For more than 160 years the Orvis name has stood for a passion for the outdoors and customer satisfaction. Orvis is seeking a Designer for Technical Outdoor Apparel to join our team and ensure flawless execution of product and design vision from concept through completion by creating and executing compelling design concepts
Design firm Yabu Pushelberg has transformed a 20th-century house in California’s Napa Valley into this luxury hotel, which features bedrooms lined with dark wood, spacious bathrooms and a rustic restaurant.
The New York and Toronto interiors firm followed up on the success of the first Las Alcobas in Mexico City by designing the interiors for sister property in Napa Valley, California.
The second outpost of the brand opened in 2017 as Napa Valley’s first new luxury hotel in seven years.
While nearby hotels tout being within walking distance to Napa’s wineries, Las Alcobas’ location is highly coveted for its right-across-the-creek proximity to the Beringer Vineyard, the oldest continuously operating winery in the area.
The 68-room resort is anchored by the Acacia House, a restored Georgian pile, which houses six guestrooms, a boardroom, and the hotel’s restaurant.
Built in 1905, the grand residence is characterised by a wide wrap-around porch that leads into the lobby area, where eclectic artwork and artifacts ornament the grey plaster walls.
The original leaded glass windows, wood beamed ceilings, and rusticated wood floors to add to its sense of place. A number of guest rooms are also found in newly constructed “outbuildings” that are connected by meandering pathways.
“We designed a hotel that feels like home with unique amenities that will create lasting impressions with our guests,” said Las Alcobas founder and CEO Samuel Leizorek in a statement.
For their second Las Alcobas project, Yabu Pushelberg translated the brand’s philosophy of encouraging sobremesa – the Spanish word for convivial post-meal chatter around the dinner table – into the Californian setting.
The 50-seat Acacia House restaurant features navy plaster walls with high stone baseboards, wood beamed ceilings, and windows covered with pleated cafe curtains.
The dining room welcomes the sentiment of sobremesa through elements of “openness”, like open pantry shelves lined with artisanal plates and bronze-framed mirrors. There is also an open-hearth fireplace, an open kitchen, and grey upholstered banquette seating.
Yabu Pushelberg designed guest rooms and suites with warm materials and simple earth tones to create an uncomplicated residential feel. Bedroom walls are panelled in dark oak with a low horizon dado line around its perimeter.
Layered on top of the paneling are headboards upholstered in linen and flanked by custom-made nightstands. Wooden harvest tables are complemented by simple millwork and open frame cabinetry for storage and display.
Barn doors slide on oiled bronze hardware to lead into oversized “spa-like” bathrooms, which have stone carved sinks and vanities, white micro-mosaic stone tiles, and dark blue-grey marble.
Outdoor terraces feature rounded fire pits, with some room also hosting outdoor soaking tubs that overlook the vineyards.
In-room amenities such as handmade wine-derived soaps further reflect the destination.
The on-site spa takes cues from the notion of a modern barn, while aesthetically incorporating the wabi sabi philosophy, which celebrates imperfection.
Dark grey lava stone floors and warm plaster walls create a moody appearance that contrasts with the rest of the light-infused property.
Yabu Pushelberg, which has offices in Toronto and New York, was founded by Canadian designs George Yabu and Glenn Pushelberg in 1980.
The studio has become the go-to interior designers for luxury brands across the world, with recent projects including the Four Seasons Downtown New York and Moxy Times Square.
Photography by Alice Gao
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Designer industriel de formation, Romain Nicoloso est passionné par le dessin et la création. « L’art et la création sont des éléments qui ont toujours fait partie de ma vie. En observant les travaux de Basquiat, Klimt ou Frank Loyd White, mon désir de créer et dessiner s’est très vite manifesté. » nous confie-t-il.
Sur son compte Instagram, cet artiste illustre à partir de ses photographies des histoires différentes relatant des évènements particuliers de sa vie comme une rencontre, un voyage ou un sentiment ressenti à un moment donné. Il les représente sous forme d’éléments connus (animaux, objets du quotidien…) ou totalement sortis de son imagination (navette spatiale, bras télescopique dans la ville…).
« La plupart du temps, lorsque je prends une photo, l’idée de l’illustration arrive instantanément après. Il m’arrive aussi de parcourir mes anciennes photos pour créer de nouvelles illustrations. J’ai toujours aimé imaginer le monde qui m’entoure différemment. C’est pourquoi j’ai voulu partager cette vision au travers de mes illustrations. Les contours blancs sont une manière de marquer cette différence entre le monde réel et mon imagination. » précise-t-il.
Son but ? Donner l’envie à son public de créer à leur tour leur vision du monde. « Mes illustrations sont le reflet de ma personnalité et de mon âme d’enfant. C’est ce que je souhaite partager avec mon public afin de leur donner l’envie de créer et rendre leur quotidien plus coloré. L’art est de plus en plus présent dans nos vies, ce qui la rend plus colorée et donc plus agréable. » dit-il.
Le chat est le roi du net, cela n’est pas nouveau ! Mais la passion pour cet animal à la fois attachant, drôle et excentrique à la fois insaisissable et indépendant, a atteint un apogée avec ce nouveau projet graphique : remplacer par des chats des couvertures d’albums mythiques ! Un travail soigné mené par l’artiste Alfra Martini, l’auteur de ce tumblr.
A youth centre in Spain designed by Barcelona and Madrid studio B720 Fermín Vázquez Arquitectos uses warm colours and wooden elements to create a “comforting” place.
B720 Fermín Vázquez Arquitectos designed the centre in the Catalonian municipality of Badalona for the Germina Foundation, an organisation that works with children and young people at risk of social exclusion.
The centre occupies the ground floor of two existing buildings, as well as a six-storey new-build on the previously empty site between them.
The new buildings houses spaces for the foundation’s administrative staff alongside a kitchen, play area and a series of workshop areas.
A wooden interior was chosen to contrast with the “more austere” concrete exterior that blends in with its urban location
“The duality between a comforting interior space [is] intended to provide a second home in which children will feel well cared for,” said the studio.
“Despite the fragmented plan, it seemed appropriate to create a sense of unity throughout the interiors, not only in physical but also visual terms,” continued the studio.
“Against the dividing walls with no natural light, a large articulating furniture element spans all three programs, creating a solution for the myriad needs of each space in one single gesture.”
At ground level, a shared space in the new block links the three buildings. Above this on the middle levels there is a youth activities centre, with office space on the upper levels and a roof garden on top.
These three programmatic elements, which B720 Fermín Vázquez Arquitectos describe as being stacked “like three large boxes”, are united by a continuous piece of wooden super-furniture. This wooden structure divides up spaces but also provides storage, counters and visual connections between spaces.
The wooden element appears and disappears throughout the building, becoming the glazed window into a meeting room, a translucent plastic screen between places or a magnetic whiteboard unit in the workshop spaces.
Openings have been oriented to keep spaces as bright as possible despite the tight urban plot, as well as to give views out to the surrounding neighbourhood and onto two landscaped outdoor spaces.
On the south elevation there is a small terrace space, as well as a series of retractable awnings that give control over the sunlight entering the building.
B720 Fermín Vaquéz Arquitectos has previously worked on a new admin building and control tower for Aeroport Lleida-Alguaire.
Photography is by Marc Goodwin unless stated.
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Vogue Italia has opened its office this week to a host of designers including JW Anderson and Rafael de Cárdenas, who have given the Milan headquarters a temporary makeover for the city’s annual design festival.
The exhibition, called Life in Vogue, saw editor-in-chief Emanuele Farneti invite eight creatives to reinterpret the interiors of magazine’s editorial offices as part of this year’s Milan design week.
In addition to JW Anderson and Rafael de Cárdenas, Farneti asked David/Nicolas, Massimiliano Locatelli, Pierre Marie, Ana Kraš, Storage Associati and Studio Proba to take part in the project, which was open to the public until 12 April.
“Life in Vogue is a very special project because it has a dual value,” said Farneti. “First and foremost it allows our magazine to build extraordinary collaborations with some of the most important creative voices in design, architecture and interiors, and also with leading firms in the sector.”
“Secondly, for us the event is an opportunity to open our doors to the wider public: a message of inclusivity which firmly underlines the most recent editorial developments at Vogue Italia,” he added.
French-Lebanese design duo David/Nicolas were tasked with making their mark on the editor-in-chief’s office. They opted for a warm and earthy palette in a bid to bring the comfort of a home to the workspace.
“When we approached this particular space we wanted to try and grasp the spirit of the Italian corporate lifestyle, elegantly simple yet sophisticated in its history.”
A jet black modular shelving system was installed behind the desk to add more depth and consistency to the walls, while giving Farneti the freedom to chop and change the composition of the space behind him.
Next door is the editorial wardrobe room, the “heart” of the magazine, where all the season’s clothes are hung on open railings and shoes are arranged by colour.
Lining the wall of the corridors of the Vogue Italia offices is a bold-patterned custom wallpaper by Paris-based designer Pierre Marie, who was also responsible for taking over the talent room.
For this space Marie created two new Futurist-inspired tapestries and a stained-glass panel for the window, which features yellow and gold ribbon-like patterns set against a light blue backdrop.
These elements are complemented by matching silk curtains and a “happy” yellow paint hue covering the walls.
On the other side of the hallway is the break room, which was given a playful and contemporary makeover by Studio Proba founder Alex Proba.
“When we were tasked to bring new life to the break room, I first asked myself the question what a break room meant to employees,” said Proba, “and why so often these rooms were – and still are – not at all inviting as a place to spend more time in, rather than to grab a quick snack.”
“We focused on creating a space that distracts and maybe even confuses you as soon as you step inside,” explained Proba, who filled the interior with bold colours and patterns in a variety of pastel hues.
Serbian artist Ana Kraš was given the creative director’s office, which she restyled in a warm shade of grey to reference her own studio in New York. This backdrop is animated with pops of colour in the form of a textile wall hanging and her vibrant Bonbon lamps.
Further down the corridor, architect Massimiliano Locatelli reinterpreted the meeting room by bringing in elements of the outside world. Taking design cues from the Désert de Retz garden near Paris, Locatelli used different shades of green to create a “déjeuner sur l’herbe”.
Locatelli’s large Garda marble table runs through the centre of the room, surrounded by chairs made from a mixture of aluminium and volcanic stone, while one wall is covered by a digital projection displaying photographs taken from the pages of Vogue.
New York architect Rafael De Cárdenas had a futuristic vision for his office redesign, which was inspired by the Ultima Thule – a trans-Neptunian “alien” fossil located in the Kuiper belt.
De Cárdenas combines old, traditional wooden furniture with modern metal seating and lights, animated with a blue light projection on the side of the room. “In this office, we advise caution when experimenting with your future,” said the designer.
Milanese studio Storage Associati designed the current affairs office to encompass two contrasting elements of symmetry and natural “chaos”.
The main part of the office is structured by elegant, fluted walls and golden, reflective surfaces. A smaller adjoining room, which acts as the relaxation area, is a low-lit space filled with plants and greenery with a mirrored daybed in the centre.
Fashion designer JW Anderson juxtaposed the historical with the modern in his redesign of the fashion editor’s room at the end of the hallway.
Painted in a vibrant shade of yellow commonly found in British stately homes, the room features a 16th-century cupboard positioned between two French windows.
A low coffee table with a pearlescent sheen sits in the centre of the room on top of a plush “sand-like” carpet, aiming to challenge the height of the typical office, as the user would have to sit on the floor to use it.
The Vogue Italia offices were open to the public during this year’s Milan design week, until 12 April. This is the second time a host of creatives have taken over the headquarters, with last year’s line up including Mario Bellini, Faye Toogood and Patricia Urquiola.
In other locations across the city, COS has assembled a structure from 700 bioplastic bricks in the courtyard of a 16th-century courtyard, while Chilean architecture duo Pezo von Ellrichshausen has installed a mirrored structure within Milan’s Palazzo Litta.
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As Milan design week draws to a close, take a look back through Dezeen’s extensive coverage of the world’s biggest design fair via our new Pinterest board. Follow Dezeen on Pinterest ›
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Australian artist Linda Tegg has created a living installation inside Jil Sander‘s headquarters in Milan, using plants gathered from around the city.
Tegg worked alongside the fashion brand’s joint creative directors, Lucie and Luke Meier, to develop the Adjacent Fields installation, on show for the duration of Milan design week.
The Melbourne-based artist explored some of Milan’s abandoned industrial sites with garden designer Matteo Foschi to source what she calls “spontaneous plants” that grow wild in the city.
Tegg’s work seeks to enhance our appreciation of these undervalued species and encourages the viewer to reconsider their relationship with nature by bringing them into close contact with plants in surprising contexts.
“I’m very interested in how we form our opinions about what’s natural and what nature means,” she told Dezeen during a private tour of the exhibition.
“A lot of my work is about trying to undo some of the alienation we have if we only touch things through mediated experiences.”
Adjacent Field brings together species including mosses, succulents, blackberry, common chickweed, geranium, ivy, scutch grass and wild sage, which grow up through the pavement, through cracks in buildings or on disused patches of land.
By removing them from their urban context and arranging them in a gallery-like setting, the plants take on a different status and help to promote a deeper appreciation of nature in the city.
“These plants are neither singular, spectacular or of any monetary value,” Tegg explained.
“They exist alongside us, often on the peripheries of our perception. What happens when these beings are brought to the centre of our lives, when we take them into our care?”
The only other materials used in the installation are standard nursery crates and geotextile bags containing soil required to support the greenery’s growth.
The containers are arranged like a series of islands that create paths in between, so staff and visitors can stroll through the artwork, getting close enough to smell the foliage and observe small insects living among the plants.
Tegg explained that the artwork’s configuration was not precisely planned, but rather evolved from a desire to maintain the proximity of plants that were taken from the same location.
“They’re just sort of assembled using this quite modular system,” she said. “There is some editing involved but ultimately we couldn’t plan how it would look; it’s all about keeping the plants together as we found them.”
A lighting installation by Nic Burnham of NDYLight was developed specifically to provide the correct intensity and spectrum of light to support the plants’ growth.
During the research phase of the project, Tegg’s husband and collaborator David Fox took photographs documenting the plants around the city, which are compiled in a large-format book presented in another room adjacent to the installation.
His images are also on display in the windows of Jil Sander’s Milanese flagship store, where they provide an alternate but complementary view of the installation.
The artwork is on display to the public until 14 April. After that it will be reconfigured into a smaller version that will remain in the studios, with the surplus plants being returned to the sites they were sourced from.
The permanent assemblage will require nurturing by the staff at Jil Sander’s headquarters, and is intended to provide a constant reminder of the need to work and live more sustainably, in harmony with nature.
“Environmental issues seem, and need to be, more and more well rooted, rather than a trend,” added Lucie and Luke Meier.
“We need to be ready to behave in different ways, even uncomfortable and inconvenient, to make a change. We need to find a way to coexist well with nature. The permanent installation of spontaneous plants will be a constant reminder, a catalyst for our awareness.”
This is the third indoor work Tegg has developed, following a piece in Chicago created using plants sprouted from grains sourced at local grocery stores, and a work she produced in the Australian Pavilion at the Venice Architecture Biennale in 2018, which used 10,000 indigenous plants to recreate an area of Australian grassland.
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Earthen concrete walls, planted patios and pools feature in this house in Mexican state Hidalgo, which was designed by Mexican City firm Centro de Colaboración Arquitectónica.
Centro de Colaboración Arquitectónica (CCA) completed the 608-square-metre Casa Moulat as a gabled volume flanked by two wings. The residence is predominantly built from concrete that has been tinted using earthen materials sourced nearby.
“We worked hand-in-hand with the suppliers to obtain a unique colour that corresponds to the warm tones of the site at sunset,” CCA architect Fernanda Ventura told Dezeen.
“Right now, the architecture in Mexico is about using raw materials,” she said. “In a way that creates comfortable spaces, as with these earthy colours and getting back to the roots.”
Earthen walls are left exposed across the exteriors and interiors of Casa Moulat, along with the grey concrete at its base for structural support.
Although the main programme of the house is comprised on the ground floor, the level of the floors varies in different rooms, allowing the grey concrete skirting to protrude. The residence incorporates a basement as well.
“The foundation of the house stands out from the ground level, generating a skirting board that continues throughout the length and breadth of the house,” said the studio.
Another local feature of Casa Moulat is the black stone foundation, which is typical of the Hidalgo region. The architects used the platform to level the land so the house could be built on a flat surface.
Described by the firm as “large horizontal monoliths”, the two wings of the house host bedrooms. The volumes are arranged around walled-in gardens with arid plants, and a central patio with swimming pools and lounge areas.
“The project is based on integrating the construction into the natural landscape,” the studio said.
The attention given to outdoor areas is common in Mexican residences, for these spaces provide passive cooling options, enlarge living areas, and also make houses more private and safe.
Others houses in the country that are similarly integrated with the outdoors are Casa Bedolla by P+0 Arquitectura, Cachai House by Taller Paralelo and Casa Cozumel by Sordo Madaleno.
For Casa Moulat, CCA has accompanied each of the home’s bedrooms with patios, while the open-plan living and dining room is flanked by sliding glass doors. One side accesses a small courtyard, and the other side joins the pool.
“The house explores the duality of open and closed spaces, inside and outside,” the studio said.
Inside, the materiality of the house matches the exteriors with raw concrete walls. Pale wood features across the floors and ceiling to further relate to the overall rustic warmth of the project.
The living room is anchored by two cream-coloured couches, kept muted and natural to relate with the overall palette, as well as a 10-person dining table.
A lofted atrium is nestled within the roof’s gable with views to the lounge. Two black armchairs furnish the elevated nook.
Located underneath the loft, the kitchen provides a strong contrast with black cabinets, counters, appliances and walls.
Photography is by LGM Studio.
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