Studio Rick Joy tops Bayhouse in New England with a massive slate roof

Bayhouse by Studio Rick Joy

American architecture firm Studio Rick Joy has designed a waterfront New England residence with an expansive roof and dramatic wood ceilings inside.

Bayhouse is a three-bedroom home by Studio Rick Joy on the northeast seaboard of the US.

Bayhouse by Studio Rick Joy

Based in Tucson, Arizona, the firm designed the house on a beachfront property with a massive roof,  featuring an irregular pitch and soaring ceilings inside. It is covered with slate roof tiles to reference the vernacular architecture of New England, and topped by two square lightwells.

Bayhouse by Studio Rick Joy

“Atop the house’s stone volume, a slate shingle roof – mathematically designed so as to be utterly without pattern – appears deceptively light as it leans toward the water, almost as if the form were created by a strong gust of wind, its steep profile easily shedding snow and rain,” said the studio.

Bayhouse by Studio Rick Joy

The home is constructed with a solid white granite exterior. When paired with the dramatic roof, it gives a weightiness to the building that contrasts with the precariously sandy, flood-prone site.

The main living spaces including the kitchen and living room are arranged to overlook the water, with sliding glass placed to open onto a patio. Another screened-in porch adds additional outdoor space.

A cedar-lined carport is tucked on the far side of the house, away from the waterfront.

Inside, the high ceilings are lined in Douglas Fir boards. The warmth of this wood is continued with pale wood chairs, cabinets, floors and seating upholstered in creamy hues.

Bayhouse by Studio Rick Joy

“Two massive belvederes, their pyramidal form lined with reflective copper, allow light to wash in sheaths over the spaces for eating, cooking, sitting, and talking, while long rows of door-height windows allow privileged views of the Atlantic,” said Studio Rick Joy.

Bayhouse by Studio Rick Joy

At the middle of the home’s main living space is a large stone fireplace and chimney that stretches to the highest peak of the pitched ceiling. It is covered in the same stone as the building’s exterior, and divides the kitchen and lounge.

Bayhouse by Studio Rick Joy

Three bedrooms are accessed by long corridors at the far end of the home, towards the northeast side of the property. Each features closets and en-suite bathrooms.

The point where these corridors meet is a gallery space for displaying the client’s collection of photographs.

Bayhouse by Studio Rick Joy

Outdoor steps are nestled between two of the bedrooms and lead down to the waterfront. An exercise room, bathroom, storage areas and a foyer complete the property.

Bayhouse by Studio Rick Joy

Bayhouse is in New England, a northeast region of the US that gets its name from when English Puritans and colonists first settled the area, in the 1600s. The area comprises six states: Massachusetts, Maine, New Hampshire, Rhode Island, Connecticut and Vermont.

Examples of more traditional homes in the area include a renovated house by Maryann Thompson and a split-residence by Leroy Street Studio.

Bayhouse by Studio Rick Joy

In addition to Bayhouse, other projects by Studio Rick Joy, formerly Rick Joy Architects, are a low-slung house in the Carribean and a Princeton train station, both of which feature angular rooflines.

Photography is by Jeff Goldberg of Esto.

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Winners of the 2019 Food Photographer of the Year Awards

Depuis 2011, les Food Photographer of the Year Awards célèbrent les meilleures images liées à l’alimentation réalisées par des photographes professionnels et non professionnels du monde entier. Au-delà de la somptueuse photographie culinaire, les catégories explorent de manière créative le rôle culturel et social de la nourriture dans la société. La photo primée cette année a été attribuée au photographe chinois Jianhui Liao, dont la photo d’un village mangeant des nouilles dans la province chinoise de Shexian a battu les 9 000 autres projets présélectionnés. Parrainé par la marque de pommes, Pink Lady, les images gagnantes seront exposées lors d’une exposition publique de cinq jours au Mall Galleries, à Londres. Plus de lauréats ci-dessous.

1st Place, Bring Home the Harvest © Kazi Mushfiq, Bangladesh

1st Place, Champagne Taittinger Wedding Food Photographer © Tiree Dawson, United Kingdom

1st Place, Errazuriz Wine Photographer of the Year – People © Mick Rock, United Kingdom

1st Place, Food Bloggers © Aimee Twigger, United Kingdom

1st Place, Food for Celebration © Jianhui Liao, China

1st Place, Food for Sale © Elise Humphrey, United Kingdom

1st Place, Food for the Family © Sanghamitra Sarkar, India

1st Place, Food in the Field © Andrew Newey, United Kingdom

1st Place, Food Stylist Award © Kim Morphew, United Kingdom

1st Place, Fujifilm Award for Innovation © Michael Hedge, United Kingdom

1st Place, InterContinental Food at the Table © Giles Christopher, United Kingdom

1st Place, Marks & Spencer Food Portraiture © Nick Millward, United Kingdom

1st Place, On the Phone © Matt Wilson, Chile

1st Place, Street Food © Debdatta Chakraborty, India

Pelle's Incise Paintings feature glass bulbs peeking out of slits of painted canvas

Incise Paintings by Pelle

New York City design studio Pelle has created lights that pop through incisions in painted canvas surfaces.

Called Incise Paintings, the collection comprises a series of lights that poke through boldly coloured and framed canvases.

Incise Paintings by Pelle

Pelle drew influence from the works of Lucio Fontana, an early 20th-century Argentine-Italian painter and sculptor, for the series.

“We just wanted to make this particularly beautiful object – a painted canvas floating inside a wood frame – much like the way a mid-20th century masterwork painting is presented to us in museums and galleries,” Pelle co-founder Jeanne Pelle told Dezeen.

Incise Paintings by Pelle

Incisions are cut along the painting in specific shapes to hold the bulbs, while maintaining the rigidity of the canvas.

The dark voids created by the slits are intended to give an “illusion of depth”. “If you look closely, you only see black and nothing much else,” said Pelle.

The canvases are encased by deep oak frames that hide the electrical components behind. The lights are operable by twisting a dimmable knob on the frame’s underside.

Pelle, which Jeanne runs with her husband Oliver, conceived the idea for the Incise Painting series when they were trying to hide an elevator shaft window in their Manhattan showroom.

Incise Paintings by Pelle

They first chose to create a framed painting the same colour of the room’s walls, and then had the idea to incorporate lighting.

“It was really meant to be quite analog, straightforward and simple,” said Pelle.

“Once we created it, we saw other possibilities and wanted to cut through the painting to insert points of light,” she continued.

Incise Paintings by Pelle

The paintings are handmade to order, and comprise three different sizes on canvas. These include 20 by 20 centimetres, which holds one bulb, 30 by 91 centimetres, which include two, and 122 by 122 centimetrws, which features three bulbs.

Each canvas painted in one of four colours: ivory, terracotta, pale blue, and blue-violet.

Incise Paintings by Pelle

The Pelles, who were trained as architects, founded their design studio in Brooklyn in 2011. The duo moved their studio and showroom to Manhattan’s Flatiron District in 2016.

Pelle, which launched the Incise Paintings at this year’s New York Design Week, has also produced modular stick-style lighting and triangular sconces that diffuse light in different directions.

Photography by Daniel Seung Lee.

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Through the Lens of Photographer Thibaud Poirier

Après avoir découvert les photographies du français Thibaud Poirier, il nous est difficile de ne plus porter une vive attention aux architectures (qu’elles soient saisissantes, archaïques ou futuristiques) des églises, des vieux bâtiments ou encore des bibliothèques qu’il choisit de mettre en lumière. Véritable artiste documentaliste, nous avons discuté avec lui de sa vision, ses influences, ses narrations visuelles et ses sources de réjouissance.

Bonjour Thibaud ! Parle-nous un peu de ton parcours…

Je suis photographe d’architecture, j’ai 31 ans et j’habite à Paris. J’ai commencé la photo en 2013 comme un moyen de découvrir ma ville, Paris, et de documenter les rues, l’architecture et la vie des différents quartiers.

J’ai eu la chance de beaucoup voyager étant enfant et de vivre aux quatre coins du globe dans plusieurs villes de tous les continents. Mon père travaillait pour un grand groupe du CAC40, alors mon enfance et mon adolescence ont été rythmées par de nombreux déménagements: Houston, Montréal, Buenos Aires ou encore Tokyo et m’ont donné un gout pour l’architecture et les milieux urbains. Je pense que c’est mon séjour à Tokyo, de mes 12 à mes 17 ans, m’a le plus marqué. Mon contact avec l’architecture de Tadao Ando et Rafael Vinoly s’est développé en véritable passion qui est aujourd’hui le thème principal de ma photographie, mais également mon activité principale.

En parallèle de ma carrière de photographe, j’ai fait des études d’ingénieur et je suis aujourd’hui également consultant en aménagement et architecture d’intérieur, ce qui me permet de côtoyer au quotidien des architectes, des artisans ou des dirigeants d’entreprise. Cette double casquette me permet d’avoir une vision plus globale de l’architecture alliant la fonctionnalité, la compréhension des volumes et l’esthétique des intérieurs.

À mon retour à Paris, qui est ma ville de naissance et mon point d’attache, je me suis rendu compte que je ne la connaissais pas si bien que ça et que j’avais envie de la découvrir. Cette exploration urbaine je l’ai faite avec le seul outil photo que j’avais à l’époque, mon iPhone. À ce moment, on était encore aux débuts d’instagram et j’avais été impressionné par certains photographes amateurs qui faisaient des photos magnifiques avec le même outil que moi et quelques applications mobiles de retouche.

À partir de ce moment-là, il y a eu un déclic, et mon objectif n’était plus de simplement documenter la ville, mais d’écrire une histoire, mon histoire d’exploration, avec une nouvelle perspective.

En effet, on découvre au sein de ton travail des paysages urbains fascinants ainsi que des architectures captées avec justesse et textures. Tu aimes documenter l’évolution et l’énergie des endroits. Comment définirais-tu ton travail?

Ma passion pour l’exploration urbaine m’a rapidement poussé à voyager plus souvent pour la photographie et à m’intéresser à de grandes mégalopoles (Dubaï, Tokyo, Hong Kong, Shanghai). La modernité, l’énergie et les dimensions de ces villes m’ont rappelé mon adolescence vécue au Japon et m’ont tout de suite fasciné. L’architecture moderne omniprésente, très tranchée par rapport au classicisme de Paris, m’a libéré et a donné naissance à de nombreuses séries urbaines avec une dominante sur les photos de nuits.

Pourquoi ce désir d’immortaliser des édifices patrimoniaux comme des églises, des bibliothèques ou de vieux théâtres?

Ma sensibilité pour l’esthétique et la fonctionnalité des intérieurs m’a poussé à vouloir sublimer leur rôle dans la vie humaine, parfois temples de savoir ou lieux sacrés, avec des séries photographiques sur les plus belles bibliothèques et églises du monde.

J’ai choisi les bibliothèques et les églises parce que je voulais regarder à travers l’histoire et montrer comment un espace avec une fonction similaire pouvait être interprété de manière aussi différente géographiquement et à travers les siècles.

Je souhaitais également souligner qu’en cette période de connaissances et d’informations digitales, facilement et constamment disponibles, les bibliothèques ont encore beaucoup à offrir et sont plus pertinentes que jamais. Les bibliothèques sont des lieux qui ont traversé des générations, et pour certaines des siècles. Ce sont des lieux construits dans un but bien précis, pour étudier et transmettre le savoir, et sont mondialement réputées pour leurs collections de livres.

Dans mes photos, j’ai opté pour un point de vue central, qui permet de mettre en valeur la symétrie et la perspective de ces lieux donnant au spectateur une chance d’apprécier pleinement l’espace en créant un sentiment d’immersion dans la photo. C’est également une façon pour de moi de rendre hommage à certains de mes photographes préférés comme Candida Hofer et Hiroshi Sugimoto. Mon approche est par contre plus moderne, j’utilise la photographie digitale et je privilégie une retouche plus colorée et contrastée que mes idoles.

Dans la continuité de mes prédécesseurs, j’ai également souhaité photographier ces lieux vides de toute présence humaine afin de brosser des portraits surréalistes et intemporels de ces monuments. C’est également un moyen pour moi d’avoir un moment privilégié avec l’espace qui est mis à ma disposition, d’en profiter pleinement même si ce n’est que pour quelques instants.

Qu’est-ce qui t’inspire à créer?

Je suis particulièrement influencé par des photographes des années 80-90-2000 et par le cinéma en général. Le monde dans lequel nous vivons change sans cesse et j’apprécie beaucoup les anciennes photos et cartes postales. L’architecture, les devantures, les panneaux, tout a changé! J’ai cette volonté de vouloir documenter ces lieux pour le futur. Il y a un côté légèrement nostalgique qui en ressort.

Je souhaite également pouvoir partager ma vision de l’architecture et de ces villes que je trouve si belles.

Quels sont tes projets à venir?

J’aime toujours avoir un projet en cours. Les prochains porteront sur les théâtres et les lieux de musique. Je souhaite également voyager davantage en Europe pour continuer mes séries de nuit!

Suivez le travail de Thibaud Poirier sur Instagram.

Nomo Studio clads Stone House in Menorca with limestone dug from its site

Stone House by Nomo Studio

A patchwork of roughly hewn local stone and smooth plaster forms the facades of this house, designed by architects Nomo Studio to overlook the sea in Menorca.

The Barcelona-based architects used limestone that was excavated from the foundations of Stone House for its facade.

Stone House by Nomo Studio

“In Stone House the strong concept lies in the facade composition and the materiality,” partner at Nomo Studio Karl Johan Nyqvist told Dezeen.

Nomo Studio used the hyper-local stone to symbolise the symbiosis of architecture and landscape surrounding the house, which is built on a sloping scrubland hill.

Stone House by Nomo Studio

The studio wanted the residence to reference traditional Menorcan architecture but avoid “falling into pure replica”. “We avoided modern common treatments that imitate oldness,” Nyqvist added.

Stone House by Nomo Studio

The blending of local architectural customs and materials with modern architectural forms and construction methods also helped reconcile conflicting briefs from their clients.

“The couple had very different views when it came to aesthetics,” said Nyqvist. “One was sending references of very contemporary houses, the other of local, old constructions.”

Stone House by Nomo Studio

At the north-facing front of Stone House is a 100-square-metre porch.

It features an opening glazed facade, which means it can be used as shaded area open to the elements in summer, or enclosed to form a winter garden in cooler seasons.

Stone House by Nomo Studio

The porch leads through a central, double-height reception area that acts as the heart of the home. Glazing runs along the upper-level to turn it into a “light-shaft” with the circulation wrapped around it.

Bedrooms, living spaces, a kitchen and garage are also arranged around this central space.

Stone House by Nomo Studio

Wooden-shuttered windows, housed both in deep reveals and projecting frames, animate the home’s elevations and bring natural light into the rooms.

Stone House by Nomo Studio

“Details such as a solid hovering stair with integrated handrail-lighting create an interesting dialogue between traditional and contemporary architecture,” said the architecture studio.

The interior continues the earthy palette of the exterior, with sand-coloured concrete pavements, whitewashed wooden beams and pine carpentry.

Masonry niches and kitchen counters continue the theme of the stonework.

Stone House by Nomo Studio

Nomo Studio, which Nyqvist founded with Alicia Casals, has completed several private homes in Menorca.

The recently completed Villa Catwalk is an assemblage of plaster-clad cubes arranged around a large central living area and terrace, and Frame House, which looks out to the sea with a sections of glazing in a large, concrete grid.

Photography is by Joan Guillamat.

Project credits:

Architect: Nomo Studio
Building engineers: Mus&Segui
Cristina Gil de Biedma and Bárbara Saavedra
Alicia Casals
Project leader:
Alicia Casals
Karl Johan Nyqvist, Mira Botseva, Jennifer Méndez

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Savvas Laz transforms styrofoam packaging into Trashformers chair

Savvas Laz Trashformers styrofoam chair

Greek designer Savvas Laz used pieces of styrofoam packaging discarded in dumpsters to create this sculptural chair that aims to raise awareness of packaging waste.

The Athens-based designer developed the Trashformers project in response to the amount of waste packaging that is generated in his home city.

Savvas Laz Trashformers styrofoam chair

“There are no proper recycling facilities here in Greece,” Laz told Dezeen, “so I thought about collecting this trash and turning it into functional objects that give it another value.”

Laz wanted to highlight the issues caused by packing items made from a disposable material that has no value after its initial use and is therefore typically discarded by the customer.

Savvas Laz Trashformers styrofoam chair

The designer collected examples of the moulded styrofoam blocks that are often used in combination with cardboard boxes to protect products and electronic goods such as televisions, fridges and washing machines.

By combining the styrofoam pieces in different compositions, Laz was able to convert the material gathered from the streets into unique objects including Trashformers chair.

Savvas Laz Trashformers styrofoam chair

The scavenged pieces of packaging are used as they are found, without any cuts or interventions. Laz designed the chair around the characteristics of the material, using it like Lego blocks to create an appropriate form.

The styrofoam is fixed together using polyurethane foam, before a layer of water-based resin mixed with powder, pigment and fibreglass is added to give the chair sufficient structural strength.

Savvas Laz Trashformers styrofoam chair

According to the designer, who is currently developing a collection of chairs, tables, lamps and objects using the same process, the main objective of the Trashformers project is to draw attention to the wastefulness of packaging.

“My project is not aiming to solve this environmental issue but it’s trying to make us think a little bit,” Laz added.

“The design industry is all about creating new materials, but for me it should also be about thinking about what happens to the materials that we trash, the leftovers.”

Laz, who graduated from the Master of Advanced Studies (MAS) in Design for Luxury & Craftsmanship at Switzerland’s ÉCAL art school in 2017, previously created a collection of furniture that references bondage products and fetish wear.

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Visit apartments in London, Barcelona and New York this week via our new Pinterest boards

We’re showcasing the best apartments in London, New York and Barcelona on our Pinterest account this week, including a flat inside the old BBC Television Centre. Follow Dezeen on Pinterest ›

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Artesk van Royen Architecten designs extension for 17th-century Dutch house

Artesk van Royen Architecten has extended a more than 300-year-old house in the historic centre of Maastricht, the Netherlands, adding a contemporary glass structure.

The studio has refurbished and expanded the house. It also had to factor in the side elevation of the extended house that is currently hidden by a neighbouring building slated for demolition.

“The biggest challenge was to deal with the future plans of the community to make a new throughway near the existing garden of the house,” Teske van Royen from Artesk van Royen Architecten told Dezeen.

“The plans for this throughway are still not fixed, but we decided to anticipate for it.”

“When the neighbouring building is demolished, you will see the lights in the upper windows, and a repaired side facade from the main house,” the architect continued.

The house is the last remaining building of a former monastery built in the 17th century, that was converted into a private residence at a previous date.

At the start of the current renovation it consisted of two parts: the main two-storey volume, visible from the street, and a tower containing a staircase at the back.

The L-shaped extension was built in the backyard, between the tower and a neighbouring building.

“We did not try to reference the history in a specific way, because the history is overwhelmingly present at the location. We wanted to make a sober, contemporary extension, which doesn’t compete with the historical architecture,” said van Royen.

“The new element of the architecture has to be silent, so we used only two materials, steel for the windows and zinc for the facade.”

The extension measures just 33 square-metres, and consists of a single open-plan living area.

“Of course it could be bigger, but we made a precise balance between the size of the extension and the size of the remaining courtyard garden,” explained van Royen.

“The new part also has to relate well to the stair tower.”

It is constructed using a light steel frame and partially clad in unworked zinc plates that will alter over time to give a natural patina.

The studio has also removed the toilet from the main house and instead placed it in a zinc-clad extension, in line with the original layout that would have had an outdoor toilet.

“In the 17th century toilets were always in a little house outside the main house,” van Royen explained.

The studio installed a new street-facing kitchen in the existing building, that directly connects to the extension.

Internally, floors have been finished with terrazzo, with walls left white. Bi-folding doors were added to create what the studio describes as a “garden room”.

“The house will be there for sure in another 100 years, with our extension,” the architect claimed.

“We have made it possible to have a comfortable inner-city life even in a touristy city like Maastricht. We also made it possible to have all the facilities on the ground floor, for a time when the inhabitants will not be able to climb the stairs.”

Other Dutch houses on Dezeen include the Tiny Holiday Home within a nature reserve near Amsterdam by i29 Interior Architects and Chris Collaris, and a charred timber and glass villa near Hague by VVKH Architecten.

Photography is by Anja Schlamann.

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Through the Lense of Drew Dogget

Photographe primé, Drew Doggett est un conteur. Regarder son travail stimule l’imagination et offre à son public un regard artistique sur ses sujets. Ici, l’artiste évoque sa nouvelle série (imprimée en édition limitée) intitulée Swell: Endless Blue ainsi que le court métrage, The Escape, sur la surfeuse professionnelle Alana Blanchard. Une introduction au monde du surf avec toutes ses notions de liberté, de nature, de joie et, bien sûr, de la beauté du sport lui-même.

Comment avez-vous commencé la photographie?

J’ai commencé mes activités professionnelles dans la photographie de mode parmi des légendes comme Mark Seliger et Steven Klein. Les assister était un cours de maître en photographie et sur les détails techniques et changements minutieux qui transforment une bonne image en une excellente. Pour mon travail actuel, j’utilise les valeurs esthétiques issues du temps passé dans l’industrie de la mode, en les appliquant à mes sujets capturés en dehors des limites du studio.

Qu’est-ce qui vous a attiré dans le monde du surf?

Je suis toujours à la recherche de dessins dans la nature, et photographier les vagues par le dessus était une étude de forme et de composition. Les surfeurs sont intimement liés au sein de ce motif et, d’un point de vue aérien, les macro-formes créent les compositions organisées de manière esthétique que j’ai cherché à créer pour cette série.

Où avez-vous trouvé l’inspiration pour votre travail?

Mes plus beaux souvenirs de jeunesse ont pour toile de fond l’océan, et j’ai retrouvé le même sentiment d’excitation et de joie sans pareil chez les surfeurs de tous les âges. En 2014, j’ai créé une série sur les tristement célèbres voiliers de course de classe J et de 12 mètres, et je savais qu’à un moment donné, je continuerais à documenter le grand large et notre histoire d’amour partagée avec l’océan. Le surf – surtout du point de vue aérien – m’a permis d’utiliser design et envergure pour créer une histoire sur l’interaction avec l’eau. J’ai également pu utiliser le design et l’attention portée aux détails, que j’ai perfectionnées dans la photographie de mode. Je suis inspiré par les modèles innés de notre monde naturel, entre autres, et l’océan offre d’innombrables opportunités pour la découverte de formes et de compositions.

Le film d’accompagnement, The Escape, met en vedette la surfeuse professionnelle Alana Blanchard. Alana est un modèle à suivre et son surf parle de lui-même. Cela ressemble à l’extension parfaite des images fixes à un film qui étend la joie et le bonheur du temps passé sur l’eau.

Où ont été prises les photos?

Les images de Swell: Endless Blue ont été prises sur la côte nord d’Oahu parmi les breaks les plus célèbres au monde.

Comment avez-vous choisi ces lieux?

Le choix de ces endroits a été basé sur différents critères esthétiques, mais aussi en fonction des histoires intégrées dans ces différents lieux. Oahu est vénéré dans le monde entier comme un paradis pour les surfeurs. Ses plages de sable blanc immaculées et ses eaux bleues clair ont créé la palette minimale idéale. 

Comment vous est venue l’idée de faire ce court métrage avec Alana Blanchard? Où l’avez-vous filmé ?

Lorsque nous avions commencé le processus de recherche sur la série, six mois avant le tournage, nous avions envisagé de créer un film décrivant le frisson et la jouissance du temps passé au bord de l’eau. En recherchant des sujets possibles, Alana a rapidement figuré en tête de notre liste en raison de son profond dévouement pour le surf et parce qu’elle a grandi à Kauai. Bien qu’elle soit une professionnelle et sponsorisée par certaines des plus grandes marques du monde, elle s’était autrefois arrêtée pour retrouver son amour du sport. Nous avons trouvé respectable cette décision de replacer son amour du surf pour elle-même avant tout. Ce film parle donc autant du sport que de la joie intemporelle et dévorante qui envahit Alana lorsqu’elle sort de l’eau. Nous avons tourné sur son île natale, Kauai, parmi certains de ses spots de surf préférés.

Souhaitez-vous transmettre un message au travers de cette série et de ce film ?

Ce film traite de cette activité ou de cet endroit, quel qu’il soit, qui vous permet d’être libre et d’être réellement et profondément dans le moment présent. Pour Alana, le sentiment d’évasion arrive en allant surfer mais pour d’autres, cela pourrait être une sortie à l’extérieur ou encore passer du temps avec ceux qu’on aime. Quand je crée mon travail, je pense toujours à offrir au public une expérience qui transporte dans un endroit idyllique, un sentiment mémorable ou un moment de bonheur et d’apaisement. Le film – et la série Swell- ne sont pas différents. 

Pour voir plus de son travail, visitez son Instragram


Juana Bautista Hotel brings "avant-garde touches" to colonial mansion outside Guadalajara

Juana Bautista Boutique Hotel in Tlaquepaque, Mexico

Creative firm Grupo Mitote has overhauled a 16-century colonial mansion near Guadalajara, Mexico to create the Juana Bautista Hotel.

Juana Bautista Boutique Hotel in Tlaquepaque, Mexico

The historic estate, located in the artistic enclave of Tlaquepaque, is treasured for being the site in which General Celestino Negrete signed his support for the Plan of Iguala, a milestone in Mexico’s independence from Spain in 1821.

Juana Bautista Boutique Hotel in Tlaquepaque, Mexico

Grupo Mitote partners Antonio Orozco and Mónica Escoto restored many of building’s existing features, such as stone staircases, wooden ceilings, geometric-mosaic floors and original doors.

Orozco and Escoto then leveraged Mexican talent for 90 per cent of the design and manufacturing of the furniture and decor on the property.

Juana Bautista Boutique Hotel in Tlaquepaque, Mexico

The interiors are characterised by traditional usage of wool and cotton textiles, as well as locally-produced ceramic works, blown-glass lamps, and wood-carved handicrafts.

Juana Bautista Boutique Hotel in Tlaquepaque, Mexico

Colour is a key feature of the decor, with common areas predominantly monochromatic. The seven guest suites – ranging from 41 to 95 square metres – feature color palettes that “evoke rest and invite relaxation” with hues of grey, blue, purple, red and green.

Juana Bautista Boutique Hotel in Tlaquepaque, Mexico

“The subtle balance between avant-garde touches and historical architecture distinguish the essence under which Juana Bautista was conceived,” the team told Dezeen.

“Each [suite] is unique and genuinely different,” it added. “Their names come from titles of famous traditional Mexican songs, such as Amor Eterno, Las Mañanitas, Cielito Lindo, El Rey, Nube Viajera, Hermoso Cariño, and Motivos.”

Tiled floors serve as a canvas for ornate black-and-white motifs painted by Mexican artists from Tonalá, a region famous for its craftwork, about 10 kilometres from Tlaquepaque.

Juana Bautista Boutique Hotel in Tlaquepaque, Mexico

Metallic structures in the suites are used to partition the bathrooms with wrought iron and textured glass.

“By prioritising the spaces in each corner, seeking a balance between refined design and functionality, the French-inspired bathrooms retain the proportion in colours, shapes, and textures to achieve an eclectic, yet balanced aesthetic,” said the partners.

Juana Bautista Boutique Hotel in Tlaquepaque, Mexico

The team also restored the building’s rooftop terrace and colonial-style courtyard, which is surrounded by grey stone columns, and home to a 200-year-old rubber fig tree and a Parisian fountain imported in 1850.

Juana Bautista Boutique Hotel in Tlaquepaque, Mexico

The renovated rooftop terrace, meanwhile, boasts a bar with cerulean furniture and an outdoor swimming pool with vistas of Tlaquepaque’s famous cathedral domes.

Juana Bautista Hotel joins a number of boutique hotels in Mexico. Others include Pablo Escobar’s converted residence in Tulum and an all-white resort in Baja.

Photography courtesy of Juana Bautista.

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