Hasta La Ideas

Marble furnishings, lagoon-coloured walls and arched doorways are among the features that Dorothée Meilichzon has incorporated in the interiors of this Venice hotel, which is meant to mirror its surroundings.

Occupying a renaissance-era palace, Hotel Il Palazzo Experimental is located in Venice’s Dorsoduro neighbourhood. Set away from the city’s main tourist hubbub, the area is populated with unpretentious bars, eateries and vintage boutiques.

This is the fifth time that French interior designer Meilichzon has worked with the Experimental hospitality group, having designed a selection of its hotels in Paris and London, as well as its Menorca location.

Like the preceding properties, Meilichzon wanted the interiors of the new Venice hotel to reflect its immediate surroundings.

“We do a lot of research to create a different project each time, one that’s deeply rooted in its environment,” Meilichzon told Dezeen.

The 32 guest suites have therefore been completed in a mixture of warm and cool tones – some surfaces are painted butter-yellow, blush-pink or deep red in a nod to the colour of the homes that line Dorsoduro’s canal ways.

Other walls are a dark, navy hue or mossy green.

“The greens and blues come from the variant colours of the laguna, truly an inspiration as the colour of it evolves so much during the day and depending on the weather, it is quite fascinating,” explained Meilichzon.

Several of the fixtures and furnishings – like the doorframes, headboards and flecked sofas – are arched, mimicking the shape of window frames on traditional Venetian buildings.

Domed niches have also been to accommodate reading nooks or vanity tables, while mirrors above the bathroom sinks have then been set against arched white-marble bases.

“There are also a lot of arch shapes in the city, especially from Andrea Palladio, one of Venezia’s major architects,” added Meilichzon.

These forms continue downstairs in the hotel’s eatery, named Ristorante Adriatica, which cooks dishes with ingredients sourced from Italy’s coastal regions like Puglia, Abruzzo and Veneto.

Interrupted by a series of arched partitions, the dining room plays host to a clashing mix of veiny marble dining tables, striped banquettes and monochromatic checked floors.

Seating cushions have then been upholstered in sumptuous cherry-red velvet.

Guests can also choose to relax up on the rooftop terrace or take a trip on the hotel’s private pontoon.

Milan-based designer Cristina Celestino was charged with developing the aesthetic of the hotel’s bar, Experimental Cocktail Club. Intended to be a love letter to Venice, it has been finished in a typically Italian material palette of marble and antique mirror.

A striped teal and grey carpet offsets the space’s candy-pink walls.

Hotel Il Palazzo Experimental joins the handful of design-focused guest properties that are popping up across Venice, catering to the abundance of tourists that continue to visit the city for its rich arts and culture scene.

The Casa Flora holiday apartment opened in Venice back in 2017, which is dressed with furnishings from over 20 Italian brands.

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You will be working on a wide variety of products including housewares, consumer electronics, industrial, medical and technology. Your responsibilities will include all aspects of the design process, from initial research and concept sketching all the way to follow-ups with manufacturing.

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• 1-5 years of experience in a design-driven environment
• Exceptional sense of aesthetics
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Recycled parachute material wrapped over welded steel frames make up this collection of rocking chairs and screens by Benjamin Hubert‘s design agency Layer and fashion studio Raeburn.

Comprised of three low-set rocking chairs and one screen, the Canopy collection was born from Layer and Raeburn’s combined interest in “recontextualising undervalued materials”.

The two studios looked to Raeburn’s archives to see how the brand had previously repurposed surplus parachutes to create statement fashion pieces. These ideas were then developed to extend to furniture design.

Welded steel frameworks provided a “blank canvas” for the designers, enabling them to make the parachute material the standout element in each product.

“The Canopy Collection uses the strict geometry of the steel frames as a base on which to experiment with innovative and forward-thinking recycled parachute upholstery,” said the creators.

“[It] is tuned into the semantics of a parachute in flight – the lounge chair gently rocks back and forth whilst the re-configurable screen takes inspiration from the section and construction of a wing,” they added.

The designers focused specifically on using surplus ex-military parachutes and aircraft brake parachutes, made from ultra-thin ripstop nylon material, and worked with one of the head seamstress at Raeburn to create the finished products.

While all three of the rocking chairs have the same structure, each piece aims to highlight a different quality of the parachute material, from a “highly-controlled and simple expression” to a “raw, sculptural form”.

Two of the chair designs boast a more tousled look, achieved by draping layers of the parachute material over their framework. One features a mixture of white and peachy tones, while the other is coloured in a palette of blacks and greys.

The other style sees a multi-coloured parachute material tightly wrapped around its metal structure for a taut finish, making it clearer what purpose the material once served.

Each of the textiles were secured with a combination of concealed zips and different textile techniques, including hidden seams and French seams. Extra parachute material has been wrapped around the armrests.

The same technique of tautly stretching the material over its frame was used for the screens, which are divided into three attached sections.

The form of each of the screens was informed by the graphic, colour-block design of the green, orange and white parachute, which features intersecting lines that play with light as it travels through the translucent material.

According to Hubert, one of the biggest challenges was templating from the military parachutes, as they contain existing panels, in addition to being very large in size and circular in form.

Rather than creating “pseudo-panels”, the designers wanted to use the parachute as it was.

“At the core of the Raeburn brand is our Remade in England approach,” said the brand’s creative director Christopher Raeburn.

“The Canopy Collection has resulted in a truly unique opportunity for both brands to test, learn and ultimately achieve a project that’s as unexpected as it is experimental,” he continued.

“Raeburn shares our passion for sustainable and responsible design,” added Hubert. “Together, we have translated the label’s iconic use of upcycled parachute material into an exciting exploration of form and materiality in furniture.”

The collection was launched during London Design Festival last week, which ran from 14 to 22 September 2019, and was displayed in Raeburn’s new central London store.

Layer also released a collection of pendant lamps at this year’s London Design Festival. Created for Danish furniture brand Muuto, the Strand lighting collection is made using a fibrous polymer material, intended to imitate the silkworm’s act of “self-wrapping”.

Layer’s Benjamin Hubert was recently announced as a speaker at the upcoming Dezeen Day conference, which is taking place in London on 30 October.

Hubert will speak about how he grew his business as part of the discussion about entrepreneurialism in architecture and design.

The post Layer and Raeburn create furniture collection from recycled parachutes appeared first on Dezeen.

Slatted screens of stained black wood surround the first-floor extension of an 1830s Georgian cottage in Essex, designed by Studio Bark but built largely by the clients themselves.

The Mill Lane project, which both extended and remodelled the existing building, is the first extension to be built using Studio Bark’s flatpack U-Build system.

Studio Bark developed U-build to make construction “truly affordable and truly self-built“.

“We wanted to prove that the system is adaptable enough to be used for extensions and bespoke projects,” said the studio.

The design was passed through planning, then local building renovation specialist Francis Builders carried out demolition work and prepped for the build.

“Whilst the enabling works were being carried out, the client took delivery of a flat-packed U-Build kit and used their garage as a workshop to build and then store all of the U-Build boxes and other parts,” explained Studio Bark.

Where the new extension meets the existing home, the rough texture of the building has been left exposed to contrast the fresh woodwork.

Studio Bark were commissioned for four weeks on site to ensure the building was watertight, but beyond this the clients carried out the internal finish and external cladding by themselves.

The cladding is made of slatted panels of black-stained wood and wraps around the entire extension.

Mill Lane’s extension is windowless apart from the large window facing the garden and a small window which sits behind the wooden panels, creating a lantern-like effect at night.

The first-floor extension adds a new bedroom, bathroom and yoga space, sitting above a renovated ground floor housing an open plan kitchen and dining room.

With an asymmetric pitched roof, the first floor extension slightly overhangs the house below, and directly abuts the wall of the existing home’s upper level at the front of the site.

The timber structure of the building has been left completely exposed internally, creating light, warm feeling spaces lit by skylights.

Built-in storage under thee low wooden bench that runs around the bedroom provides seating areas alongside large windows overlooking the garden.

Copper specialist Jamie Johnstone assisted with the bathroom fittings of exposed pipework, and structural engineers Structural Workshop also assisted with the design.

As well as self-build, London-based Studio Bark, which was founded by Wilf Meynell in 2014, also has an interest in sustainable and “off-grid” architecture.

The practice recently completed a solar and bio-diesel powered home in Suffolk, as well as a fully biodegradable cork building.

Photography is by Lenny Codd.

The post Studio Bark’s first flat-pack U-build system used for a home extension in Essex appeared first on Dezeen.

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