a mosaic of colored voids & glass adorns new apartment buildings in the czechian mountains

In a unique blend of interior design and historical commentary, Lithuanian design studio Gyva Grafika has reimagined a restaurant bathroom in Kaunas by transforming its walls into a homage to Soviet-era panel buildings. The project emerged from a challenge to redecorate a bathroom without removing existing brown tiles, which serendipitously resembled the facades that defined the urban landscapes of the former USSR. This innovative approach capitalizes on the growing phenomenon of Soviet nostalgia, which has seen a resurgence in various forms across the region. The design solution involved creating custom stickers from photographs of windows found on actual Soviet-style apartment blocks in Gyva Grafika founder Tadas Šimkus’s childhood neighborhood. These stickers were meticulously applied to the existing tiles, effectively turning each tile into a concrete panel complete with windows, and occasionally, glimpses of everyday life such as laundry hanging to dry. When arranged and stacked, these individual tiles collectively form the recognizable facade of a typical panel building, complete with the subtle imperfections and human elements like faces and cats “accidentally shot with a camera,” which Šimkus notes are an integral part of these structures. The inspiration for this distinctive design concept struck Šimkus during a moment of introspection, highlighting how everyday observations can lead to creative breakthroughs. The restaurant owners were reportedly very pleased with the outcome, as has been the clientele, who have shown their appreciation for the novel decor, sometimes even peeling off the stickers. The project's success and the significant attention it garnered have prompted Gyva Grafika to expand its offering, making these “Urban Soviet” designs available for purchase. The studio plans to sell both sticker versions and actual tiles with direct UV printing, allowing others to incorporate this nostalgic aesthetic into their own spaces. This initiative also carries a deeper, bittersweet significance. As many of these actual panel buildings are undergoing renovation or facing demolition due to EU-sponsored projects, the designer tiles serve as a means to preserve and commemorate a vanishing architectural style. It offers a “proper goodbye” to a ubiquitous form of housing that shaped the lives and memories of millions across the Eastern Bloc. The project transforms a mundane space into a conversation piece, blending art, architecture, and cultural memory, and demonstrating how design can both reflect and influence contemporary trends and historical remembrance. #SovietNostalgia #InteriorDesign #ArchitecturalHomage #LithuanianDesign #PanelBuildings #GyvaGrafika #BathroomDecor #UrbanSoviet

For decades, architects and government officials have recognized the importance of energy-efficient buildings, especially since the 1970s energy crisis. Buildings, including their construction, materials, and associated infrastructure, contribute up to 40 percent of global carbon emissions, making energy efficiency a critical concern. This understanding is foundational in North American architecture schools and has been emphasized by European institutions for even longer. The "Passive House Design" approach, pioneered by German architects, considers a building's entire interconnected system, focusing on its integration with the site, climate, and social support. This philosophy extends beyond residential structures to all building types. A more recent evolution, the "Net Zero Design" approach, also led by German designers, takes this further by requiring buildings to be highly efficient, use minimal energy, and replace all the energy they consume, potentially even contributing excess energy back to the local power grid. Europe, with its advanced energy design and construction history, has developed numerous innovative building cladding systems that contribute to energy efficiency. These systems often incorporate specialty fabrics in intelligent ways, such as vertical shade systems, retractable awnings, and entire building wraps. Industry experts, including Steve Fredrickson from Serge Ferrari North America, note that Europe is significantly ahead of North America in this area due to a lack of air conditioning standardization in European homes and retail, creating a greater need for heat barrier solutions. Additionally, European building codes are more adaptable to new energy-reducing products and developments. In contrast, existing North American building codes and the time required for their amendment make widespread adoption of fabric shade systems more challenging. Architect Samuel Armijos observes that while European markets showcase many examples of vertical fabric systems, such projects are scarce in the U.S. This lack of visible examples hinders broader acceptance and design incorporation. Architect Nicholas Goldsmith, however, notes a growing recognition among North American designers that exterior shading, particularly in specific regional climates, offers advantages over other cladding systems, such as being lightweight, efficient, and cost-effective. Mike Squizzato of Stobag North America Corp. highlights that Europeans prioritize shade for cooling due to higher electricity costs, whereas North Americans typically rely on air conditioning. He believes that as electricity costs rise and climate concerns grow, North American markets will rapidly adopt shading solutions, with awnings and vertical shading providing natural air-conditioned environments and potentially saving over 50 percent on electricity bills. Paul Snustead, director of facades at Structurflex, acknowledges Europe's lead but points to Structurflex's efforts to advance fabric facade architecture in the U.S. Tensile facades, also known as textile, fabric, or flexible facades, offer an innovative, long-lasting, and cost-effective alternative to traditional metal mesh screens, often costing about 50 percent less. These systems act as a 'second skin' for buildings, providing screening and shading, which can contribute to reduced energy consumption and LEED certification. Despite the clear benefits, the adoption of fabric-based shading systems in North America faces challenges. Traditional cladding materials remain strong competitors. Armijos notes a decline in leads for shade jobs, with parking garages being the primary market, but even there, fabric competes with pre-fabricated concrete and metal mesh systems. He suggests a major global event might be needed to spur a push toward textile facades. Andrew Trowbridge of Ronstan International observes a shift away from stainless steel cables in fabric structures towards greening systems and perforated aluminum panels for shade and facade coverage. Conversely, Fredrickson sees growth in both static and retractable vertical shading options across North America. Snustead describes an exponential expansion in the fabric facade architecture market, particularly for tensile fabric meshes, membranes, and foils, initially driven by parking garage screening requirements. Structurflex has seen an 800 percent increase in facade projects annually, with fabric facades becoming a significant part of their operations. Squizzato predicts that as temperatures rise, North Americans will increasingly seek cost-effective cooling solutions beyond air conditioning, leading to buildings with more colorful awnings and widespread vertical shading, eventually mirroring European practices within 15 years. For companies looking to enter or expand in this market, experts emphasize the need for knowledge, education, and accessibility of information. The ideal company size varies by region and market, but success hinges on having the right products and expertise. Fredrickson warns against using cheap, unproven products, which can harm the market's reputation. Snustead highlights the versatility of tensile facades, which can span large distances with less structural support and use materials that are often 100% recyclable with long lifespans. Squizzato points out that many existing businesses, from awning companies to landscape architects, can leverage sun shade protection to expand their services, provided they have appropriate insurance, training, and competent staff. The overall outlook for vertical fabric shading remains positive, with continued growth anticipated, especially as architects and contractors become more familiar with the medium's innovation and economic advantages. #BuildingFacades #VerticalShading #EnergyEfficiency #FabricArchitecture #SustainableDesign #ArchitecturalTextiles #NetZeroDesign #ClimateControl #ConstructionInnovation

This lookbook compiles ten interior design projects from Dezeen's archive that incorporate exposed brickwork, offering visual inspiration for designers and enthusiasts. The selected projects showcase how exposed brick can add a rustic and comforting feel to interiors, moving away from traditional painted or wallpapered walls to highlight the original construction material. This design choice often imparts an industrial quality to the spaces. The lookbook includes examples from various international locations, including the UK, Brazil, Belgium, and Spain, demonstrating the versatility and global appeal of this design trend. One featured project is a Victorian terraced house in York, UK, by Studio Ben Allen, where handmade bricks form barrel vaults, echoing the city's historical brick architecture. Another example from the UK is an extension to a house in Weybridge by Soup Architects, which uses light grey exposed brick walls both externally and internally, creating texture that complements sleek modern furniture and artworks. Duggan Morris Architects' Old Bearhurst project, a converted 19th-century farm, showcases the restoration of a brickwork oast house with rugged red-brick walls contrasting with smooth concrete floors, a blend of traditional and modern elements that was shortlisted for a RIBA House of the Year award. From Brazil, Arquipélago Arquitetos designed a rammed-earth house in Cunha with straw-coloured bricks from a local pottery studio lining the interior walls, including a walk-in shower room, enhancing the house's overall simplicity. Melina Romano's Hygge Studio in São Paulo features peachy-brown brick tiles, blending a modern aesthetic with bucolic touches to create a cozy and content atmosphere. BLAF Architecten's GjG House in Ghent, Belgium, is constructed entirely from reclaimed bricks, featuring an irregular shape reflected in its curvaceous interior spaces where warm red bricks contrast with wooden beams and eclectic furniture, emphasizing waste reduction. In Argentina, Lalo Carillo, Colombo and Serboli Architecture, and SY Arquitectos designed the El Quicho guesthouse with chunky exposed brick walls that mirror a traditional brick asador oven, incorporating other rustic elements like dark wooden furniture and worn rugs against a modernist backdrop. Space Popular's Brick Vault House in Valencia, Spain, utilizes Guastavino vaults, a type of Catalan vault made from light bricks, to introduce curved elements into an otherwise geometric house. Finally, Emil Eve Architects converted a London warehouse into an apartment, preserving its original brick walls and concrete columns to maintain an industrial aesthetic, highlighting the beautiful tones and textures of the raw materials. Studio Wet's Casa Borrero in Alosno, Spain, features curved terracotta bricks lining vaulted ceilings, continuing the brick theme from its ceramic-clad exterior and responding to a narrow plot. This collection is part of a broader series of Dezeen Lookbooks, which aim to provide visual inspiration, with previous editions covering themes such as cozy cabin bedrooms, Shaker-style interiors, and interiors inspired by Wes Anderson films. #InteriorDesign #ExposedBrickwork #RusticInteriors #IndustrialStyle #ArchitecturalRenovation #ResidentialArchitecture #SustainableDesign #DesignInspiration #HomeDecor

The Melange Tile Collection, by Spanish brand WOW Design, introduces a line of ceramic tiles designed to create artistic ombré effects. This collection represents a shift in tile design, moving beyond traditional high-gloss finishes to embrace more subtle and nuanced aesthetics, drawing inspiration from textiles. The designers aimed to replicate the essence of tapestries, with their varied yarns and dyes that blend hues in gentle progressions, transferring this concept to interior surfaces. Employing a fusion of art and technology, Melange tiles are crafted from white body ceramic, a material choice that enhances the vibrancy of lighter glazes. This durability also makes them suitable for commercial interiors, offering resistance to stains and UV light. The collection addresses the growing demand from specifiers for versatile tiling options that allow for diverse applications and sequences. Melange features rectangular wall tiles measuring 4.2 by 21.3 inches, presented with a matte finish. This size is intentionally chosen to minimize the number of pieces required for tiling a standard room, which contributes to reduced waste and potentially lower project costs. The unique color transitions offered by the tiles can visually alter spaces, making rooms appear taller, narrower, or wider depending on their arrangement. The vertical orientation of these tiles mirrors the natural flow of drapery or wall hangings, providing a dynamic visual interest that contrasts with conventional horizontal layouts. This approach, combined with a palette of powdery tints, offers a refined update to ceramic tiling. Beyond their aesthetic appeal, these tonal Melange tiles are practical for defining architectural features such as window frames or doorways. In retail environments, they can be utilized to highlight specific niches without overwhelming displays with overly complex patterns. The subtle depth achieved through light layers of color in each tile eliminates the need for busy motifs that might otherwise conflict with merchandise. WOW Design is recognized for its seasonal introduction of sophisticated hues, and the Melange collection continues this tradition by offering coordinating color groupings instead of isolated trendy shades. The curated colors are designed to evoke emotion and memory, akin to the impact of a scent or taste. The collection comprises 15 distinct tiles, organized into three sets of five. These include solid colors like Earth, Lake, and Cream, which can form clean, monochromatic backdrops. Additionally, two-tone combinations such as Talc-Rose or Sea-Cloud provide pastel chalk shadings, allowing clients to personalize their spaces and achieve unique interior designs. The Melange tile collection is set to become available in the United States in the upcoming fall season. #TileCollection #OmbreEffects #CeramicTiles #InteriorDesign #HomeDecoration #WOWDesign #TextileInspired #CommercialInteriors #ArchitecturalFeatures

The article explores the evolving landscape of decorative ceramic tiles, drawing inspiration from historical designs, contemporary graphics, and multi-color patterns, as showcased at Cersaie 2022. It highlights how these tiles are transitioning from invisible coverings to central elements of home décor, capable of defining spaces and enriching surfaces. The ease of installation, particularly with classic 20x20 cm tiles, facilitates their versatile application. Several brands are leading this design revolution. Ceramica Vietrese, for instance, introduced its 'Melody' collection of hand-decorated double-fired tiles. This line features a wide array of geometric patterns inspired by musical rhythms and the vibrant colors of the Amalfi coast, reinterpreted through precise graphics. Ceramica Francesco De Maio presented the 'Il Duomo' collection, meticulously hand-painted with geometric motifs reminiscent of the Amalfi Cathedral. This collection fuses traditions, cultures, and architectural styles, translating historical elements from Moorish, Gothic, and Baroque influences into stylized forms. Additionally, the brand collaborated with Giuliano Andrea dell’Uva to create the 'Carpet' collection, which emulates the visual effect of rugs on floors, incorporating Mediterranean color palettes and a distinctive fringed pattern. Marca Corona's 'Terracreta' collection transforms raw material into a creative medium, offering diverse formats and vibrant surface treatments. Primarily designed for domestic environments, it combines the tactile qualities of clay with artisanal decorative techniques on porcelain stoneware. This approach results in realistic handmade effects and ornamental motifs that alternate between glossy, matte, and three-dimensional finishes, enlivening walls and floors with dynamic patterns. The Terracreta series offers four neutral backgrounds complemented by three decoration types—'Incisione,' 'Inclusione,' and 'Dipinto'—allowing for flexible pairing and expressive material potential. Ceramica Sant’Agostino expanded its 'Insideart' collection with 'Insideart Color,' introducing five new vibrant shades: Mint, Sunset, Aloe, Aqua, and Forest. This line also features 'Paint,' a mini-collection of 20x20 cm tiles with geometric designs that create dynamic textures through serial repetition, blending a resin effect with graphic artistry. CIR-Manifatture Ceramiche’s 'Tadelakt' collection draws inspiration from the ancient Moroccan lime technique, featuring rich colors and shades. This collection offers a synthesis of craftsmanship and design, interpreting contemporary wall coverings with a historical touch. It builds an organic design concept around bold color palettes, integrating floors, walls, mosaics, and wallpaper decorations. Paola Navone’s 'Poetry Decor' collection for ABK reinterprets decorated tiles by drawing on global inspirations. This collection boldly mixes materialistic effects with ornamental patterns, creating unique combinations that evoke worn plaster, oxidized sheet metal, and original graphic textures with a handmade feel. Finally, the 'Riggiole' collection by Fioranese, a collaboration with Davide Tonelli, modernizes traditional Neapolitan decorative ceramic tiles. It employs a striking black and white contrast and incorporates intentionally imperfect handmade marks and worn surface effects. The collection also features an unusual 90x90 cm format that reproduces ornamental motifs in a macro version, alongside classic 20x20 cm tiles that can be freely mixed and matched from 30 available graphics, thus blending historical references with contemporary appeal. #CeramicTiles #HomeDecor #InteriorDesign #Cersaie2022 #ArchitecturalSurfaces #HandmadeTiles #PorcelainStoneware #DecorativePatterns

The Newburgh Light House, an apartment building in Victoria, Australia, designed by Splinter Society, offers a highly sustainable housing solution on a challenging, almost unbuildable site adjacent to a historic train station. The project accommodates up to 21 residents across 10 levels, with each residence occupying a full level. The architects faced significant design complexities due to the site's lack of street access, a north facade directly bordering VicTrack land, and stringent fire, building methodology, acoustic, equitable light, and stability requirements. The architectural response to these constraints involved a 'mini-tower' typology, utilizing glass blocks as a primary material to fulfill both fire safety and lighting needs. Conceptually, the building's translucent facades, coupled with reflective interior finishes, create a lantern-like effect for the public realm while fostering an ethereal atmosphere within the residences. The design emphasizes modularity and a clean, simple aesthetic, often observed in dense urban environments, to address construction challenges. Prefabricated elements were incorporated into the north and south facades, which feature glass block panels and operable recessed glazing. This design maximizes natural light and views. The decision to use full translucency on these facades, combined with a minimal core, was critical for future-proofing access to light, particularly in scenarios where adjacent private land to the north might be developed. The ground level is constructed from concrete, chosen for its ability to withstand a potential train derailment, and includes integrated seating to activate a small coffee shop fronting the entry and a pedestrian railway link. Bluestone cobbles extend from the adjacent lane through to the pedestrian walkway, creating a complementary patterned surface and enhancing ground-floor permeability despite the compact plot. Client brief aimed to attract the 'leafy suburb down sizer' market, seeking safe, convenient accommodation with an 'inner city' feel. This led to a programmatic arrangement of full-level apartments with direct lift access and private car allotments. To broaden its appeal, especially given its proximity to the train station, the design incorporated separated bedrooms and bathrooms, the potential for a third separable room, and dedicated storage/bike space, catering to students or individuals sharing. This layout was not only functional but also instrumental in achieving required light levels, considering potential future development, and ensures excellent cross-ventilation. The interior material palette reinforces the architectural grid through timber paneling, natural stone, and ceramic tiles. The glass blocks provide a distinctive internal finish, creating dynamic light effects throughout the day. Textured glass doors and internal walls contribute to the permeability of light across the floor plate. The building includes a bespoke penthouse on the upper level and one two-level residence, offering unique living spaces despite the building's overall modular efficiency. The project demonstrates a balance between performance, scale, and site constraints, achieved through close collaboration among the design, consulting, and construction teams. By day, Newburgh Light House offers adaptable homes with abundant natural light; by night, it transforms into a beacon, illuminating the Auburn village and its historic train station. #AustralianArchitecture #ApartmentDesign #GlassBlockArchitecture #SustainableHousing #UrbanDevelopment #ModularConstruction #ModernApartments #ArchitecturalInnovation

This article discusses design strategies for decorating spaces with abundant exposed brick, particularly in environments with limited natural light. It focuses on a specific case study of a family home in Manhattan's West Village, where the kitchen, dining nook, and living room are situated below street level and feature extensive exposed brick walls and original wood ceiling beams. Designer Maureen Ursino was tasked with transforming this 200-square-foot area into a cozy space without altering its historical features, including the red-brown brick. Her approach involved accentuating the existing brick by incorporating colors found within it, rather than attempting to create stark contrasts. Ursino emphasizes that trying to make one element "pop" can be overwhelming in such a setting. Key design recommendations include avoiding bright, contrasting colors that might clash with the brick. Instead, the design utilized a palette of butter yellow, beige, apricot, and burgundy, which are described as cheerful yet non-jarring. White was used sparingly, limited to kitchen cabinets and specific lighting elements, highlighting the importance of thoughtful and minimal use of brighter hues. Texture played a crucial role in adding interest to the space. For instance, a rich gold-yellow velvet fabric was chosen for the sectional sofa. While its color harmonized with the brick, the smooth texture provided a tactile contrast to the rough brick. Similarly, a linen armchair offered a soft, inviting material. The article also advises against using bleached woods, such as white oak, which would detract from the character of the brick. Instead, Ursino selected wood tones that complemented the brick's warm hues, including teak for the coffee table, stained oak for the dining table, and walnut for the bookshelves. Finally, the integration of traditional patterns in cool tones, specifically blues and greens, was a notable exception to the warm color scheme. Elements like a blue and green throw blanket, pillows, and a navy plaid dining bench cushion were introduced to add a modern-rustic touch and enhance the sense of a "cozy nest" without making the space appear dull despite its naturally darker setting. The overall strategy revolved around working with the inherent qualities of the exposed brick to create a harmonious and inviting interior.

This article highlights ten buildings that utilize decorative brick facades to create unique and visually engaging exteriors. Bricks, a globally prevalent building material, are showcased not just for their structural integrity but also for their versatility in aesthetic applications. The inherent small, rectangular shape of bricks allows for diverse decorative effects, including variations in color, complex forms, intricate patterns, and strategic perforations. The featured projects demonstrate a wide array of architectural styles and functions. The Gadi House in India, by PMA Madhushala, features a facade of protruding and perforated bricks over a stone base, designed to ventilate the home and minimize the need for mechanical cooling. At the Kitrvs winery in Greece, ETH Zürich researchers used an "augmented bricklaying" technique to create a semi-transparent facade of over 13,000 individually rotated and mortared bricks, mimicking the movement of light on liquid. The Arches in the UK, by The DHaus Company, incorporates layers of red-brick slips forming arches that frame doors and balconies, paying tribute to nearby Victorian railway architecture. Wallmakers' Pirouette House in India employs the rat-trap bond technique to construct curved and twisting brick walls that animate the facade while concealing structural elements. Bureau de Change's The Interlock in London showcases matte blue bricks that appear to swell around its windows, utilizing 5,000 bespoke bricks in 44 shapes and sizes, meticulously modeled and templated for precise arrangement. Museum de Lakenhal in the Netherlands, designed by Happel Cornelisse Verhoeven and Julian Harrap Architects, features concertina-style folds and bricks set at varying angles, evoking woven textiles and referencing the site's history as a fabric factory. Kohan Ceram, the headquarters of a brick manufacturer in Tehran by Hooba Design Group, presents a six-storey facade with bricks incorporating circular glass inserts, forming distinctive patterns alongside protruding brick blocks. In Vietnam, CTA's Wall House utilizes hole-punctured bricks, seemingly haphazardly stacked, to create a tactile, irregular surface that also funnels air and sunlight into the multi-generational home. Studio Lotus's Krushi Bhawan government building in India features an elaborate brick facade made from three different colored clays, arranged to emulate the traditional Odisha Ikat dyeing technique. Finally, the Shah Muhammad Mohshin Khan Mausoleum in Bangladesh by Sthapotik is defined by six red-brick turrets with perforated tops for natural ventilation, elevated on a brick platform to mitigate flood risks. These examples collectively illustrate how brick, beyond its fundamental utility, can be transformed into an expressive architectural element, contributing significantly to a building's aesthetic identity, environmental performance, and cultural narrative. #BrickFacades #ArchitecturalDesign #ResidentialArchitecture #SustainableDesign #BuildingMaterials #InnovativeConstruction #CulturalReferences #ArchitecturalRoundup

Architect Christian Kerez designed and completed House Okamura in Prague 6, Czech Republic, near the Villa Müller museum. The building distinguishes itself from surrounding structures through its use of circular brick volumes, a traditional and almost archaic construction method. The entire structural form, including the interiors, is composed of bricks, eliminating the need for dividing walls within the individual rooms. This housing project is divided into three distinct apartments and is formed by 16 tangent cylinders, collectively featuring 39 rooms. A unique aspect of House Okamura is the visibility of each room's outline from the exterior, a consequence of the absence of traditional dividing walls. The layout of the rooms allows for dynamic shifts in position across different floors, meaning that rooms within the same vertical shaft can belong to separate owners. This varied and seemingly random placement of openings within each room contributes to a labyrinth-like spatial experience. The rooms themselves vary significantly in size, ranging from 4 square meters to 18 square meters, and in height, from 2.35 meters to 4.9 meters. Additionally, there are 19 interstitial spaces located between the circular rooms, bringing the total number of spaces to 58. All spaces within a single apartment are interconnected and open to each other, with apartment sizes varying between 90 square meters and 110 square meters. Kerez describes the arrangement as a space that opens inward, creating an impression of expansion despite physically limited boundaries, which is a direct outcome of the rigorous geometrical organization. The circular room configurations are not static but change from one level to the next. Only the circular rooms within House Okamura are equipped with doors for closure. These areas function as intermediate spaces and house the elevator, storage facilities, and sanitary areas. Kerez acknowledges that designing such a complex using the spatial concept of autonomous rooms aggregated into a sequence of spaces feels both radical and innovative. However, he notes that this concept, combined with the traditional brick construction method, proved easier to implement on site compared to designing orthogonal spaces. #ChristianKerez #HouseOkamura #PragueArchitecture #CircularDesign #BrickConstruction #LabyrinthineSpaces #ApartmentDesign #InnovativeArchitecture #SpatialConcept

Butterfly Studio, led by architects Anna Baranowska and Joanna Felczuk, redesigned an 84-square-meter apartment in Kraków, Poland, for a young couple who wanted a home that reflected their appreciation for vibrant colors and retro aesthetics while maintaining practicality. The renovation involved a significant layout change, where one room was eliminated to create a larger, more open living area. This alteration allowed for a spacious L-shaped sofa and an extendable dining table, catering to the couple's social lifestyle and need for flexible space. The kitchen was also reconfigured to function as a central gathering point, featuring a custom island with integrated storage, departing from traditional bar seating. The apartment's design prominently incorporates a diverse color palette, with shades of green, rust, blue, and burgundy used across various surfaces. These colors are complemented by a mix of textures and graphic elements, such as a checkered rug and patterned entry tiles, which add visual interest and depth to the interior. Lighting fixtures are not merely functional but also contribute sculpturally to the design, with pendant lamps illuminating the sofa area and artistic fixtures adorning the hallway. The entryway establishes the apartment's distinctive style, featuring a burgundy built-in wardrobe and a curved bench that serves both as a decorative element and practical seating. Geometric patterns are a recurring motif throughout the space, evident in the softly curved kitchen island and the rounded media cabinet, ensuring a cohesive aesthetic across different rooms. One of the initial challenges of the apartment was a long, awkward hallway, which Butterfly Studio transformed into a striking design feature. The hallway now boasts playful wall sconces that cast abstract reflections, intricate millwork in muted tones that add texture, and a dark anthracite accent wall that provides contrast, giving the corridor its own unique character and dynamism. In the bedroom, a calming atmosphere is achieved through green walls and a terracotta-colored ceiling, creating a warm and inviting sanctuary. A custom-designed headboard incorporates a built-in vanity on one side, maximizing functionality within the space. The apartment includes two bathrooms, each with its own distinct personality. One bathroom features earthy tones with terracotta tiles and concrete-like plaster, while the other makes a bolder statement with burgundy floors, denim-toned cabinetry, and cool blue tiles. Both bathrooms integrate clever storage solutions, such as a woven-front laundry unit, to maintain a clean and uncluttered appearance. The overall design successfully blends vibrant retro elements with modern functionality, creating a unique and livable space. #InteriorDesign #RetroDesign #KrakowApartment #ButterflyStudio #ColorfulInteriors #FunctionalDesign #ModernLiving #HomeDecor

This article showcases 12 modern ski chalets across various locations, each embodying unique design elements and offering luxurious winter retreats. The collection begins with an Aspen, Colorado, ski chalet redesigned by Ghislaine Viñas and S2 Architects, which transformed a three-level, nearly 6,000-square-foot structure. The chalet's low-pitched hipped roof was replaced with a contemporary gabled one, extending to create deep eaves over a cantilevered balcony. Inspired by Aspen's early Swedish settlers, traditional Alpine architecture, and vintage ski-bum culture, the southern facade features expansive glass, offering views of the snowy landscape. Another Aspen property, a three-level rustic-chic ski chalet, underwent modernization by Rowland+Broughton. This 1990s stone-and-glass dwelling, known for its sensitive integration with mountain surroundings, received architectural interventions such as enlarged, view-enhancing windows and sliding doors, alongside meticulous editing of existing glazing mullions. In Baie-Saint-Paul, Canada, Chalet Bertha, designed by Perron, is situated on a hillside in the Laurentian Mountains. This 7,500-square-foot snow chalet features clean lines, inviting textures, and abundant natural light. Its design, inspired by Germanic mythology's Alpine goddess, aims to evoke a "winter spirit indoors" warmed by human connection. The three-level structure offers panoramic views of the surrounding forest and the Saint Lawrence River. The article then moves to Norway, where Snorre Stinessen Architecture conceived a ski chalet-style lodge in the Lyngen Alps. Originally conceptualized as a cabin, it evolved into a luxurious hospitality destination for guests seeking world-class skiing and glacier trekking. The design emphasizes a connection with the landscape through simple, earthy materials and floor-to-ceiling windows providing panoramic views. A rustic cabin in Breckenridge, Colorado, renovated by Amy Pigliacampo, blends old and new. This 1976-built A-frame ski chalet, located at an elevation of 11,000 feet, underwent a significant transformation. Pigliacampo painted the original pine paneling white, opened up the space with a new window above the kitchen, and incorporated materials like cane, caramel leather, creamy wool, and various wood tones to achieve a "1970s Modern Alpine Chalet" aesthetic. Studio Shoo designed a hotel in Kogalym, Western Siberia, for Ibis Styles. This 7,600-square-foot property, conceived as a winter wonderland, draws inspiration from the region's subarctic climate. The Moxy Banff, formerly the Voyager Inn, is a Canadian ski lodge that received a $30 million overhaul by Workshop/APD and Metafor. Built in 1964, the motor lodge was revitalized to combine the Moxy brand's playful personality, Banff's outdoor spirit, and its mid-century architectural roots. In Park City, Utah, a property by CLB Architects and Iluminus co-founder David Ostrander offers striking views of the Wasatch Mountains. The design utilizes a material palette established by the building's exterior, including Croatian limestone, shou sugi ban cedar cladding, steel-framed windows, and a copper roof. A unique "pop-up perch" provides 360-degree views, reminiscent of forest-fire watchtowers. Loren Daye of Studio Love is Enough transformed a Hudson Valley country inn into the Alpine-inspired Little Cat Lodge, a 14-room ski hotel, tavern, and bar. The subtle makeover includes reclaimed mushroom box-clad walls, checkered daybeds, Isamu Noguchi lanterns, and custom maple furniture. In Truckee, California, a Martis Camp retreat designed by Bohlin Cywinski Jackson and the Wiseman Group is a 12,200-square-foot, three-level ski residence positioned to take advantage of Pacific Crest Trail views. The west-facing facade is almost entirely glass, complemented by overlapping cedar screens for privacy. The article also highlights two mid-century buildings by Herbert Bayer at the Aspen Institute in Colorado. The 1973 Boettcher Building was renovated by Rowland+Broughton, while the three International Style "ski chalets" for the Aspen Meadows Resort had their interiors reinvented by Michael Suomi, who incorporated legacy furniture pieces referencing Bauhaus origins. Finally, a single-story glass house by ACDF Architecture in Quebec’s Lanaudière region emphasizes its natural surroundings. Floor-to-ceiling glass windows maximize natural light and offer sweeping views. The interior features minimal furniture, muted tones, polished concrete flooring, and wooden plank ceilings with gaps to soften direct sunlight, creating spaces for both connection and privacy for a young family. #SkiChalets #WinterGetaway #ModernArchitecture #InteriorDesign #LuxuryHomes #AlpineDesign #RusticChic #SustainableDesign #GlassHouses

Mjölk architekti has completed its revitalized Cottage Pod Bukovou, beginning with a derelict cabin located within the mountainous Czech forests. The design features a tiny dwelling alongside a sauna, both of which are finished with blackened vertical wood panels. This exterior treatment extends upwards to encompass the A-frame roof, creating the appearance of a single, unified volume. The architectural team aimed to cultivate a warm and intimate atmosphere, particularly given the challenging conditions of the site. They specifically referenced the winter wind that sweeps over Buková Mountain, traveling from the North Sea across German plains and intensifying in the rocky hills above Hejnice, eventually reaching the other side of the mountains to herald the coming winter. The design team at Mjölk architekti sought to create a contemporary yet cozy environment for Cottage Pod Bukovou. They embraced the often-dreary weather conditions of the region, suggesting that such gloom can, in fact, enhance the dwelling's appeal. The interior layout was reconfigured for maximum efficiency and simplicity. The original cabin's living space has been preserved, while the sleeping arrangements have been modified. The house now includes two distinct bedrooms. One is a larger bedroom, accessed via a hidden staircase concealed within a closet. The second, slightly smaller bedroom, is reached by a ladder extending from the kitchen area. An innovative feature called the 'sleeping window' is situated opposite the fireplace; this deep inset provides a comfortable sleeping area for unexpected guests. The project, named 'Buková Mountain,' was completed in 2020 and is located in Jiřetín pod Bukovou, Czech Republic. The photography for the project was provided by Boysplaynice. This architectural endeavor demonstrates a thoughtful approach to rehabilitating existing structures, integrating them seamlessly with their natural surroundings while enhancing their functionality and aesthetic appeal. The choice of blackened timber not only provides a distinctive visual identity but also likely offers durability and blends with the rugged landscape. The emphasis on maximizing interior efficiency within a compact space reflects contemporary trends in cabin and small home design, while the specific mention of the 'sleeping window' highlights a creative solution for accommodating additional occupants. #MjolkArchitekti #CottagePodBukovou #CzechArchitecture #BlackenedTimber #AFrameRoof #CabinDesign #ResidentialArchitecture #SustainableDesign #InteriorRedesign

The article introduces Clé Tile's new Lapidary collection, a line of mosaic tiles characterized by their rough-cut, chunky, and randomly chiseled aesthetic. This collection draws inspiration from the imperfect yet captivating nature of zellige tiles, which gained popularity a few years ago for their unique variations in size, shape, and finish. The Lapidary collection aims to bring a similar sense of instant interest and movement to modern interiors by embracing idiosyncrasy. The inspiration for these new mosaic tiles comes from the work of architect Carlo Scarpa, specifically the mosaic cement, glass, and stone floors he designed for the Olivetti Museum in Venice, Italy, in the 1950s. While replicating Scarpa's original technique would be cost-prohibitive today, Clé Tile's stone crafters have developed a method to format a similar design into convenient 12-by-12-inch sheets. Each individual tile within these sheets maintains its chiseled and random characteristics, ensuring that the old-world charm and uniqueness are preserved. The Lapidary collection offers ten color options, including white limestone, red travertine, and jade green. Most of these options are priced around $30 per square foot, making them a significant investment, though accessible for accent applications. The Calacatta Viola iterations are an exception, priced at $84 per square foot, reflecting the premium nature of the stone. Despite the cost, the sheets are versatile and can be used to make a substantial design impact even in smaller areas. Deborah Osburn, the founder of Clé Tile, suggests that this surface is ideal for creating a "modern Italian vibe." The tiles are recommended for both floor and wall applications, offering flexibility in design. For instance, they can be used to create an accent in a kitchen backsplash or as a statement piece for a fireplace surround. The deliberate imperfection and artisanal feel of these mosaic tiles are designed to lend a coveted old-world touch to contemporary spaces, allowing homeowners to infuse their interiors with character and a sense of history. #MosaicTiles #CléTile #LapidaryCollection #HomeRenovation #InteriorDesign #OldWorldCharm #TileTrends #ModernItalianVibe #DesignInspiration

The W Prague, a newly unveiled hotel in the Czech capital, occupies a meticulously refurbished and restored heritage building from 1905, a significant example of Art Nouveau architecture on Wenceslas Square. The hotel's development follows a nearly decade-long refurbishment, breathing new life into the historic structure which had been shuttered since 2013. The facade retains its original grandeur with refreshed verdigris and gold on swirling ironwork balconies, candy-red window mullions, and renewed gilding on the pediment's sculpture, while a subtle golden 'W' signifies its new identity. The property, formerly known as Grand Hotel Europa, now blends historical preservation with contemporary design. Marriott International and W Hotels spearheaded the redevelopment of the 19,380-square-foot property, which also includes an elliptical, nine-story extension. Benoy, a London-headquartered firm, designed the architecture for the new wing, based on concepts by Czech studio DAM.architekti. Chapman Taylor, an international firm with a Prague office, managed the restoration of the historical areas, collaborated with Czech heritage authorities, oversaw the design of the spa and standard guest rooms, and acted as the project’s architect of record. AvroKO, a U.S. firm recognized for its work on Marriott properties, was tasked with unifying the design, curating key public spaces and premium suites, and cooperating with Chapman Taylor on lighting, tilework, and dining and bar areas that seamlessly merge old and new. AvroKO's design approach centered on creating original contemporary elements that authentically interact with the historical fabric, avoiding mere replication of Art Nouveau details. The team, led by Alex Reed from AvroKO's London office, drew inspiration from three core pillars: Art Nouveau's organic foliate and floral forms, particularly influenced by Czech artist Alphonse Mucha; "the fantastical garden" concept, embodying whimsicality, magic, and escapism; and the historical context of elixirs and alchemy prevalent in 16th-century Prague, symbolizing transformation and healing. These visual narratives are integrated throughout the hotel, from the atmospheric lobby to the guest rooms. In the lobby, restored Art Nouveau lighting, plasterwork, and mosaic flooring are complemented by AvroKO-designed shimmering brass check-in desks set against an arched niche of colorful square tiles from Preciosa, a Czech glass company. These radiant gold and jewel-toned tiles establish the hotel's color palette. Preciosa also crafted the grand pendant fixtures in the atrium and the main staircase, where crystals cascade between ironwork balustrades, symbolizing a fusion of modern design with Czech heritage. Other spaces, like the Bisou lounge, feature custom sofas and faceted mirror cocktail tables inspired by Czech Cubism. The transition between the historic and new buildings is marked by a dramatic emerald and gold corridor, draped in velvet curtains embroidered with botanical motifs, evoking the fantastical garden theme. The new building houses the W Lounge, an all-day space with a mid-century chic aesthetic, featuring poured terrazzo flooring, groovy fireplaces, and curvilinear furniture. A 30-foot-long serpentine bar with a sculptural bottle display serves as a focal point. Guest rooms include 14 suites primarily in the new extension, such as the 1,000-square-foot E-Wow suite, which showcases richly veined stone countertops and expansive city views. The original building's top floors feature two loft-like Wow Bohemia duplexes, characterized by deep reds and golds, sumptuous furnishings, and exposed timber beams, honoring the hotel's history while embracing a luxurious contemporary feel. #HotelDesign #ArtNouveau #PragueArchitecture #HistoricalRestoration #InteriorDesign #LuxuryHospitality #AvroKO #CzechHeritage #AdaptiveReuse

The architectural studio 2XJ designed a two-story family apartment in the old town of Vilnius, Lithuania, named "Greetings From Rome." This 140-square-meter apartment is located in the city's Užupis neighborhood, occupying the second and third-floor attic space of a three-story building. The central design challenge and inspiration for the project was an existing structural stone wall that traversed the entire length of the apartment. This wall, initially perceived as a complication due to its immovability and "complex" layout, featured three arches on the ground floor, which serendipitously reminded the architects of the Colosseum in Rome. This humorous association ultimately gave the apartment its distinctive, playful name. Since the structural stone wall was integral to the building and could not be removed, 2XJ embraced it as a central feature of the design. They decided to clad it in Italian travertine slabs, a material choice directly inspired by the actual Colosseum. This decision was pivotal in transforming a structural constraint into an aesthetic and functional cornerstone of the apartment. The architects aimed to enhance the historical "old town" feeling within the interior using modern design approaches, and the arch motif, combined with the stone wall, perfectly served this objective. The wall became the primary axis of the project, dictating the spatial organization and separating the home into distinct active and restful areas. The wall functions practically by dividing the lower floor into social and private zones. One side features a main living area that integrates an open-plan kitchen, living, and dining space. The other side houses two children's bedrooms and their corresponding bathrooms. The main living space also provides access to a compact home office, designed with sliding doors for privacy, and a large terrace offering views of Vilnius's baroque churches. A hallway positioned between the children's bedrooms and the travertine wall incorporates built-in storage solutions, maximizing functionality within the design. The apartment's upper level is dedicated to the primary bedroom, a small bathroom, and a landing area that doubles as a library, accommodating the owners' extensive book collection. The material palette chosen for the apartment complements the travertine wall, featuring a neutral selection of white and natural wood throughout. This harmonious selection creates a cohesive and serene atmosphere. The staircase connecting the two floors is a notable design element, divided into two distinct sections. The base features a "monumental" wooden section, which establishes a visual link with other wooden elements such as the dining table and a console. The upper portion of the staircase is constructed from white-colored steel, designed to evoke a sense of lightness and optimize space, further reinforcing its connection to the central stone wall. The arch motif, a recurring theme derived from the structural wall, is subtly echoed in various smaller design details, including custom door handles, the dining table, and other curved furniture pieces. The project demonstrates a thoughtful approach to interior design, where an inherent structural element is ingeniously transformed into a defining characteristic. By integrating the old with the new and using a consistent material and thematic language, 2XJ successfully created a modern and functional living space that respects its historical context while delivering on its practical requirements. This renovation contributes to a broader trend seen in Vilnius, where other studios have also reinterpreted and modernized existing historical elements in 19th-century apartments, such as ŠA Atelier’s use of partitions and Kristina Lastauskaitė-Pundė’s emphasis on arched doorways. #ApartmentInteriorDesign #VilniusArchitecture #TravertineCladding #StructuralWallIntegration #ModernRenovation #ResidentialDesign #LithuanianArchitecture #ArchedMotif #SpacePlanning