dimensional effect. Add matching cushions, rugs, and wallpaper to round out the exuberant look. poltronafrau.com

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OZWALD BOATENG TRIBAL ON VANITY FAIR

A contemporary twist on an ancient craft, Mosaik pairs modern technology with the age-old art of tiled pattern making. This acoustic wall system is available in a series of standard designs

by Kelly Harris Smith, including Twill, or create your own unique design from over ninety colors of 100% Wool Design Felt. filzfelt.com/mosaik

FERAL

MASAVI NACHI

Venetian fabric house Rubelli Group shook things up this fall with the appointment of Formfantasma’s Simone Farresin and Andrea Trimarchi as its new creative directors.

The Milan- and Rotterdam-based design studio was tasked with bringing a contemporary outlook to the 135-year-old company. First up: the experimental atelier Kieffer. Its tactile new collection, Untitled, focuses on raw materials and weaving techniques that highlight imperfections. The natural fibers include hemp and paper—a departure for Rubelli, which is known for shimmering silks and rich fabrics.

Among the standouts are Feral, a fluffy blend of mohair, cotton, and acrylic that comes solid or striped; sturdy linen Nachi; wool-cotton Masavi; and Cria, a commercial-grade 100 percent alpaca pile. Jute-acrylic Dune, wool-cotton Ryder, Chanel-esque cotton-blend Tweed Couleurs, and cotton-linens Reloaded and Linéaire are similarly nuanced, and, like all Kieffer textiles, are made near Lake Como. kieffertextiles.com

kieffer

RYDER

DUNE

CRIA FERAL

market

RELOADED

fabric

FERAL STRIPE

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TWEED COULEURS

“This collection is a celebration of simplicity and care for the wonderful imperfections of the loom”

LEFT: CLAUDIA ZALLA ANDREA TRIMARCHI, SIMONE FARRESIN

LINÉAIRE, FERAL

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Emily Henderson for Rugs USA

Laura Bilde and Linnea Ek Blæhr for Ege Carpets

Ashley Olson of Shaw Contract

Deirdre Dyson of Deirdre Dyson

product Rowena. standout The first-ever product collection by the interior designer, stylist, and influencer is intended to be “simple but special,” as evinced by her high-contrast wool rug, grooved with grid lines, that is as versatile as a pair of blue jeans.

product She LB1. standout Part of a collection of wallto-wall carpets of new wool spun in the manufacturer’s own mill, this dotty delight inspired by the palettes of 1930’s functionalism includes a colorway of irregular burgundy blobs stepped and repeated on a pale-blue ground. egecarpets.com

product Roam | Painted Desert standout The carpet company’s design director for the workplace and hospitality studio joined forces with the in-house StudioOne team, who typically do custom pieces, on a Southwest-tinged range of 15 patterns in myriad constructions.

product Cassata. standout Soft graduating washes akin to a watercolor painting flow across the GoodWeave-certified floor covering rendered by the artist and trained soprano of Tibetan wool and silk in hues native to its namesake, a sweet Sicilian sponge cake.

shawcontract.com

deirdredyson.com

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PRODUCT AND PORTRAIT 1: MARK WEINBERG; PRODUCT 4: MICHAEL SINCLAIR, STYLED BY LOUISA GREY

m a r k e t s c a p e flooring

“The refined palette soothes and centers, enveloping interiors with laid-back elegance”

armadillo m a r k e t flooring

The Australian and American carpet maker has opened a new Los Angeles showroom in the La Cienega Design Quarter. Cofounders Jodie Fried and Sally Pottharst collaborated with Studio Goss on the gallerylike space with curved partitions that invite visitors to explore its collections. Petra and Staccato are two new rugs worth seeing (and feeling) in person. A thick pile of hand-knotted New Zealand wool, Petra is a restrained 1970’s-inspired shag with plaited tassels that invokes a sense of quiet. Staccato weaves silk and linen into a textured, seemingly improvised design. Both come in cool neutrals and several sizes (up to 10-by-14 feet) and are handmade in India. The founders also view the showroom as a creative hub; they’ll set the tone with an exhibit of Fried’s ceramics this spring. armadillo-co.com

PETRA STACATTO

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JODIE FRIED CERAMICS

“The ‘feather boa’ framing the rug makes it an ideal centerpiece in any scheme”

flooring

The beloved rug company that has been producing in Kinna, Sweden, since 1889, debuts its first showroom in New York, in SoHo. Coinciding with the grand opening, Kasthall expands Ellinor Eliasson’s avianinspired Feather range, hand-tufted in pure wool and linen bouclé, by introducing five new colorways: Blue Jay, Hoopoe, Parakeet, Nuthatch, and Sparrow.

(Four original colorways leave to make way for the newcomers, but Heron and Swan, favorites from the original 2019 launch, remain.) The muted but rich colors and spectacular graduated fringe border ground any space in nature. kasthall.com

kasthall

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CLOCKWISE FROM TOP: PETRINI STUDIO; MIKE KARLSSON LUNDGREN, STYLED BY CAROLINA RUDGARD (7)

market

C O M P A T T A™

m a r k e t bath/spa

CAMINO

SHATTER

“Imagine a world where art meets sustainability”

STARLET

MESA

livden Hilary Gibbs and Georgie Smith, who are stepsisters, founded Livden in 2020 to address what they saw as a growing need for sustainable decorative tiles. They came to the business honestly: Gibbs’s mother, Melinda Earl, founded the tile manufacturer StoneImpressions, which patented a process for printing images onto stone. The San Diego–based Livden uses the same technique to apply jazzy patterns to U.S.-made recycled porcelain and terrazzo tiles. The newest designs include geometric Mesa and Camino, which imagine decor from the mythic city of El Dorado and come in four earth tones. Fun bohemian Starlet and asymmetrical Shatter are each available in three colorways. The 12-inch squares are suitable for dry wall applications, residential flooring, and intermittent vertical wet areas. livden.com

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Our blackened metals are fire.

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Chemetal is the home of blackened and dark metals for interior spaces. Our selection is massive, the variety impressive. Visit to order free samples.

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freshen up Usher character into the bathroom through color, shape, and finish 1. Opal Blue glossy glass-mosaic wall tiles by

Porcelanosa. porcelanosa.com 2. Davide Oppizzi’s Ametis polished-chrome wall-

mount lavatory faucet by Graff. graff-designs.com 3. Marissa Geoffroy’s Compass faucet knob with

lapis lazuli insert by Sherle Wagner International. sherlewagner.com

4. Starburst flush-mount stainless-steel sink in

Graphite by Mila International. mila-international.com 5. Contour stainless-steel vanity mirror in aged-

brass finish by Robern. robern.com 6. Marco Williams Fagioli’s O-XY faucet mixers with textured handles by Fantini. fantini.it 7. Caged Wet matte-black stainless-steel and glass wall sconce with brass back panel and cast-brass Towel Rail, both by Buster + Punch. busterandpunch.com 3

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Photos by Flavien Carlod and Baptiste Le Quiniou, for advertising purposes only. Architect Ramón Esteve.

Portuguese visual artist Joana Vasconcelos designed the Bombom collection for Roche Bobois. It comprises a range of seats and decorative accessories with bold, delectable shapes suited to both indoor and outdoor use.

Bombom Collection, designed by Joana Vasconcelos.

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movers & shakers The designers and brands heating up travel and leisure

bathhouse firms: rockwell group; colberg architecture site: new york amenities: 19 treatment rooms, 6 pools, 3 saunas

ADRIAN GAUT

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CLOCKWISE FROM TOP ADRIAN GAUT; EMILY ANDREWS; ADRIAN GAUT

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Previous page: At Bathhouse’s Manhattan location, by Rockwell Group and Colberg Architecture, an inverted pyramid, painted to resemble patinated metal, hangs above the neutral pool.

Clockwise from opposite top: Select thermal pools are heated with the energy byproduct of Bitcoin mining. Pendant fixtures in the café evoke river rocks. Black-mirrored portals lead guests through the locker rooms. The ground-floor reception sets the tone for the cool organic color palette. A domed vestibule greets guests on the first of two underground levels.

DAVID ROCKWELL

Jason Goodman and Travis Talmadge founded Bathhouse to fill a gap in New York’s wellness scene. Somewhere between a luxury spa and a spartan Russian banya, it combines the social aspects of bathing culture around the world with moody lighting, modern amenities, and restorative treatments.

Bathhouse debuted in Williamsburg in 2019. A second location just opened in January in Manhattan’s Flatiron District with interiors by Rockwell Group.

(Colberg Architecture served as partner architect.)

The project intrigued Rockwell Group founder and president David Rockwell, an Interior Design Hall of Famer whose firm celebrates its 40th anniversary this year. “An urban oasis was something I hadn’t done before,” he says. The 35,000-square-foot, three-story space is mostly underground: Guests enter on the ground level, but the pools, saunas, treatment rooms, and café are all below. The subterranean location evoked a sense of drama for Rockwell, who is also a Tony Award–winning set designer (his latest is the Broadway revival of Doubt). He and his team conceived a backstory based on the narrative template of the Hero’s Journey, creating a series of portals that lead visitors down to the baths.

FROM TOP: CLEMENS KOIS; EMILY ANDREWS (2)

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Clockwise from top left: Green-purple slate tiles clad the Russian-style banya, where a stoneencased gas furnace heats the room to 194 degrees. The neutral pool’s inverted pyramid has a cavity that emits color-changing light. The cedar-lined dry sauna centers on an altarlike heater where sauna masters perform Aufguss, a sensory ritual. Lounge seating in the café creates a communal gathering place.

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FROM TOP: ADRIAN GAUT; EMILY ANDREWS

“We added a ritualistic aspect to passing through the different spaces,” Rockwell notes. There’s a sense of adventure and curiosity as one moves deeper inside. On the ground floor, a black-granite wall with a vertical strip of light marks the staircase entry, while in the corridor leading to the below-grade treatment area, walls of layered travertine in slightly different colors—dark to light—allude to rock strata, as if descending through the earth. Other thresholds use fluted glass, mirrors, or compression; one domed vestibule has a Dean Barger mural. On the lowest level, guests receive the payoff: pools illuminated in tones corresponding to temperature. Some sit under inverted metallic-painted pyramids with a cavity that emits colorchanging light, which you can only see from the water. It’s like discovering a mythic civilization under West 22nd Street. —Rebecca Dalzell

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“It creates an internalized world that offers a break from the city”

EMILY ANDREWS

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Est. 1983

© Kingsley Bate. To the trade. T: 703-361-7000 F: 703-361-7001 www.kingsleybate.com

kimpton hotel theta firms: crème/jun aizaki architecture & design; lucid site: new york keys: 364

JUN AIZAKI

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FROM TOP: COURTESY OF KIMPTON HOTEL THETA; TARAN WILKHU

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Meditation, REM sleep, deep breathing, and hypnosis are all known to induce tranquil Theta brain waves, a therapeutic, creativity-enhancing frequency. Aptly named after this mind state, New York’s second Kimpton hotel brings a muchneeded dose of Zen to the bustling Theater District.

Managed by Highgate, IHG Hotels & Resorts’s 15-story, 200,000-square-foot property is a study in adaptive reuse, with sculptural interiors informed by Morris Lapidus’s original neo-baroque architecture. Brooklyn- and Tokyo-based firm Crème/Jun Aizaki Architecture & Design collaborated with Highgate’s in-house studio, Lucid, to devise Theta’s layered, tactile accommodations.

Soothing modernist motifs predominate. In the lobby, a floor-to-ceiling mural riffs off an aerial view of Isamu Noguchi’s 1958 UNESCO garden in Paris, with plaster reliefs abstractly representing the earth, while an asymmetrical triptych adds a pop of yellow above reception’s corrugatedconcrete desk. “The infusion of art and historical elements served as a rich palette,” Crème founder Jun Aizaki explains.

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COURTESY OF KIMPTON HOTEL THETA

“Infusing art and historical narratives, we were able to create an immersive journey that bridges the enduring allure of the past with the forward-thinking spirit of the present”

h o s p i ta l i t y Previous page, top: In New York’s Kimpton Hotel Theta, by Crème/Jun Aizaki Architecture & Design and Lucid, a lobby nook with custom seating unit embodies the earthy decor.

Clockwise from opposite top: Existing columns were transformed via glass fiber–reinforced gypsum to create a series of curvy portals guiding sight lines. Potted plants add biophilia to the lobby-level living room, with double-sided sofa. In the same space, Trinity Lighting’s Mix chandelier illuminates Shawn Austin’s communal dining table, both custom. A triptych by Crème and Saatchi Art hangs above the corrugated-concrete reception desk.

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Throughout the lobby level, the teams transformed existing concrete columns into a series of curvy gypsum archways, framing such social zones as the living room, where Japanese-inspired wood privacy screens and a plethora of plush seating accommodate both solo travelers and larger groups. Another portal leads to Café Otto, replete with communal tables and custom window-niche sofas. The subtle tones of the sandhued terrazzo-like porcelain flooring, taupepainted walls, and white-oak millwork unifies the public spaces.

The quiet-luxe concept continues in spacious guest rooms (including the five suites) via pale timber accents, textured wallpaper, channel-tufted headboards, and funky Sputnik-style chandeliers.

Each room features fluid, dimensional artwork— a custom collaboration by Crème and the online gallery Saatchi Art. Later this year, the rooftop Bar Sprezzatura will open. Meanwhile, Theta offers complimentary welcome drinks, curated lists of NYC eateries, and fresh pastries from the coffee bar. Like other Kimpton properties, guests can request a houseplant delivered straight to their room with a name tag and take-home care instructions. Talk about restorative hospitality! —Lisa Di Venuta

COURTESY OF KIMPTON HOTEL THETA

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Clockwise from opposite top: A guest room, one of 364, features an art deco–inspired desk chair and textured wallcovering, also by Crème and Saatchi Art. Porcelain-tile flooring and a Jamie Stern area rug unify the living room’s mix of private seating nooks, bistro tables, and lounge chairs. An in-room bar sports bronze accents. Another guest room is outfitted with channel-tufted headboards. Visitors can purchase locally sourced artisanal provisions at Theta’s marketplace.

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h o s p i ta l i t y

the royal hotel firm: giannone petricone architects site: picton, canada keys: 33

DOUBLESPACE

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RALPH GIANNONE, PINA PETRICONE

Considering this property’s state when it was sold a decade ago, some would have thought the 1881 building unsalvageable.

The structure was dilapidated and waterlogged, with caved-in ceilings and staircases covered in green moss. But its new owner, a family of local real-estate developers, wasn’t ready to give up, and Giannone Petricone Architects was up for the challenge of restoring it to its former glory.

The new Royal embraces its roots as a Victorian railway hotel by “isolating, abstracting, and reinserting quintessential tropes to create a new narrative,” says Pina Petricone, the Toronto firm’s cofounder and principal with Ralph Giannone. Just look above the dining room’s custom white oak harvest table, where the original ceiling rosette was replaced with an installation of acoustic-board fins and translucent ceramic pendant fixtures.

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CLOCKWISE FROM TOP LEFT: GRAYDON HERRIOTT; DOUBLESPACE; STEPHANIE PALMER; DOUBLESPACE; JEFF MCNEILL

“We distanced ourselves from the building’s more formal British Loyalist history, bringing a new currency that’s more textured and relaxed”

Previous spread: Powder-coated steel panels distinguish a staircase in the Annex of The Royal Hotel in Picton, Canada, by Giannone Petricone Architects.

Clockwise from opposite top left: In the dining room, sculpted fins of acoustic board and custom ceramic pendant fixtures evoke a dew-dappled mushroom. A Golden Raddix marble slab backdrops the Royal Gala suite’s double-sided fireplace. The custom stone tile pattern emulates a Victorian tartan textile on a guest bath­ room’s wall and floor. The same motif perks up a corridor’s Axminster runner, its coloration harmonizing with the white-oak paneling. A starched tablecloth inspired the parlor fireplace surround; Bocci ceiling fixtures and air vents channel pond ripples.

A fumed-oak wall reminiscent of Victorianera dressing screens encloses the Empire Suite’s soaking tub. The top two floors of the 1881 building’s facade are original, while the main level is entirely new.

CLOCKWISE FROM BOTTOM: DOUBLESPACE (2); GREG PACEK

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The effect conjures the underside of a mushroom dripping with morning dew, nodding to the area’s agricultural spirit. Another reminder of the site’s history: A building once used as a stable for guests’ horses was transformed into the Annex, which houses an additional five suites.

One thematic constant is textiles; more specifically, Victorianera tartans. “These references were inspired by the various wallcoverings and carpeting still present during our first walk­ through,” Giannone adds. They were reinterpreted as custom carpets and other fabrics, but a more novel application is the designers’ experiments with “petrified textiles,” like the custom tartan stone mosaics in guest bathrooms and the parlor’s CNCsculpted fireplace surround that evokes starched white linen.

The designers even playfully referenced the hotel’s formerly downtrodden state with millwork that “exposes” wall studs, tiles offset to mimic an out-of-place rug, and rippled ceiling effects that look almost like puddles. These elements make the Royal Hotel something simultaneously frozen in time and utterly contemporary. —Wilson Barlow

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CLOCKWISE FROM TOP: DOUBLESPACE; GRAYDON HERRIOTT (2); JEFF MCNEILL

Clockwise from top: The property’s horse barn was converted into the Annex, clad in Kebony wood and topped with a zinc roof. Inside, visitors encounter a white oak–paneled reading nook. An Annex suite is one of five in the structure.

A landscaped garden terrace of red-clay brick extends from the dining room.

FLUTTI CIGNO

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h o s p i ta l i t y firm: dryden studio site: pigeon forge, tennessee keys: 134

the wayback COURTESY OF THE WAYBACK, PIGEON FORGE, MARRIOTT TRIBUTE PORTFOLIO

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COURTESY OF THE WAYBACK, PIGEON FORGE, MARRIOTT TRIBUTE PORTFOLIO

Transforming a former Days Inn into a vibrant, retro-modern oasis, Dryden Studio and hotel developer Aatmos looked back to the mid-century heyday of motor lodges, particularly those in Palm Springs, California. “We really wanted to raise the bar for lodging and hospitality in East Ten­ nessee,” Aatmos CEO Mahavir Patel explains. “The region has a lot of inventory, but it’s all pretty mainstream.” To make a strong visual state­ment in the town—home to Dollywood and other flashy country music venues—the collaborators whitewashed the exterior of the 60,000-square-foot property. “We’re surrounded by all of these crazy buildings with flashing lights and colors, so painting the Wayback white allows it to stand out and be quiet at the same time,” Dryden lead designer Maria Meyer explains.

Seeking to attract a more adult clientele to the area, the team paired serene, escape-y guest rooms with more amped-up public spaces. “We imagined the lobby area to be the den at a quirky aunt’s house—an intentional mix of plaids and tweeds and animal prints, high polish and bohe­ mian accents,” Meyer continues. The pattern-on-pattern lobby transitions directly into a bar, outfitted with a long banquette and modular seating.

The outdoor pool area is a highly social space with a converted Airstream bar, myriad lounging options, plus cozy cabanas. The property—Pigeon Forge’s first boutique hotel, part of Marriott’s Tribute Portfolio—is right near the Great Smoky Mountains National Park and draws outdoorsy types and experience seekers alike. “People can go for a hike during the day,” Meyer notes, “and come back at night for some adult fun, including cocktails and good food.” And for decidedly grown-up, if young-at-heart, design. —Stephen Treffinger

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MARIA MEYER

Previous spread: A custom banquette with artfully clashing upholstery patterns distinguishes the lobby of the Wayback, in Pigeon Forge, Tennessee, by Dryden Studio.

Clockwise from opposite top: Terrazzo clads the reception desk. A fence of woven-slat red oak, untreated to naturally weather, surrounds the cabana area and pool. A wonky niche created by walls that couldn’t be moved was transformed into a three-table cocktail nook off the lobby. Artwork in a guest room and throughout was packaged by art consultant Local Language. Breeze-blocks form the base of the bar, an extension of the reception desk. The porte cochere features vibrant painted stripes and LEDs. A modified Airstream serves drinks and light bites near the pool.

CLOCKWISE FROM TOP RIGHT: QUINN BALLARD; COURTESY OF THE WAYBACK, PIGEON FORGE, MARRIOTT TRIBUTE PORTFOLIO (4)

“We didn’t want to play it safe. Pigeon Forge has a lot going on visually, and we didn’t want to lose that punch.”

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a luxury collection resort firm: interior design laboratorium site: naoussa, greece keys: 40

GIORGOS SFAKIANAKIS

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Located on the Greek island of Paros, this resort was equally inspired by global travels and local architecture. “It was conceived as a natural extension of the surrounding village,” Interior Design Laboratorium founder Stamos Hondrodimos explains, “and aims to give visitors the feeling they’re within it”—rather than in a slightly sequestered compound. Wandering among the property’s whitewashed structures, guests can feel the proximity to the sea and nautical culture. Residentially appointed interiors, which encompass 25,000 square feet, reference nearby fishermen’s dwellings, Hondrodimos explains, as well as captain’s

h o s p i ta l i t y

STAMOS HONDRODIMOS

houses throughout the Cyclades, which are typically filled with objects sourced from around the world. That accounts for details like vintage engravings and reception’s curio cabinet.

The design deftly interweaves traditional and modern elements. Furniture pieces nod to classical references but are “adapted to contemporary needs” via clean-lined silhouettes, Hondrodimos notes. Highlights include casegoods with turnedwood posts, Jaime Hayon armchairs, and custom hand-embroidery by Pierre Frey. “It’s an eclectic combination,” the Athens-based designer says.

The overarching palette, meanwhile, was inspired by an old boatyard that once fronted the property and the fishermen’s vessels that were repaired there. —Stephen Treffinger

“The architecture of the resort follows the white colors of Naoussa and the bright-hued fishing villages of the Mediterranean”

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Clockwise from top left: Fishermen’s boats inspired the color scheme of guest rooms, which feature such pieces as a stone­ ware side table by HKliving. The Cosmos suite is one of two with a private pool. Behind the reception desk, the handpainted mural is by Greek artist Christina Mandilari. In the marblefloored lobby, furnishings bridge the gap between traditional Greek and modern aesthetics; the curtain fabric is Pierre Frey.

Walls in a guest bedroom, as elsewhere, are stucco, and the Rondini sconce is from Novaresi.

GIORGOS SFAKIANAKIS

Previous spread: At Cosme, a Luxury Collection Resort in Naoussa, Greece, by Interior Design Laboratorium, the whitewashed plaster exterior typifies the seaside locale.

GIORGOS SFAKIANAKIS

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moxy sydney airport JUSTIN NICHOLAS

firm: maed. collective site: sydney keys: 301

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Airport hotels get a bad rap. But Australia’s inaugural Moxy is a cut above, thanks to a female-led Toronto firm whose name references the maker movement (and founder Corinne Huard’s daughter, Maggie Mae). The gig was full circle for studio lead Sally Pollock, who perfected the Moxy ’tude while at Yabu Pushelberg working on the brand’s New York hotels (Huard is also an alum). But this 32,000-square-foot property is a room all its own, so to speak.

She and project colead Erika van der Pas married Moxy’s signature cheek with an industrial vibe befitting the air-side location, adding a soupçon of art deco sparked by the heritage storefronts of the surrounding neighborhood.

Wrapping around the steel-frame glass-box entry, the brick facade of the 13-story building, by Group GSA, was painted by local artist Elliott Routledge

in the bold blue and orange colors of cargo containers. Farther in is the Little Baxter café, the bar, and the lounge, where sprawling seating meet an assemblage of custom rugs, each a different neo-deco pattern, pieced together on-site into a single carpet. Tucked at the rear, behind the lobby stairs, is the art house, a flex space and gallery where paintings hang from wall-mounted white-metal scaffolding in a sort of souped-up urban spin on the Victorian picture rail. If atmosphere is the charged space between things, here it’s the ping-pong betwixt vintage objects, regional art, and custom pieces that creates a reassuring homeyness. “Nothing feels unapproachable,” van der Pas says. Pollock agrees: “There’s a subtle intuitiveness to every space.”

Resimercial, we’d say, in the current parlance. —Georgina McWhirter

JUSTIN NICHOLAS

“It’s an airport hotel with a lot of business travelers, but it’s also a community gathering space so needed to have that local vibe”

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Previous page: At the Moxy Sydney Airport by Maed. Collective, painted scaffolding forms an armature for rotating works including a Bec Smith diptych and a Saxon Quinn canvas.

SALLY POLLOCK

ERIKA VAN DER PAS

CORINNE HUARD

Clockwise from opposite top: In the lobby, Michel Ducaroy Togo lounge chairs, a custom sectional, and tables by Duncan McNally of Concrete Bespoke join an assemblage of custom rugs stitched together on-site. A Mélanie Lyon + Ramon Escobosa photograph dominates the art house, a flex/gallery space tucked behind the lobby stairs; accessories were sourced locally by Marques Interior Services. Evi O tapestries bring warmth to guest rooms. The gym, inspired by vintage boxing clubs, features an exposed ceiling painted the vivid pink of Moxy’s logo. Airplane runways are visible from some guest rooms, most furnished with custom pieces by Taiwan’s Hadi Hospitality. An Elliott Routledge mural garnishes brick walls sur­ rounding the factory-window-style entry box, with custom steel-and-aluminum chandelier.

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Inspired Design.

Unrivaled Craftsmanship.

Newport Brass is widely recognized for its expertise in creating bathroom and kitchen faucets and fixtures known for their exceptional quality. The brand’s collections encompass a broad spectrum of designs, innovations, and finishes, catering to contemporary, transitional, and traditional styles.

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firm: listen communication site: nam-myeon, south korea keys: 6

the hanok heritage house

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Previous page, from top: Roofs tiled in traditional giwa tiles cap The Hanock Heritage House in Nam-Myeon, South Korea, by Listen Communication. Hanji, a textured Korean paper, covers one wall of a lower-level dining-banquet room.

Clockwise from opposite top: The complex includes an infinity pool and jeongja, or traditional scholar’s pavilion.

A bedroom’s exposed ceiling rafters allude to traditional Korean architecture. Paneled in aromatic hinoki and red cedar, its bath­ room effuses a subtle scent. The ceiling of a terrace-adjoining multipurpose room mimics the weave structure of antique Korean furniture. Another bath­room features a built-in hinoki bench. Pillars juxtapose stone and timber, while floors throughout are a local wood species.

CLOCKWISE FROM TOP, MIDDLE: JAEYOON KIM (3)

SANGYOON KIM

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“The client invested 10 years in developing special wood-drying equipment to ensure the highest-grade timber for construction”

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Sangyoon Kim, an interior architect and industrial designer, founded Listen Communication in 2013. The Seoul-based firm’s primary tenet is to reinterpret Korea’s beauty through spatial and product design. In terms of architecture, perhaps nothing represents the nation’s culture better than the hanok, a traditional residential structure characterized by a tiled gable roof, natural building materials for sustainability and health benefits, underfloor heating, a courtyard configuration, and adherence to feng shui principles for harmony with environs. The Hanok Heritage House, a massive 73-acre hospitality complex a twohour drive southeast of Seoul, embraces and interprets these traits.

The multiphase project will eventually total 78 structures encompassing 176,000 square feet of hotel accommodations and event space.

The first stage to come to completion consists of a three-edifice cluster, dubbed Yeongwol Jongtaek. Inside and out, the buildings incorporate the aforementioned hanok characteristics as well as the crossbeam-and-pillar construction central to the paradigm. Each contains a pair of guest rooms on the main level, with a generous shared lounge between them, and flexible event/gathering space (and in some cases an additional accommodation) one flight below. Korean materials and craft techniques deployed throughout evoke an artisan aesthetic, enriching the project’s experiential quality. Artworks and custom furniture enhance the interiors, while an outdoor infinity pool communes with nature. One of the most enviable assets is sight unseen: the subtle natural aroma emanating from carefully dried hinoki and red cedar, the material palette’s starring species.

—Edie Cohen JAEYOON KIM

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butterfly effect Architect Emmanuelle Moureaux continues her 100 Colors series, this time forming her signature paper into thousands of insects that took flight in Shanghai

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“Beauty is extremely subjective. For me, it is a multitude of colors”

COURTESY OF EMMANUELLE MOUREAUX

1. For her 100 colors butterflies, part of “The Art of Absolue,” an exhibition in Shanghai sponsored by and that showcased products from cosmetics brand Lancôme, Emmanuelle Moureaux began with 1:1 scale paper models of the insect in her Tokyo studio. 2. Moureaux used SketchUp and Photoshop renderings to determine the installation’s overall layout, which she wanted to feel like a kaleidoscope of butterflies soaring through the CSSC Pavilion, a 4,300-square-foot exhibition space. 3. Moureaux’s team cut the shapes out of 100 different colors of paper, then connected them to transparent thread, labeled and packed each strand, and shipped them to Shanghai. 4. On-site, installers on scissor lifts suspended the approximately 1,000 strands, each 32 feet long, from the ceiling.

50+ FIFTEEN 7½ SIX 40,000 BUTTERFLIES

designers, producers, and installers led by Emmanuelle Moureaux

months of design and production

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1. 100 colors butterflies ran from December 23, 2023, to January 28. 2. It marked the 48th installment of Moureaux’s 100 Colors series, a chromatic body of work that began with a Tokyo installation in 2013 and explores what she calls the “form” of color, how it can divide and transform space. 3. For this iteration, Moureaux was inspired by symbolisms of the butterfly—from beauty and love to transfor­mation and rebirth. 4. The encircling swarm of shapes was intended as an abstract representation of eternity, following the exhibition’s theme: perpetual, beyond time. —Athena Waligore

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9916-11 Fractured Marble

View the 2024 Living Impressions ™ Collection Gallery www.formica.com/livingimpressions

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Come in and stay awhile

NATHALIE KRAG/LIVING INSIDE

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Surrounded by the Carpathian Mountains, Hay Boutique and Spa by Edem Family is a small, serene hotel in Polyanytsya by YOD Group where Ukrainians can retreat

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natural cure

text: rebecca dalzell photography: yevhenii avramenko

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Previous spread: At Vinotheque restaurant at Hay Boutique and Spa by Edem Family, a 40-room, seven-floor hotel near the Bukovel ski resort in Polyanytsya, Ukraine,

by YOD Group, Emilio Nanni Croissant chairs join pressedhay pendant fixtures by local industrial designer Andrey Galushka and dried grapevines hung on thermo-spruce paneling.

Opposite top: Custom tables of heat-treated reclaimed oak and Mark Thorpe’s Husk chairs greet guests at reception.

Opposite bottom: A leather-wrapped bushel of dried grapevines, found on-site like those on the wall, conceals a pendant fixture at Vinotheque.

Top, from left: With landscaped balconies and terrazzolike porcelain-tile cladding, Hay’s exterior evokes plants growing on rock. Iron staples and oak veneer wrap a concrete column in reception. Bottom: In the lobby lounge, Ukrainian designer Kateryna Sokolova’s Gropius chairs are upholstered in a custom polyester.

Located in the Carpathian Mountains in western Ukraine, the Bukovel ski resort is far from the front lines of the country’s war with Russia. Just off the slopes, in the village of Polyanytsya, is Hay Boutique and Spa by Edem Family, a ground-up hotel

by Kyiv studio YOD Group that’s relatively safe and offers a semblance of normalcy, if not luxury. YOD, which stands for your own design, conceived the 59,200-squarefoot property well before the 2022 invasion. But when it opened that December, Hay proved to be exactly what Ukrainians needed: a calm, cozy escape that celebrates the country’s heritage.

The client, Ukrainian entrepreneur Andriy Semaniv, initially envisioned a mid-range hotel with few amenities. But due to local height restrictions and a small site, there could only be 40 rooms, making it hard to turn a profit unless prices were high. YOD convinced him to create something more upscale, with a spa, pool, and two restaurants, and brought on premium hotel operator Edem Group to run it.

“We had two main inspirations,” begins Dmytro Bonesko, YOD’s art director and, with architect Volodymyr Nepyivoda, cofounder. “We decided the building should offer 360-degree views of the Carpathian landscape and be organically integrated into the mountain, like a rock with a cascade of plants.” Charcoal porcelain tile that looks like terrazzo clads the concrete exterior, and balconies off all its six upper floors are lush with greenery. The plants grow as they do in nature: White spruce, found at the base of the mountain, is on lower levels; aspen, which prefers higher altitudes, appears above.

Inside, the warm, muted ambiance evokes a well-appointed cave, “to protect guests from urban noise and destruction as much as possible,” Bonesko says. There are a few vivid colors—red barrel seating by Marc Thorpe in the lobby, ochre chairs by Emilio Nanni in the café—but earthy browns and grays dominate the palette, both to relax guests and keep the focus on the views. YOD favored natural materials like spruce paneling, leather and wool upholstery, and dried plants, nodding to the hotel’s name. The latter are especially present at Vinotheque, the main restaurant,

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where grapevines decorate the walls and pressed hay forms pendant fixtures.

During the research process, Bonesko, Nepyivoda, and their team visited museums in the region to learn about traditional crafts they could incorporate into the project. On the ground floor, they explored an ancient method of joining two pieces of wood together using large iron staples, instead of nails or glue. YOD employed the technique to combine layers of bent-oak veneer that wrap around square concrete columns, hiding them behind what look like tree trunks. “You feel the structure, the scratches on the surface,” Bonesko notes.

Wood and iron also meet at tables in the guest rooms. The top is made of a single piece of oak repurposed from an abandoned house; the cast-iron base, shaped like an anvil, extends to double as a lamp.

Door pulls and clothes hooks resemble forged tools and nails. “We like hammer marks on metal. It looks uneven, but it’s real, because nature is not perfect,” Bonesko continues. The same is true of live-edge oak headboards, side tables, and coffee tables, all reclaimed oak.

Many traditional crafts were almost lost during the Soviet era, YOD says, but have been revived in recent decades as people explore what it means to be Ukrainian. The resurgence is on full display at Hay. Textile designer Kateryna Morgental embroidered pillows with the ancient starlike alatyr symbol and created graphic

Top: A custom headboard and side table, both repurposed oak, furnish a guest room. Center: Ronan & Erwan Bouroullec’s Officina chairs pull up to a custom table with integrated lamp. Bottom: LED strips gently glow in the spa’s steam room.

Opposite: In the 88 Daily café, Nanni’s Fratina chairs meet oak-veneered tables and a wall hanging woven of Carpathian sheep’s wool by a local workshop.

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Teak planks flank the outdoor portion of the hotel pool, lined in stainless steel.

“We decided the building should offer 360-degree views of the Carpathian landscape and be organically integrated into the mountain”

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Opposite top: Sand chaise longues serve the indoor portion of the pool, which is 55 feet long total. Opposite bottom: In the nearby spa, dried herbs hang above the phytotherapy bar.

Top, from left: Portholes under the pool illuminate the sixthfloor corridor below it. Plywood and linden wrap the sauna.

Bottom: A ceramic tub and a wool rug by Kyiv-based Litvinenko Design appoint a suite.

upholstery patterns based on the pointed shape of Carpathian shingles. The polyester fabric appears in the lobby lounge on armchairs by Kateryna Sokolova, a Ukrainian industrial designer, and Kyiv studio Litvinenko Design crafted wool rugs inspired by traditional weaving for the suites.

Yet Hay is no time capsule. Case in point: the swimming pool on the top floor.

Wrapped in teak decking, it’s lined in large sheets of stainless steel. “We like the power of this material, how it reflects the water, and that you don’t see any joints,” Bonesko explains. A glass partition divides the pool into indoor and outdoor sections, both with mountain views. On its bottom, 4-foot-diameter portholes look down to a corridor on the level below, bringing in extra light. Bonesko admits this was conceived with Instagram in mind, and indeed guests now flock to the sixth floor to take pictures of swimmers overhead.

The hotel was under construction when the war broke out. After a pause, YOD urged the owner to finish it. “I said to Andriy that if you believe in Ukraine and that there will be peace, then you should complete this project,” Nepyivoda recalls. While the climate has changed, it’s more important than ever for Ukrainians to relax and recharge. “It’s hard,” Bonesko adds, “but people need to switch and achieve a feeling of freedom.”

Hay offers hope for a better future. ­ PROJECT TEAM MARIYA DRAGA; DENYS MOSEYKO; NATALIYA BABENKO; YAROSLAV PAVLIVSKY; YANA ROGOZHYNSKA; SERGEY PRUDKIY; SERGEY ANDRIYENKO; OLEKSANDR KRAVCHUK: YOD GROUP. AU HOME: CUSTOM WOODEN FURNITURE WORKSHOP. PRODUCT SOURCES FROM FRONT BILLIANI: CHAIRS (RESTAURANT, CAFÉ).

MOROSO: CHAIRS (RECEPTION). C.I. FORM: CUSTOM PEN­ DANT FIXTURE (RESTAURANT), CUSTOM TABLE (GUEST ROOM). NOOM: CHAIRS (LOUNGE). MORGENTAL: CUSTOM CHAIR FABRIC (LOUNGE), CUSTOM PILLOW EMBROIDERY. SANTA & COLE: FLOOR LAMP (GUEST ROOM). TBI: CURTAINS. MAGIS: CHAIRS. STARPOOL: STEAM ROOM (SPA).

ETHIMO: CHAISE LOUNGES (POOL). VARANGO LIVING: DECKING. THERMALL GROUP: SAUNA (SPA). THROUGHOUT THERMORY: PANELING. BERTI: WOOD FLOORING. EGE CARPETS: CUSTOM CARPET. MIRAGE: FLOOR TILE. DESVRES ARIANA: FACADE TILE.

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text: michael lassell photography: ulysse lemerise

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hôtel particulier

Perron conjures a family weekend ski chalet that also doubles as an urbane five-star rental property in Baie-Saint-Paul, Canada

Previous spread: Stephen Burks’s Kida hanging chair and Timothy Oulton’s sheepskincovered Yeti sofa furnish a lounge nook in the top-floor great room at Chalet Bertha, a threelevel family vacation house and rental property in Baie-Saint-Paul, Canada, by Perron.

Top: The chalet is part of a private mountainside community of identical houses over­ looking the Saint Lawrence River and L’Isle-aux-Coudres in Quebec’s Charlevoix region.

Bottom: On the middle level, the double-height, brick-floored entry serves as an aprèsski mudroom and lounge area centered on a custom ’70’s-style fireplace.

Opposite top: The great room features herringbone oak flooring, another fireplace, this one massive with a concrete bench, and Studio Lipparini’s Peanut B. sectional sofa upholstered in velvet. Opposite bottom: A custom steel staircase incorporating a slide leads to a central podium in the bottom-level family room, which includes a climbing wall and kids’ craft table with built-in banquette.

Named after an Alpine goddess in Germanic mythology, Chalet Bertha is a family vacation home and rental property in Charlevoix, a region of Quebec, Canada, long famed as a year-round resort area of breathtaking natural beauty. Located high on a hillside in the Laurentian Mountains near the picturesque town of Baie-Saint-Paul, a celebrated arts and crafts colony, the three-level, 7,500-square-foot chalet enjoys panoramic views of the surrounding forested landscape and the mighty Saint Lawrence River beyond.

It’s one of 46 identical homes in a private community that ensures aesthetic uniformity by selling each lot with a set of plans determining the precise footprint and exterior form of the residence to be built on it. While complete floor plans are included, however, the interiors may be configured any way the homeowners like.

Bertha was built for a business couple who intended to use it for ski weekends and longer vacations with extended family and friends as well as for corporate retreats and small conferences. The owners also planned to offer the house for short-term rental. To create an interior that satisfied this demanding program, they turned to Perron, which worked with longtime collaborator Luc Tremblay Architecte on reimagining the entire layout. It was a major undertaking, begun in 2019 but not completed until 2023 thanks to COVID and Canada’s winter weather. Firm founder Natalie Perron led the team, with Rebekah Maciagowski as project manager and Sarah Eve Hébert as artistic director. “Natalie and Sarah Eve were the design experts for the chalet,” Maciagowski notes. “But all the firm’s designers worked on it.”

At the beginning of the project, the team collaborated closely with the clients in developing the overall plans. But as things progressed, the owners relinquished more and more control. “Finally, they went for a year-long trip around the world and left the remaining decisions to us,” Hébert reports.

“They said they trusted us,” adds Maciagowski, “then off they went, expecting the house to be absolutely turnkey-ready when they returned.”

Bertha’s eponymous snow goddess provided inspiration. “The concept was to feel the winter spirit indoors and be warmed by the joy of company,” Perron says. “It was all about creating magic with spaces that open up to the world, playing with cold and warmth in a way that makes us feel that we’re outside when we’re inside.” She also took cues from what are known in French as hôtels particuliers—literally, personal hotels—freestanding,

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“The concept was to feel the winter spirit indoors and be warmed by the joy of company”

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Left: The kids’ dormitory off the family room is lined with four pairs of custom bunk beds.

Opposite top, from left: The main bath­room outfitted with Anderssen & Voll framed oval mirrors. A folding textile door fronting the kids’ dormitory. Font’s digitally printed Walking on Clouds nylon carpet in the hallway outside a suite. Opposite center, from left: Behind the door at the rear of the oak podium, a fully equipped gym. In the Nev suite, a Ritz sconce with a built-in plant holder. An oak stair with oak-veneered balustrades, connecting the entry and great room. Opposite bottom, from left: David Geckeler’s Nerd barstools serving the open kitchen’s custom U-shape counter in the great room. An acrylic tub in the main bath­ room. Also in Nev, artwork by Perron project manager Rebekah Maciagowski and custom pillows by L’Isle-aux-Coudres craftspeople.

private town mansions that achieved their apogee in 18th-century Paris.

The chalet would be a family home that functions like a five-star hotel, right down to Bertha-branded luxury soap, shampoo, and toothbrushes in every one of the six bathrooms.

The style of the modern and comfortable interior also takes its cues from Northern Europe. That means clean lines, inviting textures, and lots of blond-wood finishes basking in the light from walls of highly insulated, commercial-grade windows. “When you live in a Nordic country, you discover strategic ways to bring warmth into your interiors,” Perron notes.

Furnishings were sourced from Sweden and Denmark as well as Italy, Spain, the U.S., and, of course, Canada. Custom pillows, throws, and rugs were produced by craftspeople on L’Isle-aux-Coudres, a river island that Bertha overlooks.

The chalet’s main public spaces are on the top floor, where a 2,500-squarefoot great room with a soaring beamed ceiling comprises living, dining, and lounge areas arranged around twin nodes: a huge woodburning fireplace and a central open kitchen defined by a massive U-shape counter. (There’s a hidden, fully equipped professional chef’s kitchen, too.) On the ground floor, the double-height main entrance is not a traditional “home” space but an après-ski mudroom that’s more like a welcoming hotel lobby. Outfitted

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Top: Schneid Studio’s Eikon pendant fixtures hang above Patricia Urquiola’s Husk bed in Ho, the main suite, where Jørgen Bækmark’s J104 beech chair pulls up to a custom desk.

Bottom: A custom hotel-style luggage cart is an amusing touch in the suite hallway, which has wood-slat paneling, a unifying element used throughout the chalet.

Opposite top: Off the great room, the covered terrace includes a spa pool, custom cedar table and benches, and John Hutton’s Belvedere swivel lounge chairs around a firepit.

Opposite bottom: In Nev, Ionna Vautrin’s conical Pion coffee table serves as a night­ stand while, above Must’s Claire bed, felted-wool panels help tame acoustics.

with a herringbone brick floor for easy maintenance, it features a 1970’sstyle suspended metal fireplace encircled by wood stools and rocking chairs and flanked by a banquette, behind which a large storage room accommodates ski gear.

A wide hotellike hallway equipped with a bellman luggage cart leads from the front door to four of the chalet’s five bedrooms, each with an en-suite bathroom. The fifth bedroom and a kids’ dormitory with eight bunk beds are on the lowest level. The suites are all similar in style, but each has its own color scheme along with a name derived from the word snow in various languages—Sno, Nev, Lumi, Sne, and Ho, the last being the largest and main bedroom. The house easily sleeps 20.

Accessed by a bright-red steel staircase that incorporates a slide, the lowest level includes a gym and an expansive family room with areas for kids’ craft activities, a convertible ping-pong/pool table, and a climbing wall. The color palette down here is brighter and more saturated than most of the upstairs, where the outdoors are the chief inspiration and the natural tones of fir, spruce, oak, and pine, joined by a variety of lacquered veneers, tend to predominate.

“We did a big reveal for the clients when they returned,” Hébert reports.

“We had some surprises for them, so the experience was like unwrapping a gift, especially as it was five days before Christmas. It was wonderful to see their reaction.”

PROJECT TEAM GENEVIÈVE PERREAULT; OLIVIER RACINE; ALEXANNE LEVASSEUR; BRIAN BLOUIN; LAURENCE DUMAISBLOUIN; EMILY LAPOINTE: PERRON. LUC TREMBLAY ARCHITECTE: ARCHITECT OF RECORD. GÉNIE+: STRUCTURAL ENGINEER. CONSTRUCTION ROSAIRE GUAY ET FILS: GENERAL CONTRACTOR. PROJECT SOURCES FROM FRONT DEDON: HANGING CHAIR (LOUNGE). EGE CARPETS: RUG (LOUNGE), CARPET (DORMITORY).

SANCAL: CONICAL COFFEE TABLES (LOUNGE, NEV SUITE). RH: SOFA, DINING TABLE (LOUNGE), SWIVEL CHAIRS (TERRACE). JC BORDELET: FIREPLACE (ENTRY). BONALDO: SECTIONAL (GREAT ROOM). RUBI: SINKS (BATHROOM). RUBINET FAUCET COMPANY: SINK FITTINGS. ZITTA: TUB. HAMSTER: CUSTOM SCONCE. MUUTO: MIRRORS (BATHROOM, HO SUITE), BARSTOOLS (KITCHEN). DOOOR: FOLDING DOOR (DORMITORY). MOOOI: CARPET (HALL). MUST: BED (NEV SUITE). TUDO & CO: SCONCE. MUTINA: BARFRONT TILES (KITCHEN). B&B ITALIA: BED (HO SUITE). SCHNEID STUDIO: PENDANT FIXTURES. HAY: DESK CHAIR. THROUGHOUT ANNA CHARLOTTE ATELIER: CUSTOM ARTISANAL PILLOWS, RUGS, THROWS.

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text: elizabeth fazzare photography: nathalie krag/living inside

banded together The striped facade of a centuries-old Italian duomo inspired the renovation of the nearby, equally historic Palazzo Petrvs, a boutique hotel in Orvieto by Giuliano Andrea dell’Uva Architetti

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At times, the research process for Giuliano Andrea dell’Uva’s latest hotel project in Orvieto, Italy, might have felt more like an archaeological expedition. Local hotelier Raffaele Tysserand commissioned the Naplesbased founder of his namesake firm to renovate and transform a 15th-century palace in the small Umbrian town into a history-inspired boutique hotel. To get a feel for the place and its past, architect and client took to the surrounding streets.

“We ventured almost stealthily into old noble buildings, discovering within them elegant gardens,” recalls dell’Uva. “When I saw the hotel building for the first time I was fascinated. It was a challenge that suited my nature.” The location is quite incredible as well: adjacent to the bluff-top city’s 14th-century Duomo di Orvieto, its architecture supporting an intricate facade of narrow, horizontal bands in alternating white travertine and black basalt. These defining stripes served as the inspirational basis for dell’Uva’s playful yet sensitive concept for the newly inaugurated hospitality property, the nine-key Palazzo Petrvs.

The former private home, once owned by and named for the wealthy notary Petrvs Facienus, had long been abandoned. However, when dell’Uva began to peel back its prior 19th-century renovations, the threestory, 16,000-square-foot interiors revealed original frescos and Renaissance-era painted wood ceilings.

Tysserand requested a place that would “offer guests the feeling of a contemporary grand tour experience”— luxurious, comfortable, well-appointed spaces that “didn’t alter the original context,” dell’Uva notes, so he Previous spread, left: The white travertine and black basalt facade of the 14th-century Duomo di Orvieto in Italy is visible from and inspired the interiors of Palazzo Petrvs, the nearby former home turned boutique hotel by Giuliano Andrea dell’Uva Architetti.

Previous spread, right: One of Palazzo Petrvs’s nine guest rooms features a custom headboard and bed faced in linen.

Below: In front of the 1475 palace’s original fireplace, the lobby mixes such custom furnishings as a two-sided sofa and the round travertine-and-basalt table with a 1950’s Marco Zanuso chair.

Opposite top, from left: Construction on the duomo began in 1290, its banded design similar to other Italian Gothic cathedrals built in central Italy around that time. Guests of the hotel are greeted at a custom brass, iron, and terra-cotta reception desk lit by a vintage Anders Pehrson pendant fixture. Opposite bottom, from left: Another guest room is decorated with a vintage chair and a custom bed skirt. Throughout, glass sconces like this one in the lobby, above a Carlo Scarpa Valmarana table, are custom.

“A studied exercise in contrast drives the environment”

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returned its rooms to their original proportions and called in a team of artisans to restore the historic detailing. Where frescoes were not discovered, the architect plastered the walls in a natural clay finish and laid terra-cotta floors, both allusions to the city’s Etruscan heritage and continued artisan culture. The natural color of these materials provides a soft, warm palette off which the custom and vintage Italian and Nordic furnishings can riff.

Thus, a studied exercise in contrast drives the environment. At the center of the large lobby, the original, massive stone fireplace is a visual cue for dell’Uva’s blocky, double-sided sofa, upholstered in a forest green fabric and color-matched by a pair of fringed Hans-Agne Jakobsson table lamps from 1950 that perch atop its frame. Dynamically contemporary brass-and-glass sconces flank the hearth. In one corner is a purpose-built dining table with a blackand-white striped base and Hans Wegner seating; in another is a Marco Zanuso armchair and a Carlo Scarpa console, both vintage.

Most of the guest rooms also have a striped detail, if not a focal point, that ties the interiors back to the cathedral—so close by that it is visible through some of the hotel windows. In one room, there’s an en-suite bathtub constructed of bands of terra-cotta painted black and white. It sits under a decoratively painted coffered ceiling that dates from 1500. In another, a custom bed features a headboard and skirt made with striped linen. In yet another, as well as in the standout stair that leads to the large suite located in the property’s ancient tower, the entire floor sports the pattern, laid in locally handmade terra-cotta tiles.

“The architecture of the duomo goes beyond the stylistic elements imposed by Italian Gothic, with dichromatic horizontal lines that—rather than soaring—convey a sense of balance and unexpected contemporaneity,” dell’Uva explains. “I wanted to bring the same to the project.”

The only non-striped space is Coro, the hotel restaurant, which is built inside the historic shell of a former church that adjoins the main building.

“From my perspective, an old, deconsecrated church needs simple, solemn, and sophisticated furnishings,” continues dell’Uva, who chose to restore the structure with a deep appreciation for its architecture. He left its stacked stone walls largely bare, aside from a selection of works by Milanese artist Michele Guido.

Spindly wrought-iron candelabras hang over the recycled-wood tables, upholstered benches, and more Wegner chairs.

Top: In guest rooms, clay-finished walls and striped terracotta flooring allude to Orvieto’s Etruscan heritage. Center: The hotel’s central courtyard, arranged around a fountain, features all custom furniture made of striped terra-cotta and iron. Bottom: A vintage chaise longue by Tito Agnoli for Bonacina furnishes the grand suite, where a short stair leads to the lofted bed.

Opposite: The staircase to the third floor is painted terracotta tiles, lit by a custom iron lamp.

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“The biggest challenge was ensuring that the changes did not affect the magic of the place,” dell’Uva elaborates. But there were some practical needs to be met. For guest comfort, each room is designed with a generous contemporary bathroom. Meanwhile, adding new waxed-iron partitions with openings for windows and doorways allowed the preservation of original stone portals and charming wooden doors without having to use them.

Where Palazzo Petrvs does dive headfirst into totally new territory is the courtyard, though the source material is still ancient. Here, dell’Uva took inspiration from the gardens he’d toured in the other local palaces as well as traditional riads, creating a space that is centered around a working fountain. He designed benches, striped again in black-and-natural terra-cotta, with built-in planters and wrought-iron café tables and chairs with earth-red cushions. Vessels and pots overflow with local favorites, like acanthus, a typical Renaissance-era greenery. Something old and something new, it seems, is Italy’s version of an oasis.

PROJECT TEAM PASQUALE CAPASSO; FIORENZA MAURO: GIULIANO ANDREA DELL’UVA ARCHITETTI. MARTA FEGIZ: LANDSCAPE DESIGN. ANDREA PETRANGELI: STRUCTURAL ENGINEER. MATTEO BRIONI: PLASTERWORK. PRODUCT SOURCES FROM FRONT DEDAR: SOFA FABRIC (LOBBY). CARL HANSEN & SØN: DINING CHAIRS (LOBBY, RESTAURANT). NEMO LIGHTING: DESK LAMP (RECEPTION).

THROUGH SIMON INTERNATIONAL: CONSOLE TABLE (LOBBY). MARINO MORETTI STUDIO: BOWL. FOLKFORM THROUGH ÖRSJÖ: LAMPS (SUITE).

DORNBRACHT: TUB FITTINGS, SINK FITTINGS (BATHROOMS). REZINA: WHITE FLOOR (BATHROOM). THROUGHOUT SOCIETY LIMONTA: BED LINENS.

Below: Windowed waxed-iron panels partially wrap two walls to add contemporary intrigue to a guest room that retains its original sandstone doorjamb.

Opposite top, from left: Coro, the hotel’s restaurant, occupies an adjoining deconsecrated church from the 1500’s, its original walls intact and furnished with Hans Wegner armchairs and custom reclaimed-wood tables and suspended iron candelabras.

The top-floor suite has views of the duomo and L’art plissé lamps by Folkform. Opposite bottom, from left: In a guest bath, the custom tub is made of dichromatic bands of terra-cotta and the Renaissance-era ceiling was restored. Another bathroom features resin flooring, a custom mirror and travertine vanity, and remnants of ancient frescoes uncovered during the renovation.

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upwards and onwards Clive Wilkinson Architects and WRNS Studios deposit a postpandemic workplace for Intuit, a financial-software company in Mountain View, California text: edie cohen photography: jason o’rear

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Previous spread: At the Mountain View, California, headquarters of financial-software company Intuit, with architecture by WRNS Studios and interiors by Clive Wilkinson Architects, a perforated-steel stairway climbs the three-story central atrium.

Left, from top: Meeting pods protrude into the 40-foot-high volume. In reception, a powdercoated steel logo wall backdrops the custom desk, and an Alexander Girard rug anchors the seating vignette. Right: Plants edge the stairs leading from reception to the atrium’s base one flight up.

Opposite: The reception-adjacent little house lounge is populated with Reframe armchairs

by EOOS, Rudolph Schelling Webermann’s Ding coffee table, and a mohair rug in Intuit cobalt.

Clive Wilkinson towers at the pinnacle of workplace stars. Landmark offices for the likes of TBWA\Chiat\Day, Macquarie Group, and Microsoft cap the Interior Design Hall of Famer’s voluminous portfolio. A master of the genre, he also counts residential and institutional among his other specialties. But hospitality?

Not so much. That may change with a recent project that brings a hospitality influence to bear on the workplace: interiors for Intuit’s new headquarters.

Located on the financial-software company’s Mountain View, California, campus, the project was many years in the making. It began in 2011, when Clive Wilkinson Architects and WRNS Studios were commissioned to collaborate on a pair of new-builds located on a high-profile corner of the property, visible from the adjacent freeway. The first building was completed in 2016. The second, a glassy four-story, 178,600-square-foot structure with a conjoined single-level cafeteria/town-hall pavilion, was slated to break ground in 2020.

“We designed it to be low and loftlike, light and airy,” WRNS partner Brian Milman, who oversaw site planning for the 44-acre campus, says of the LEED Platinum– certified building. “It was conceived as a habitat tied to the ground.”

Midway through permitting the project, COVID happened. Although construction commenced and progressed without pause, the client, forecasting a need for return-to-office enticements, pushed the design team to deep-dive into potential postpandemic scenarios. “Intuit flagged us to pivot and rethink the workplace of the future,” Wilkinson summarizes. Despite uncertainty clouding RTO and how paradigms and policies would evolve, he and associate principal Caroline Morris reasoned that many precepts endemic to hospitality would grow increasingly relevant for the workplace—ideas like experiential spaces, a sense of discovery, zones for gathering and community, indeterminate areas open to whatever occupants want, and places, frankly, for people to be happy. They set about tweaking the initial plans to offer more communal environments and opted for daring choices in color and furnishings. “The big ask was to be bold and playful,” Morris recalls.

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“The big ask was to be bold and playful”

The atrium is furnished with Jean Prouvé Standard and David Geckeler Nerd chairs lining a custom communal table and Alfredo Häberli’s Dado sectional sofa.

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Top: A living wall punctuates the ground level of the 178,600-square-foot, glass-and-aluminum building, which is certified LEED Platinum. Bottom: Outfitting the library is Anderssen & Voll’s Outline sectional and high-back chairs and a Piero Lissoni Season ottoman.

Opposite top, from right: Painted acoustic panels in a conference pod with custom table lend a jolt of color.

Office areas have Cradle to Cradle–certified carpet tile, unassigned workstations, custom lockers, and adjoining lounges, this one featuring an NYC Loose sectional.

Bottom right: A view into the atrium from a third-floor balcony reveals abundant ivory oak–veneered paneling and oak flooring.

That certainly describes the vibe upon entry. At the ground-level reception, staff and visitors encounter a 20-foot-long desk backgrounded by a powdercoated steel logo wall in Intuit’s signature cobalt. Beyond, a sunshiny-yellow lounge enclosure with a pitched roof, nicknamed the little house, beckons in service of meetings and confabs. Running alongside it, a flight of oak-clad stairs, edged with planters for biophilia, leads to the main conference center (the largest on campus) as well as the scheme’s major design move: a three-story, 40-foothigh atrium. The bright volume is lit from above by clerestories set within a series of angled precast-concrete beams, each 60 feet long and weighing 40 tons.

Jutting into the atrium are pods—some angular, some rectilinear, some brightly colored. Long part of Wilkinson’s playbook, these cantilevered, glass-fronted aeries are in fact meeting rooms with a view.

The sprawling plaza at the atrium’s base channels hospitality via comfy lounge seating in citrus hues by Alfredo Häberli, Ichiro Iwasaki, and Hella Jongerius.

There’s also an oak communal table surrounded by an eclectic mix of David Geckeler and Jean Prouvé chairs and a barista station, of course. A perforatedsteel statement stair—identical to one in the first building—winds up along the atrium’s south side, connecting the three floors. “Progression through the space is spiral and episodic in order to experience delightful moments,” Milman notes.

Various amenities sprinkled throughout the large floor plates further encourage movement and mingling.

Workspaces are what changed the most from prepandemic plans. Intuit’s hybrid two-days-in policy sparked a need for flexibility and options. Out went benching and dedicated desks; instead, the 1,000 employees are grouped into neighborhoods with unassigned workstations adjoined by stylish lounge areas for collaboration. Other features added during mid-pandemic replanning were two quiet zones per floor and a secondary conference hub, on floor three. The latter is fronted by a multiuse prefunction zone that’s certainly more hotel lobby than corporate holding pen.

Recent parlance is big on equity and choice. “Introverts can opt for seating away from others,” Wilkinson notes, “and people can take a break with games

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Left, from top: Stretched fabric with custom graphics by Forth+Back rings the cafeteria/ town-hall pavilion, with David Rowland 40/4 chairs. In the interactive hub, a prefunction zone to the conference area, a cutaway in the soffit reveals the concrete slab. Right: A meeting room projects into the atrium, the angle of its 60-foot-long, precast-concrete ceiling beams allowing light to funnel down from clerestory windows.

Opposite: The entry and adjacent parking structure, clad in anodized-aluminum fins, are fronted in new landscaping that includes oak and dwarf strawberry trees as well as cape rush.

or in designated reflection rooms.” Or they can escape to one of a trio of libraries, stacked on the top three floors, where a hushed atmosphere prevails.

It all adds up to an evolution of the activity-based work Wilkinson’s firm has long espoused. “No one knew what the end result would be; it was an optimistic and ambitious endeavor on our client’s side,” he says—yet the new HQ is “the type of environment we’ve been promoting for years, offering multiple settings that give employees some say in how they work.” Morris chimes in: “Work is complex, but people are complex.” Confirmation that the teams got it right?

Another pivot is pending to bring the interiors of the first building up to the newcomer’s standards.

PROJECT TEAM SASHA SHUMYATSKY; BEN KALENIK; PERKIN MAK; SARA NELSON; JUAN FEBRES-CORDERO; BEN HOWELL; JUAN GUARDADO: CLIVE WILKINSON ARCHITECTS. BRYAN SHILES; SAM NUNES; PAULINE SOUZA; MOSES VAUGHAN; RODNEY LEACH; BRIAN MULDER; ASHISH KULKARNI; ERIN BUTLER; GEORGE RUIZ; MEGHAN LUSCOMBE; ROSS FERRARI; DARYL TOY; SIVAN HECHT; NATHAN HYMAN: WRNS STUDIO. STUDIO FIVE DESIGN: LANDSCAPE ARCHITECT. CREATIVE PLANT DESIGN: INTERIOR LANDSCAPING. EGG OFFICE: CUSTOM GRAPHICS/BRANDING. REG: LIGHTING CONSULTANT. ARTLIFTING: ART CONSULTANT. HOLMES STRUCTURES: STRUCTURAL ENGINEER. INTERFACE ENGINEERING: MEP. BKF: CIVIL ENGINEER. NORTHWESTERN DESIGN: MILLWORK. RUDOLPH AND SLETTEN: GENERAL CONTRACTOR. PROJECT SOURCES FROM FRONT CAESARSTONE: COUNTERTOPS (ATRIUM, RECEPTION). ANDREU WORLD: SECTIONALS (ATRIUM), ROUND SIDE TABLES (ATRIUM, RECEPTION), COMMUNAL TABLE (HUB). ARPER: OTTOMANS (ATRIUM). VITRA: LOUNGE CHAIRS, STANDARD CHAIRS (ATRIUM). MUUTO: STOOLS, NERD CHAIRS (ATRIUM), SECTIONAL, HIGH-BACK CHAIRS (LIBRARY), BLUE CHAIR (HUB). PENTALQUARTZ: DESK SOLID SURFACING (RECEPTION). VICCARBE: OTTOMANS (RECEPTION, LIBRARY). STYLEX: SECTIONALS (RECEPTION, OFFICE AREA). GEIGER: LOUNGE CHAIRS (LITTLE HOUSE). THE RUG COMPANY: RUG. NORMANN COPENHAGEN: COFFEE TABLES (LITTLE HOUSE, HUB). ASPLUND: COFFEE TABLE (LIBRARY).

JB3D: MURAL FABRICATION (CAFETERIA). FORTH+BACK: GRAPHIC. CERTAINTEED: CEILING BAFFLES. FSORB: CEILING PANELS. WCI: TABLES. HOWE: CHAIRS. HAY: WOOD CHAIRS (HUB). MILLIKEN: CARPET. DAVIS: SOFA. THROUGHOUT ARMSTRONG WORLD INDUSTRIES; NORTON INDUSTRIES: CEILING GRILLES. ARCHITECTURAL GLASS & ALUMINUM: CURTAIN WALL, ALUMINUM FINS. VIRACON: ARCHITECTURAL GLASS. WALTERS & WOLF: PRECAST-CONCRETE WALLS. CEMEX: CAST-IN-PLACE CONCRETE. SHINNOKI: PANELING. NORTHERN WIDE PLANK: WOOD FLOORING. MAHARAM: ACOUSTIC PANELS, RUGS. BENTLEY MILLS: CARPET TILE. DUNN-EDWARDS CORPORATION: PAINT. PLANTERS UNLIMITED: PLANTERS. JLL; KBM HOGUE: FURNITURE SUPPLIERS.

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text: dan howarth photography: aogvision

first time’s a charm Rammed earth, purity of concept, and immersion with the landscape add up to an extraordinary hotel experience at China’s Shanan Anji Deep Stream, Fununit Design’s debut

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Midway up the north slope of China’s Tianmu Mountain, hidden amongst the lush bamboo forest, the dramatic geometries of a complex of peach-hued buildings emerge from the greenery as if partially ruined, and reclaimed by nature over time. Yet the majority of Shanan Anji Deep Stream, a four-story boutique hotel, is brand new, courtesy of Fununit Design founder and design director Eason Zhu— a mechanical engineering graduate who recently pivoted to architecture and spent two years developing everything from the property’s floor plans to its artworks and visual identity, as his very first built project.

An approximate two-hour drive from Hangzhou, Shanghai, and Nanjing, this scenic rural area—referred to by the Chinese as “bamboo village”—is a popular destination for weekend getaways. Zhu and his client’s aim is to bestow full immersion in natural tranquility for those “living in the city, who work so hard and are so tired,” he begins. And where better to escape to than an uninterrupted green mountain landscape, which this 17-key hotel boasts as the highest property in the area and maximizes through the orientation of its spaces, while ensuring privacy and seclusion.

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Previous spread: In a guest room at Shanan Anji Deep Stream in China, much of the furniture and artwork is custom by Fununit Design, which designed the entire 17-key hotel, a small compound of renovated and new buildings.

Opposite top: The tearoom, and all public areas, features textured plaster walls contrasted with lighter-toned custom furniture. Opposite bottom: Reception and its communal dining area overlook the site’s lush bamboo forest through floor-to-ceiling windows.

Top: In guest-room corridors, carefully placed openings control how natural light enters. Bottom, from left: Reception is anchored by a custom desk, softly illuminated by hidden LEDs. The property’s three buildings, the taller two the ground-up construction, are built from rammed earth and oriented to face the bamboo groves.

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to the small compound of structures perched on the slope. Tea is provided while the new arrivals gaze out through giant picture windows of the reception area, located within an old building, dubbed Chi, that Zhu converted into a common space for guests to unwind. Also containing a bar and a lounge, the rough-troweled plaster interior offers a minimalist take on traditional Chinese architecture, and its chocolate brown color is contrasted by paler-toned furniture. “There’s a fireplace, low lighting, and everything is more natural, more relaxed,” Zhu describes.

Additional buildings were constructed on either side of the communal hub: one four-story block next door on the same axis and a separate two-story volume that’s angled to face a slightly different yet equally captivating view. Both contain two-level guest suites and are built using the rammed earth that gives the entire compound its distinctive peachy hue. “In recent years in China, a lot of white buildings have been built in the mountains,” Zhu explains, revealing that his decision to buck the trend came from a budgetary restriction; it was cheaper to construct the hotel using material excavated from the site. Existing stones were also repurposed, stacked to form exterior retaining walls to cut costs.

Although the purse strings were tight, Zhu splashed out on “details that guests really notice” like the bathroom fixtures and underfloor heating and placing indoor and outdoor bathing areas in prime spots for views. He also referenced the 152

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work of iconic international architects. At the angled building, named Xu, for instance, private outdoor hot tubs are positioned in front of parabolic openings, reminiscent of those that front Oscar Niemeyer’s Alvorada Palace in Brazil and E. Stewart Williams’s Coachella Valley Savings & Loan bank in California. Spanning between tall partitions that offer total privacy for each suite, the U-shape elements frame scenes of the mountain opposite, which can also be appreciated from both levels inside thanks to full-height glazing.

In Yi, the other accommodation block, secluded ground-level terraces are tucked away at the back, so bedrooms in front enjoy the premium aspect. The goal in each room type was to make the natural surroundings take center stage, and all else is there to ensure a comfortable setting from which to look out, or a base from which to venture and explore. “When we conceived the hotel, we wanted guests to get lost in nature, so the design follows the less is more idea, while the views let guests forget their busy urban lives,” Zhu elaborates.

The suites feature lighter-colored troweled plaster than in the communal spaces, remaining bright and airy along with neutral-toned upholstery and sculptural furnishings—many of which are custom by Zhu. Circular skylights are another recurring motif throughout the 21,000-square-foot property, theatrically illuminating stairwells and providing snapshots of the sky above bathtubs. Natural light is manipulated via thin openings and curved surfaces in the corridors

Opposite top, from left: Neutral tones were chosen for guest rooms to direct attention to the natural surroundings. A hotsprings room has uniquely sited cutouts in the plaster ceiling and wall. Opposite bottom, from left: A guest suite includes a sitting area for tea. Other rooms feature a skylight over the tub.

Below: Two-story suites enjoy private terraces, which are separated from one another by tall partitions but still open to views via parabolic cutouts.

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“Zhu’s respectful nods to modernist landmarks are executed in earthy colors and textured materials for a warmer effect”

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that connect the guest rooms, creating an effect that the architect likens to the “trancelike” experience of being inside Antoni Gaudí’s Casa Milà in Spain.

The almost monastic quality that Zhu has created with his debut architectural opus is remarkably effective at promoting a slow and peaceful atmosphere across the site. His respectful nods to modernist landmarks are executed in earthy colors and textured materials for a warmer effect than many contemporary buildings possess. After their therapeutic breaks, Shanan guests descend the mountain and return to their bustling urban environs, hopefully with cleared minds and reinvigorated bodies, having been somewhat reclaimed by nature themselves.

PROJECT TEAM ZHU XIAOCHEN; ERHUAN CHAI; YEQING FENG; EILEEN CHEN; JIAJUN LI; APPLE WU; YITING DU; LIANGLIANG WENG; XIAOXIAN HU: FUNUNIT DESIGN. JULY COOPERATIVE: LANDSCAPE DESIGN. HANGZHOU DIANCHANG DECORATION DESIGN ENGINEERING CO.: GENERAL CONTRACTOR. PRODUCT SOURCES THROUGHOUT HANSGROHE: SINK, TUB, SHOWER FITTINGS. KING KOIL: MATTRESSES.

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Previous spread, left: Sun streaming in from ceiling oculi casts theatrical shadows in a stairwell. Previous spread, right: Situated right beside the private-terrace cutouts, hot tubs are for year-round use.

Opposite top: A square skylight caps a two-story suite.

Opposite bottom: Public spaces lead out to a terrace with swimming pool.

Top: Designed to intentionally slow down guests upon their arrival, a winding stairway leads up from the parking area to the main entry. Bottom, from left: Darker plaster wraps a guest-room’s seating nook. Sparsely furnished and mostly monochromatic, the suites have a monastic quality that is echoed across the project.

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brave new world Across the Americas, from Canada to Argentina, a fresh crop of restaurants and bars is serving up truly innovative F&B design text: peter webster

See page 170 for Lee Restaurant, a new location for the renowned FrenchAsian fusion establishment in Toronto by Bent Gable Design and Futurestudio. Photography: Britney Townsend.

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“The aim was to create a special atmosphere that fosters social interaction, relaxation, and the enjoyment of a good cup of coffee”

Arkylab project Monman Coffee House, Aguascalientes, Mexico. standout The choice of materials and con­struc­ tion methods was crucial in minimizing the ecological footprint of this ground-up build— a 5,275-square-foot, two-level café—while delivering big aesthetic dividends. A wall of compacted earth excavated on-site encloses the lot, forming an enclave comprising a coffee bar, kitchen, seating area, and perimeter garden; a wood-clad steel frame covers the mezzanine above, creating another plant-filled seating area with a semi-enclosed terrace—the perfect spot to savor the café del día. photography Paulina Ojeda.

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Glen & Company project Yingtao, New York. standout It’s all in this intimate, 45-seat Chinese restaurant’s moniker, which not only means cherry in Mandarin but is also the name of the proprietor’s grandmother, whose mosaic portrait graces one wall. The fruit lends its red hue—a highly auspicious color in Chinese culture—to accents throughout the 1,800-square-foot space, which is mostly finished in glossy black that, para­doxically, feels light and bright, with gold elements adding further animation. Cherry trees also appear etched onto mirrors, but patrons can enjoy real flora in the charming rear garden. photography Eric Laignel.

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“The color and materials palette is not just an aesthetic choice, but a language that communicates refinement and luxury”

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“The intention was to infuse the space with an atmosphere of playfulness and opulence—an environment immersed in a warm, whimsical glow”

Nina Magon Studio; Winn Wittman Architecture project Cocody, Houston. standout The French-inspired cuisine in the 6,600-squarefoot, 72-table restaurant gets a French-inspired setting—one evoking the Hôtel Plaza Athénée in Paris, specifically, down to an outdoor dining patio—that features a gold-and-pink palette overlaid with polished-metal elements, including mirrored champagne brass–accented arches and a golden horseshoe-shape bar. Other curved surfaces, finished in Venetian plaster and backlit marble, abound, while more than 5,000 concealed light sources create a glamorous ambience.

In the lounge, custom wallpaper offers a cheekily eroticized depiction of another Parisian grande dame: the Mona Lisa. photography Pär Bengtsson.

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Abstract Architecture; West End Interiors project Wayland Brewing Company, Orchard Park, New York. standout Led by Wayland owner Caryn Dujanovich, the teams created a buzzy new beer-lovers destination by renovating two structures, including an historic 1806 house, and adding a new building—20,000 square feet in total—that encompass a brewery, tap room and restaurant, an event hall, shop, beer garden, and bocce court. The F&B facilities occupy a vast greenhouse-inspired space with a decidedly Nordic aesthetic that boasts a ton of natural light, raw cedar–clad ceilings, custom white-oak furniture, and a long bar clad in exuberant, jade-green tile, just like the restroom walls. photography Kim Smith Photo.

“Any type of dark interior was eschewed in favor of the brand image, which is colorful and bright”

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Grizzo Studio project Moretti Gin Bar, Buenos Aires, Argentina. standout The first watering hole for a micro-distillery gin brand, the 320-square-foot sliver of a corner bar serves the liquor on tap. The burnished-copper stills essential to the distillation process provided design cues, the metal’s hue appearing on the bar front and in the pigmented-resin countertop embedded with scrap copper shavings. Polished-steel elements behind the bar suggest the lablike conditions gin is made under, while slabs of rough white concrete, also flecked with copper shav­ ings, offer textural variety, like a well-balanced cocktail. photography Federico Kulekdjian.

“A corner tower, gridded with backlit panes of opaline acrylic, conceals restroom and storage facilities while acting as a lighthouse to attract passersby”

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“A collection of 1950’s fauna-themed throw pillows was repurposed to upholster bar seats, each featuring a different animal”

Bent Gable Design; Futurestudio project Lee Restaurant, Toronto. standout To celebrate its 20th anniversary, the acclaimed eatery relocated to a 6,000-square-foot site in the historic Waterworks building. The design firms, which included chef-owner Susur Lee’s wife Brenda Bent’s studio, turned a bare concrete box into a warm 300-seat dining room by installing walnut paneling and millwork, wrapping large structural columns in sisal carpeting, commissioning a sculptural host station from artist Echo Electra, and hanging an array of velvet-patchwork banners, including an enormous one that spans the room to separate space for private events. photography Clockwise from top right: Britney Townsend; Double Space; Britney Townsend (3); Double Space.

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c o n ta c t s DESIGNERS IN SPECIAL FEATURE

DESIGNERS IN HOSPITALITY

Abstract Architecture (“Brave New World,” page 158), abstractarch.com.

Colberg Architecture (Bathhouse, page 69), colbergarchitecture.com.

Arkylab (“Brave New World,” page 158), @lmarkylab.

Crème/Jun Aizaki Architecture & Design (Kimpton Hotel Theta, page 75), cremedesign.com.

Bent Gable Design (“Brave New World,” page 158), bentgabledesigninc.com.

Futurestudio (“Brave New World,” page 158), futurestudio.ca.

Glen & Company (“Brave New World,” page 158), glenandcompany.com.

Grizzo Studio (“Brave New World,” page 158), grizzostudio.com.

Nina Magon Studio (“Brave New World,” page 158), ninamagon.com.

West End Interiors (“Brave New World,” page 158), westendny.com.

Winn Wittman Architecture (“Brave New World,” page 158), winnwittman.com.

PHOTOGRAPHERS IN FEATURES Aogvision (“First Time’s a Charm,” page 148), aogvision.com.

Yevhenii Avramenko (“Natural Cure,” page 112), yevheniiavramenko.com.

Nathalie Krag (“Banded Together,” page 130), Living Inside, livinginside.it.

Ulysse Lemerise (“Hôtel Particulier,” page 122), yulphoto.ca.

Jason O’Rear (“Upwards and Onwards,” page 138), jasonorear.com.

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Dryden Studio (The Wayback, page 89), dryden.studio.

Giannone Petricone Architects (The Royal Hotel, page 83), gpaia.com.

Interior Design Laboratorium (Cosme, a Luxury Collection Resort, page 93), idlaboratorium.gr.

Listen Communication (The Hanok Heritage House, page 101), listencom.co.kr.

Maed. Collective (Moxy Sydney Airport, page 97), maedcollective.com.

Rockwell Group (Bathhouse, page 69), rockwellgroup.com.

DESIGNER IN CENTERFOLD Emmanuelle Moureaux (“Butterfly Effect,” page 107), emmanuellemoureaux.com.

Interior Design (ISSN 0020-5508), March 2024, Vol. 95, No. 2, is published 12 times per year, monthly except combined issues in July/August and December/January with seasonal issues for Spring and Fall by the SANDOW Design Group, LLC, 3651 FAU Boulevard, Boca Raton, FL 33431. Periodicals postage paid at Boca Raton, FL, and additional mailing offices.

POSTMASTER: Send all UAA to CFS; NON-POSTAL AND MILITARY FACILITIES: send address corrections to Interior Design, PO Box 808, Lincolnshire, IL 60069-0808. Subscription department: (800) 900-0804 or email: interiordesign@omeda. com. Subscriptions: 1 year: $69.95 USA, $99.99 in Canada and Mexico, $199.99 in all other countries. Copyright © 2024 by SANDOW Design Group, LLC. All rights reserved. Printed in the USA. Material in this publication may not be reproduced in any form without permission from the publisher. Interior Design is not responsible for the return of any unsolicited manuscripts or photographs.

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breath of fresh air For the current NGV Triennial, at the National Gallery of Victoria in Melbourne, Australia, the institution commissioned 25 projects and curated 100 more, under the themes of Magic, Matter, and Memory. Among those responding to Matter—i.e. nature, materials, and making—is a gigantic outdoor sphere titled (This Is) Air by Nic Brunsdon, who was also awarded the annual NGV Architecture Commission, on view in the museum’s garden through June 16.

The 47-foot-diameter white orb essentially uses air as a building material. Made of inner and outer layers of synthetic recyclable PVC, it incorporates fans, vents, and a water ballast, which make it expand and contract, like it’s breathing. “The inner sphere stays inflated, providing structural stability and a backdrop for the outer sphere to play against,” the Perth-based architect explains, while the vents, near the base, “take air in, then exhale it out, making it both present and heard.”

Brunsdon’s inspirations were varied: the emphasis on respiration during the pandemic; late artists Christo and Jeanne-Claude’s monumental, wrapped works; the history of kinetic sculptures; the pair of intelligence-gathering domes at Waihopai Station in New Zealand. His result is both commanding and playful, inviting contemplation as well as active interaction. Children are often playing around it as it inhales and exhales. —Athena Waligore

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BEYOND BEYOND THE THE BOROUGHS BOROUGHS ENTER ENTER NOW NOW deadline deadline for product for product & project & project submissions submissions is March is March 27 27 nycxdesignawards.com nycxdesignawards.com

Work from Anywhere Mexique by Cassina