The expansion of Dexamenes Seaside Hotel extends K-Studio’s transformation of a former wine factory into a coastal retreat in Greece.

When the hotel first opened in 2019 in the western Peloponnese (see designboom’s coverage here), its identity was shaped by the adaptive reuse of concrete fermentation tanks set directly along the Ionian shore. The cylindrical structures, once vessels for wine production, were converted into Beachfront Wine Tank Suites. With the latest phase, K-Studio builds upward to introduce eight Seaview Terrace Suites above the existing tanks as a linear addition that maintains the site’s rhythm.

The new level appears as a lightweight frame hovering above the heavy concrete structure below. The intervention reads as a light timber volume set back from the tank edges, A continuous walkway traces the length of the structure and offers views across the property’s internal courtyards and out toward the horizon.

images © Brechenmacher & Bauman

Elevated terraces for views of coastal greece

Each of Dexamenes Seaside Hotel’s new suites is oriented toward the sea, as Greece-based firm K-Studio defines a wall of folding, floor-to-ceiling glazing that opens the interior fully to a large veranda. The transition from bedroom to terrace is direct and deliberate, with sliding panels dissolving the boundary between conditioned space and open air.

A wooden pergola canopy extends over each terrace, its slender supports pulled back so that the roof plane appears to float above the outdoor platform. At the far edge, a narrow water channel runs parallel to the facade, framing the view outward and introducing a subtle reflective surface between architecture and landscape. From the bed, the composition compresses to sky and sea, a horizontal band of blue that becomes the suite’s primary visual field.

Material choices continue the language established in earlier phases of the hotel. Exposed concrete, pale timber, textured glass, and restrained built-in furnishings define interiors that feel precise and composed. Bathrooms are separated by translucent partitions that filter light while preserving spatial continuity. Open wardrobes and integrated desks maintain a pared-back layout aligned with the original conversion.

eight new Seaview Terrace Suites rise above the original concrete wine tanks

extending Dexamenes Seaside Hotel’s linear array

Dexamenes Seaside Hotel’s expansion reflects the long-term vision of entrepreneur Nikos Karaflos, who first enlisted K-Studio to reinterpret the abandoned winery in Greece as a hotel grounded in its industrial heritage. Earlier phases restored fermentation tanks as guest rooms and reactivated former service areas as shared amenities, establishing a framework where existing fabric guides each design move.

With the Seaview Terrace Suites, that framework evolves without altering the core logic of the site. The addition respects the structural grid of the tanks and introduces a second level that’s elevated for views over the site.

From the exterior, the new level reads as a calm horizontal band above the cylindrical volumes. Timber screens, sliding shutters, and recessed glazing modulate light and privacy while continuing the rhythm of the openings. The composition sits comfortably within the rural context of the Peloponnese coast, where low agricultural buildings and open fields shape the horizon.

K-Studio extends Dexamenes Seaside Hotel with a restrained linear addition

the expansion builds lightly atop the industrial fermentation structures

floor-to-ceiling glazing opens each suite directly to the Ionian Sea

interiors continue the material palette of exposed concrete and pale wood

timber pergolas shade generous terraces facing the horizon

the 1920s-era silo tank opens as dex.Silo.01, a space for curated fine dining

project info:

name: Dexamenes Seaside Hotel | @dexamenes

architect: K-Studio | @k_studio_gr

location: Kourouta Beach, Amaliada, Greece

photography: © Brechenmacher & Bauman | @brechenmacher_baumann

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Herzog & de Meuron takes to the UAE to design Janu Dubai, a mixed-use development bridging hotel, residences and workspaces. The single vertical address is set to be developed by H&H in partnership with Aman Group, and will introduce the Janu brand to Dubai through a pixelated tower recognized by curving columns.

Sited at Al Mustaqbal Street and 17th Street, the building will occupy a major spot within the financial district’s dense grid of offices, galleries, and restaurants. Its 1.3 million square foot footprint will accommodate a 150 room hotel, 57 branded residences, a private members’ club, offices, and retail.

images courtesy of Herzog & de Meuron

tactile architecture to contrast a glassy skyline

Herzog & de Meuron design the Janu Dubai tower with a compact, sculpted massing that reads as mineral and weighty against Dubai’s glassy skyline. Shadow and texture is favored over reflective glass, as terraces and planted edges carve depth into the facade.

Together with H&H in partnership with Aman Group, the architects shape the building through recesses and projecting volumes that frame outdoor rooms in the sky. Balconies and gardens step along the elevation, allowing planting to soften the perimeter and infusing interiors with greenery.

The fifty-seven residences occupy the most panoramic levels, organized with a range of layouts that extend from two bedroom homes to a triplex penthouse of over 11,000 square feet. Interiors are defined by high ceilings that reach up to 3.5 meters, broad windows, and a restrained palette of hand finished plaster, natural timber floors, and monolithic stone kitchens and baths.

the pixelated facade is defined by curving vertical columns

mixed-use programming by herzog & de meuron

Residential access is set back and hidden among a landscaped drop-off which guides residents away from the street. The entry lobby rises to eighteen meters to create a tall, shaded volume that slows the pace of arrival. Concierge services, private car lifts, and dedicated high speed elevators shape a smooth sequence from street to home.

Higher in the tower, a full floor of amenities forms a communal retreat. An infinity pool faces the skyline, while lounges, dining rooms, terraces, and a fitness center encourage lingering. Access to the Janu Spa and Club extends the wellness program into the hospitality component, linking residents to the larger ecosystem of the hotel.

For Aman Group, the project marks an expansion of the Janu concept into an urban Middle Eastern context, while for Herzog & Meuron, it will be the firm’s first built work in the United Arab Emirates.

the columns carve depth into the elevation

layering pools, terraces, and planted roofs above Dubai’s financial district

a shaded retail courtyard introduces greenery at the base of the tower

a landscaped residential entry leads to an eighteen meter-high lobby

a private terrace opens toward Burj Khalifa and downtown Dubai

an infinity pool overlooks dubai’s skyline

fifty-seven branded homes occupy the most panoramic levels of the tower

a full amenity floor offers an infinity pool, lounges, fitness spaces, and skyline views

Herzog and Meuron shape Janu Dubai with a sculpted mineral massing and planted terraces

project info:

name: Janu Dubai

architect: Herzog & de Meuron | @herzogdemeuron

location: Dubai, UAE
developer: H&H Development, Aman Group | @aman

visualizations: courtesy Herzog & de Meuron

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zU-studio led the reconstruction of the ground floor and first-floor common areas of Lasala Plaza Hotel in San Sebastián, Spain, as part of a broader repositioning of the property. The intervention redefines the shared spaces through a contemporary architectural language while acknowledging the character of the historic building.

The hotel’s entire ground floor has been reorganized as a lounge-bar environment designed to function throughout the day, accommodating activities from morning use to evening gatherings. The layout emphasizes openness and flexibility, allowing the space to adapt to different configurations and levels of occupancy.

Material selection plays a central role in shaping the atmosphere. Dark wood and light beige tones establish a restrained palette that supports spatial continuity across the ground floor. This neutral framework allows key architectural and sculptural elements, including the bar, reception desk, alabaster wall surfaces, and a suspended installation of thirteen oars, to define focal points within the interior.

main entrance to the hotel | all images by Pedro Pegenaute

clear lines and restrained material palette define the renovation

Visual reduction was a primary objective of the renovation, developed by zU-studio architecture practice. The design minimizes ornamental distraction in favor of clear lines and controlled material transitions. The sculptural installation of thirteen wooden and copper oars welcomes guests upon arrival. Abstracted in form, the twisted elements reference the motion of rowing and the reflective qualities of the sea, establishing a conceptual link to the city’s maritime identity.

The refurbishment integrates contemporary spatial organization with the existing historic structure. The building’s dual orientation, toward the old town on one side and the harbor on the other, is reinforced through clear axial alignments that enhance both physical circulation and visual connectivity.

Through spatial clarity, material restraint, and the integration of site-specific references, the project redefines the hotel’s common areas while maintaining continuity with its urban and historical context.

hotel lobby

hotel lobby

bar in brass and wooden shelves

lounge area

lounge area

wooden space with three round windows

lounge area with view to the harbour of San Sebastian

sculpture designed by Javier Zubiria, built by carpenter Aitor Muñoz

sculpture designed by Javier Zubiria, built by carpenter Aitor Muñoz

sculpture designed by Javier Zubiria, built by carpenter Aitor Muñoz

sculpture designed by Javier Zubiria, built by carpenter Aitor Muñoz

project info:

name: Lasala Plaza Hotel in San Sebastian

architect: zU-studio | @zustudioarchitecture

design team: Javier Zubiria, Joaquin Zubiria

technical architect: Aitor Alcelay

mechanical engineering: IDZ Ingenieria

constructor: Irureta

carpenter: Alai Carpinteria, Aitor Muñoz

steel work: Ibarkalde, Jorge Ibarkalde

client: Lasala Plaza Hotel / SADE

location: San Sebastian, Spain

photographer: Pedro Pegenaute | @pedropegenaute

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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The Hylla Cloud Nature Experience Center, also known as the ‘Red House’, is a nature experience center designed by gad. It sits on a gentle slope in Yanjiao Village, Baisha Town, Lijiang, Yunnan Province, China. The hospitality project forms part of Hylla Land and offers a place for rest, gathering, and immersion in nature. The building draws inspiration from Kaare Klint’s 1933 safari chair, which adapts to uneven ground and supports the body with ease. In the same way, the architecture adjusts to the terrain and encourages relaxed use. Snow-covered mountains rise on one side, while the village and farmland extend on the other. Three sides of the site sit within a dense canopy that extends from Mount Zhishan. Lawns, water pools, and trees shape the foreground, while a natural canal runs behind the building and separates it from the main hotel across the water. Because of this setting, the architect chose to reinterpret the idea of ‘local’ architecture. Instead of repeating familiar forms, the design allows a relaxed structure to grow directly from the land.

the building is unified by a free-form roof that floats above the site | image by Yang Guangkun

Hylla Center embodies spirit of free-form architecture

Yunnan carries a strong sense of calm, and its traditional buildings reflect this feeling. Local craftsmen once built without strict drawings or fixed rules. They worked with instinct and imagination and placed stones into walls freely, leaving edges unfinished. This approach valued chance and comfort over perfection. Because of this, the studio decided to design with the same relaxed attitude. Lijiang’s weather remains sunny for most of the year. Clouds create moving shade across the land. Therefore, the cloud became a symbol of freedom and ease. This idea shaped the entire project.

The roof floats above the site like a drifting cloud, defining the building’s shape when seen from above. At the same time, its shadow creates the main living space below. Inspired by Kaare Klint’s 1933 safari chair structure, the building’s supporting system adapts to the site’s undulating terrain. Each structural span varies in length, responding directly to changes in elevation. The result is a tent-like form that appears to rest lightly on the grass. This form also supports the client’s vision. The site already feels like a natural campsite, with grassland, water, and forest surrounding it. The tent-like architecture strengthens this outdoor character.

in front of the building, lawns, pools of water, and trees are arranged in a layered sequence | image by Yang Guangkun

local Chinese materials shape look of ‘controlled carelessness’ 

The project uses materials that come directly from the region. Floors and walls use the same local stone from Guifeng Village. The design leaves the stone exposed both inside and outside. This decision allows its color and texture to define the space. The stone has a distinctive pink tone that contrasts with the surrounding landscape. Because of this, workers began calling the building the ‘Red House’. The design team reused old wood found on site to build the roof. They left the edges uneven and kept visible marks of manual work. This choice reflects the region’s tradition of building with carelessness and freedom. However, this relaxed appearance required careful work. Masons shaped each stone by hand to preserve its natural surface. The architects compare the process to cooking. They used local ingredients to create something new.

The Red House does not dictate how people should use it. gad believe that architecture should offer possibilities rather than rules. Therefore, the boundary between building and nature remains soft. Visitors choose how they want to move, rest, or observe the surroundings. At the same time, the design respects visitors who come from elsewhere. For many of them, the snow-capped mountains create a strong sense of difference. The building frames these views carefully. It also offers multiple angles and positions for photography and quiet observation.

each stone was individually chiseled by hand to preserve its natural surface | image by Lei Tantan

user-first approach defines Cloud center’s interior layout

Inside, the Cloud Nature Experience Center is loosely divided only where necessary, separating rest and activity areas, bathing spaces, and storage. The main lounge is fully open and adaptable: it can become a café, bar, retail space, or gathering venue depending on the needs of the moment. The bathing area is enclosed with translucent glass tiles, while the shower system simulates natural rainstorms. Throughout the design and construction process, the architects deliberately avoided imitating Yunnan’s traditional architectural forms. Instead, they focused on the deeper spirit of the region that values ease, comfort, and freedom. The final building looks different from its surroundings, yet it feels deeply connected to them. By relaxing their own approach, the design team at gad found a way to create a space that invites visitors to do the same.

the building’s tent-like form appears to rest lightly on the grass | image by Lei Tantan

old pieces of wood discovered on-site were recycled and assembled into the roof structure | image by Pan Jie

interior and exterior boundaries blur, allowing visitors to choose how they engage with nature | image by Pan Jie

glass brick creates a semipermeable interior highlight | image by Pan Jie

the shadow cast by the roof becomes the primary inhabitable space below | image by Pan Jie

with the exception of the glass facade, the building is surrounded by canopy | image by Pan Jie

a natural canal runs behind the house, separating it from the hotel’s main building | image by Yang Guangkun

the edges of the roof are not deliberately aligned and manual traces kept in different lengths| image by Pan Jie

project info:

name: Hylla Cloud Nature Experience Center
architect: gad Architectural Design | gad

location: Lijiang, Yunnan Province, China

area: 538 square meters

project creator: Yue Cheng

team members: Junru Tang, Yiyuan Shi, Jia Ma, Chaohao Lv, Yuting Zhao, Yuqing Ma Architecture and Interior Decoration

design: Yue Cheng, Junru Tang, Yiyuan Shi, Jia Ma, Chaohao Lv, Yuting Zhao, Yuqing Ma

structure design: Baozhong Li and Jie Huang

water supply and drainage design: Yongqing Cheng

HVAC design: Yuanyuan Fang

electrical design: Xiaoyan Pan

site construction team: Fei Yang, Qingxiang Huang, Qiujin Hu, Jialei Wang, Fei Rao, Hou Wang

photographers: Jie Pan, Tantan Lei, Guangkun Yang, Yue Cheng, Xia Wu, Yiwen Sun, Fei Yang

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: claire brodka | designboom

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Located in Wuhan, Hubei Province, China, Sofitel Wuhan is conceived as a spatial interpretation of the city’s geographic, cultural, and historical identity. The interior design, led by Bei Yang, Design Partner of CIDA Shanghai, integrates local references with the brand’s contemporary design language, positioning the hotel as a point of connection between regional heritage and international hospitality. The project was awarded the Gold Award for Conceptual Design of Hotels & Resorts at the London Design Awards 2025.

The design concept draws from Wuhan’s role as the historic ‘Thoroughfare of Nine Provinces,’ a crossroads formed by the convergence of major rivers and trade routes. This idea is translated into the architectural and interior organization through a series of themed spaces that collectively form a spatial map of the city. The hotel podium functions as the primary conceptual framework, with each area referencing a specific landmark or cultural element, including the Yellow Crane Tower, Guqin Terrace, Wenjin Academy, the Yangtze River Bridge, Optics Valley, Han Opera, and Chu Embroidery. These spaces are designed as distinct yet interconnected zones, shaping the overall circulation and spatial logic of the hotel.

The lobby and lobby lounge are centered on the theme of the Yellow Crane Tower, which informs both the layout and the architectural expression of the interior. Natural light introduced through skylights plays a key role in defining the space, supporting a design approach that extends architectural concepts from the exterior into the interior environment. At the center of the lobby, a large-scale installation references Yuantong Hall at Gude Temple, a historical structure known for its synthesis of Eastern and Western architectural influences. This installation serves as a focal point within the atrium, emphasizing the dialogue between Chinese cultural references and Sofitel’s French design heritage.

a central skylight invites natural light, defining the interior design theme and style

hotel features Layered Contrasts and Water-Inspired Design

Contrasting design elements are used throughout the lobby to differentiate the space from conventional luxury hotel interiors. The juxtaposition of Chinese and Western architectural languages, along with variations in material, form, and scale, establishes a layered visual experience and encourages movement and interaction within the space. The atrium is further defined by a water curtain installation integrated into the surrounding glass walls. Programmable content allows the display to adapt to different operational and atmospheric requirements.

Water-related motifs are repeated across the interior, with ripple patterns applied to ceilings, floors, and wall surfaces. These elements reinforce the project’s conceptual link to Wuhan’s rivers while creating distinct visual conditions between daytime and nighttime. Through the integration of local cultural references, architectural symbolism, and contemporary interior strategies, Sofitel Wuhan presents a cohesive design narrative that aligns spatial experience with the city’s historical identity and global hospitality standards.

the installation was inspired by the Yuantong Hall of Wuhan’s Gude Temple

the lobby design blends soft, wave-like sculptural elements with textured surfaces & warm lighting

the lobby references traditional Chinese architecture while embracing Western influences

transparent columns and panoramic windows create an open and welcoming, refined space

the semi-transparent screen adds layering, while floor curves guide flow

project info:

name: Convergence of Waters, Crossroads of Cultures – Sofitel Wuhan

interior designer: Bei Yang

design team: Bei Yang, Kevin Sheng, Yvonne Lyu

location: Wuhan, Hubei, China

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HOSHINOYA Nara Prison in Nara, Japan, has revealed a teaser trailer alongside confirmation that its long-anticipated hotel will open on June 25th, 2026. designboom first reported on the renovation when the initial announcement surfaced in June 2022 and again when more details were unveiled in September 2023. Now, this newly released film gives an early glimpse of the 1908-built complex’s new atmosphere as it’s brought to life by by Hoshino Resorts.

The project occupies the former Nara Prison, the sole remaining example of the Meiji government’s Five Great Prisons. Built in red brick with a radial plan and a central guard tower, the compound has stood on its site for more than a century. Its transition into HOSHINOYA’s ninth property celebrates the architecture itself as the primary experience, with the teaser focusing on the slow reveal of space and the feelings it will bring.

images courtesy Hoshino Resorts and The Former Nara Prison Preservation and Utilization Co., Ltd.

Architecture shaped by preservation in nara, japan

Nara Prison’s transformation for Hoshino Resorts has been led by Azuma Architect & Associates, with principal architect Rie Azuma overseeing the careful adaptation of the historic structure. The original brickwork which was once concealed behind layers of plaster has been exposed and restored. Iron columns and timber surfaces introduce a contemporary register while maintaining a measured dialogue with the existing structure.

Circulation follows the logic of the original prison layout. Long corridors trace the former cell blocks, their proportions preserved, while openings have been adjusted to allow daylight to move deeper into the plan. The spatial rhythm remains deliberate, shaped by repetition and pause, all to give hotel guests a heightened awareness of the building’s past use without overt interpretation.

an example guest room shows a linear array of cloistered cells

Living within the former cell blocks

Guest accommodations emerge from the merging of former cells into suites, each one organized to emphasize volume and material continuity. One of the largest configurations brings together ten individual cells into a single guest room, allowing thick masonry walls to frame a sequence of rooms for rest, dining, and quiet work. Across the property, a total of forty-eight suites follow this approach, ensuring variation within a consistent architectural language.

The teaser film lingers on these interiors, capturing the way light grazes brick surfaces and revealing glimpses of the elongated guest rooms. The atmosphere is shaped by the weight of the existing brick walls and the precision of the interventions.

one of the largest configurations combines ten individual cells into a single guest room

A cultural landmark enters a new phase

Beyond accommodation, the plan includes a detached dining hall and spaces for curated activities, extending the experience across the former compound. Cuisine is set to explore a Japanese-French dialogue, reflecting the Western influences present in Meiji-era civic architecture while remaining grounded in local practice. A publicly accessible museum will also occupy part of the site during daytime hours and will present archival material related to the prison’s history.

Reservations for HOSHINOYA Nara Prison open on January 20th, 2026. As the opening date approaches, the project stands as a rare case where preservation, hospitality, and architectural discipline converge within a single historic framework. Designed in 1908 by Keijiro Yamashita, the former prison now enters a chapter shaped by reuse rather than confinement, adding a distinctive entry to the evolving portfolio of Hoshino Resorts.

a total of forty-eight suites follow this layout

iron columns and timber surfaces introduce a contemporary intervention

floor plan of the former Nara Prison

project info:

name: HOSHINOYA Nara Prison

location: 18 Hannyaji-cho, Nara, Japan

hotel design: Azuma Architect & Associates

company: Hoshino Resorts | @hoshinoresorts.official

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1 Hotel Brooklyn Bridge may be the best stay in New York if views are the main priority. With the monumental Brooklyn Bridge as its immediate next-door neighbor, the hotel overlooks the meadows and wetlands of its namesake park, the unobstructed lower Manhattan skyline, and even the Statue of Liberty beyond. 

This outpost of 1 Hotel marks the first of the hospitality brand’s locations to be purpose-built from the ground up. It stands at the head of Brooklyn Bridge Park, an elongated, once-industrial stretch of the East River waterfront. What was once abandoned piers and disused infrastructure is now an array of picturesque rambles, meadows overgrown with native flowers, and wetlands home to ducks and turtles.

The hotel itself was designed by Marvel Architects and New York-based interiors firm INC to be an active part of the park. Every part of the hotel is planned around it, from its views and natural material palette to its sustainable operations. Read more about Brooklyn Bridge Park here!

Harriet’s Rooftop Lounge | image © Ashley Sears

1 hotel cultivates its lobby as a lush landscape

The 1 Hotel lobby opens directly from the park as a double-height room with a dramatic, framed view of the Brooklyn Bridge. A 25-foot green wall rises along one edge, dense with living plants held in a lightweight metal framework. Warm daylight floods the space and catches on stone floors, reclaimed wood beams, and steel columns. The interior design is curated to echo the atmosphere of the park outside, which is defined by its industrial heritage together with its picturesque, overgrown nature.

Artworks can be discovered throughout the hotel‘s lobby. Sculptural pieces made from rope, stone, and timber — reclaimed from the park’s construction — pile upward along the staircase, itself designed with wires in tension as a nod to suspension bridge logic. Mycelium-based light fixtures hover overhead with a soft, matte glow, and behind the front desk, a textured wall work is crafted from salvaged materials. The artworks together read as part of the building’s history and relationship to its context.

exterior entrance | image courtesy 1 Hotel Brooklyn Bridge

guest rooms for larger-than-life views

Each guest room at 1 Hotel Brooklyn Bridge continues the same material logic at a more intimate scale. Wood floors run throughout, balanced by board-formed concrete surfaces that carry the imprint of timber grain. Bathrooms wear solid stone and dark metal fixtures, with deep soaking tubs angled to catch daylight from floor-to-ceiling windows, which can slide open to bring in fresh air and further connect guests to the city and the park.

Here, the view leads the experience. Beds align toward the bridges and skyline which tower over the East River with its ferries and sailboats below. The rooms, all home to live plantings, feel quiet and composed. Small details such as built-in filtered water taps and glassware made from recycled bottles subtly demonstrate the sustainable goals of the hotel’s team.

lobby green wall | image courtesy 1 Hotel Brooklyn Bridge

Operations Tied to the Park

Sustainable operations connect this 1 Hotel location directly to its setting within Brooklyn Bridge Park. Rainwater collected on the roof travels through colossal exposed pipes in the lobby to an underground tank, then feeds irrigation systems throughout the park. This same water supports the park’s shallow wetlands with their native flora and fauna right outside the hotel.

The relationship works in both directions. The hotel contributes funding and ongoing support to the park’s maintenance, reinforcing its role as part of the public landscape rather than a private enclave. From guest rooms and public spaces, views across these ecosystems make these operations visible through experience, not just through explanation.

1 Hotel Brooklyn Bridge, lobby | image © studiocrow for designboom

harriet’s Rooftop & Barbuto’s brooklyn

At the top of the building, Harriet’s Rooftop & Lounge opens onto a terrace with wide views across the East River. The Brooklyn Bridge rises close by, with the lower Manhattan skyline extending beyond it. Seating stays low and dispersed, keeping sightlines open to the water and sky. The nearby rooftop pool sits just below the horizon line, its edge aligning with the river beyond.

Meanwhile, back on the ground floor, a newly-opened restaurant Barbuto Brooklyn opens toward the park. The restaurant operates with an open kitchen and is wrapped in full-height glazing which frames the looming Brooklyn Bridge. Here, natural materials paired with industrial detailing echo the rest of the building, keeping the focus on the view beyond the tables. With its backdrop of passing walkers, cyclists, and shifting river light, the connection to the park remains constant.

lobby staircase | image © studiocrow for designboom

King Guestroom | image courtesy 1 Hotel Brooklyn Bridge

King Guestroom | image courtesy 1 Hotel Brooklyn Bridge

Riverhouse Suite | image courtesy 1 Hotel Brooklyn Bridge

Barbuto Brooklyn | image © Michael Persico

Barbuto Brooklyn | image © Michael Persico

Harriet’s Rooftop Pool | image © Ashley Sears

Harriet’s Rooftop Lounge | image © Ashley Sears

Harriet’s Rooftop Lounge | image © Ashley Sears

project info:

name: 1 Hotel Brooklyn Bridge | @1hotel.bklynbridge

architect: Marvel Architects | @marvel_is_design

location: Brooklyn, New York, USA

interior design: INC Architecture & Design | @inc.nyc

completion: February 2017

photography: © designboom, © 1 Hotel Brooklyn Bridge, © Ashley Sears, © Michael Persico

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Hotel Indigo Nalati is located at the junction of the Duku Highway and the Ili ‘Figure-8’ Scenic Loop in Nalati Town, within the Ili Kazakh Autonomous Prefecture of Xinjiang, China. Set within an expansive landscape of steppe and framed by the Tianshan Mountains, the hotel occupies a strategic position along a major scenic route. The design by CCD is structured around the concept ‘A Grand Journey Along the Duku Highway, Through the Seasons of Nalati,’ using the Kazakh word mausym, meaning ‘season,’ as a thematic framework to interpret seasonal change and nomadic cultural patterns.

The architectural language draws from the spatial logic of steppe nomadic life. References to traditional yurts and winter settlements are abstracted into form, circulation, and material choices. Rather than a single mass, the hotel adopts a dispersed layout, with multiple building volumes distributed across the site and connected by winding paths through a forested landscape. From a distance, the complex reads as a clustered arrangement integrated into its surroundings, allowing landscape systems to function as part of the hotel’s ecological and spatial framework.

The arrival sequence is defined by a curved canopy inspired by the geometry of the Nalati sunrise. This canopy shelters the drop-off area and establishes a transitional courtyard space between the exterior landscape and interior programs. Warm-toned materials and soft curvature reference the spatial enclosure of an Aul, a traditional Kazakh nomadic settlement. Subtle references to local geography and heritage, including the Tianshan Mountains, Nalati sunrise, Gongnaisi River, and Wusun totem forms, are incorporated into the architectural detailing of the arrival zone.

all images by Wang Ting

material restraint and framed views link interiors to landscape

Light is used as a primary spatial device throughout the courtyard and entrance areas. Natural light enters through layered openings and filtered surfaces, animating stone and timber elements while maintaining a controlled, subdued atmosphere. The material palette emphasizes stone, wood, and brick, balancing solidity with openness and reinforcing the project’s connection to place and climate.

The design team at CCD organizes the hotel lobby beneath a large domed structure that references the spatial enclosure of a traditional yurt. Earth-toned brick walls and evenly spaced structural columns establish a rhythmic interior order. The dome ceiling features layered, scale-like patterns that modulate light while reinforcing the verticality of the space. A large curved window frames views toward the Nalati Grassland and the Tianshan Mountains, visually extending the interior toward the surrounding landscape.

At the center of the lobby, a contemporary fireplace installation reinterpretates the traditional hearth, functioning as both a spatial anchor and social gathering point. Seating is arranged to encourage informal use while maintaining clear circulation. Decorative elements incorporate regional craft traditions, including felt-thread artworks behind the reception desk and patterned carpets derived from local motifs. These elements are integrated as part of the architectural composition rather than applied ornament.

Hotel Indigo Nalati is located at the junction of the Duku Highway and the Ili Figure-8 Scenic Loop in Xinjiang, China

Circular layouts and yurt-derived detailing form Hotel interiors

The hotel’s restaurant and bar, named ‘SHOW · A Neighborhood Café,’ reference Kazakh hospitality rituals through spatial layout and material expression. Circular planning elements and curved circulation paths define the space, with a central round bar positioned as a focal point. The layout emphasizes visual continuity and fluid movement while maintaining distinct zones for dining and social interaction. Material choices reinforce the connection to the surrounding environment. Brick, washed stone, timber, and metal surfaces reflect the tonal qualities of the steppe landscape, while curved geometries guide sightlines and movement. Interior and exterior spaces remain visually connected, allowing landscape views to form part of the dining experience without dissolving spatial boundaries.

Guestroom design draws directly from the structure and spatial logic of the yurt. Carved wooden double doors introduce a layered threshold, while skylights reference the traditional yurt’s roof opening, allowing daylight and night sky views to define the room’s atmosphere. Interior partitions reinterpret the diamond-grid wooden framework typical of yurts, translating it into contemporary architectural detailing. Materials and finishes emphasize local craft traditions, including felt-inspired carpets, wall textiles, and decorative elements derived from grassland culture. Artwork, lighting fixtures, and custom details reference regional flora, fauna, and nomadic tools, including motifs inspired by horses and traditional instruments. Lighting elements in circulation areas draw from native plant forms, reinforcing seasonal and ecological themes. Bathrooms continue the yurt-inspired framework through patterned partitions and warm material tones, maintaining spatial continuity across the guestroom. Throughout the rooms, design decisions prioritize environmental responsiveness, material tactility, and cultural reference without relying on literal replication.

CCD’s design concept is structured around seasonal change, referenced through the Kazakh term mausym

Hotel Indigo Nalati integrates architectural form, landscape, and cultural reference into a cohesive hospitality environment. Through a dispersed site strategy, seasonal narrative, and reinterpretation of nomadic spatial traditions, the project establishes a dialogue between contemporary hospitality design and the ecological and cultural context of the Nalati grasslands.

the project interprets nomadic cultural patterns through architectural form and site planning

a central canopy defines a transitional courtyard between landscape and interior spaces

warm-toned materials reference the enclosure of a traditional Kazakh Aul

winding pathways connect the structures through a forested landscape

a curved window frames views of the grassland and distant mountains

the hotel is set within the steppe landscape and framed by views of the Tianshan Mountains

the restaurant and bar feature circular planning and curved circulation paths

stone, timber, and brick establish a material dialogue with climate and place

building volumes are dispersed across the site rather than consolidated into a single mass

project info:

name: Hotel Indigo Nalati
interior designer: CCD / Cheng Chung Design (HK) | @ccd_chengchungdesign

architect: H2 Architecture Design Group

location: Nalati Town, Xinyuan County, Ili Kazakh Autonomous Prefecture, Xinjiang, China

area: 13,052 sqm

client: Xinjiang Huamei Resort Tourism Co., Ltd.

soft furnishings: CCD / Cheng Chung Design (HK)

VI design: CCD·ATG BEYOND

material platform: IDEAFUSION

photographer: Wang Ting

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

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The Standard Pattaya Na Jomtien by Onion is a hospitality project shaped by the environmental and urban conditions of Pattaya, Thailand, a coastal city defined by light, shadow, movement, and beachside activity. These elements inform both the architectural language and the spatial organization of the hotel, translating the atmosphere of the seaside context into built form.

The overall layout is organized around four courtyards, each serving a distinct programmatic and experiential role. Through its courtyard-based layout, material articulation, and response to light and shadow, the project establishes a clear relationship between architecture, climate, and the beachside context of Pattaya.

all images by W Workspace

Four open courtyards organize Standard Pattaya Hotel’s plan

The first courtyard functions as the arrival and drop-off zone, presenting the hotel’s primary facade to guests. The entrance is defined by vertically articulated wave-like forms that frame the approach and guide movement toward the lobby. Overhead skylight structures cast shifting patterns of light and shadow onto surrounding surfaces throughout the day. The skylight glazing transitions in color from transparent to orange, referencing the changing tones of the sunset. The second courtyard forms the lobby space and accommodates shared amenities, including seminar rooms, a fitness area, and a children’s club. From this space, the inner surface of the six-story hotel block is visible. Curved canopies extend from each level, producing wave-like shadow patterns across the building envelope and reinforcing the project’s coastal reference.

At the center of the complex, the third courtyard is enclosed by hotel room blocks ranging from three to six stories in height. The design team at Onion conceives this courtyard as a quieter, landscaped zone, providing greenery and a more contained environment for relaxation away from the busier public areas of the hotel. The fourth courtyard opens directly toward the beachfront and is organized as a large outdoor communal space. Existing pine trees are retained and integrated into the architectural composition, with the building positioned carefully among them. This area includes all-day dining facilities, the main swimming pool, a specialty restaurant, and amenities oriented toward adult guests, such as a bar and mud area. Programmatic platforms are elevated to frame views of the sunset, allowing the architecture to engage directly with the coastal landscape.

the Standard Pattaya Na Jomtien by Onion responds to the coastal conditions of Pattaya, Thailand

light, shadow, wave movement, and beachside activity shape the hotel’s architectural language

the project translates the seaside atmosphere into spatial and formal design elements

the hotel is organized around a sequence of four courtyards

vertically articulated wave-like forms define the hotel’s primary facade

a courtyard-based layout establishes a strong relationship between architecture and climate

skylight structures cast changing patterns of light and shadow throughout the day

curved canopies on each level create wave-like shadow patterns on the facade

skylight glazing shifts from transparent to orange, referencing sunset tones

existing trees and plantation are integrated into the architectural composition

project info:

name: The Standard, Pattaya na Jomtien
architect: onion | @onion_work

location: Pattaya, Thailand
photographer: W Workspace | @wworkspace

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: christina vergopoulou | designboom

The post wave-like white forms by onion envelop standard hotel in pattaya beach town appeared first on designboom | architecture & design magazine.

Perched on the southwestern edge of Dongshan Island in China, the Dongshan West Bay Resort by Protoscapes transforms a decommissioned fishing pier into a public-facing coastal landscape. Located on the former site of Qianlou Town’s historic fishery center, the project marks the first diving-themed resort on the island. 

The architectural language is shaped by the surrounding geography. Undulating balcony lines echo tidal rhythms, while curvilinear triangular openings along the hotel corridors draw northeastern light inward and orient views toward distant mountain ranges. On the northeastern edge, a 24-meter diving tower rises as a landmark, wrapped in perforated aluminum panels whose rippling surface softens the mass of the concrete structure beneath. Elongated oculus windows, referencing submarine portholes, punctuate the facade and frame expansive views across the sea.

an Interface between land and sea | all images by Arch-Exist Photography, unless stated otherwise

Protoscapes organizes the resort around sheltered courtyard

Dongshan Island has long operated as a crossroads of maritime culture in southern Fujian, and the project draws directly from this context. Built on a compact pier footprint, the architects at Protoscapes organize two L-shaped volumes around a sheltered courtyard, creating a protected communal heart that mitigates the hot summer sun and strong winter winds from the east. Thirty-one hotel suites and food-and-beverage spaces line the southwestern edge, providing uninterrupted sea and sunset views. A nautical-themed commercial arcade faces northeast, stitching the development back into the street life and economic rhythms of the village.

Multi-tiered, open-air viewing platforms step down toward the water, and a continuous boardwalk traces the perimeter of the site, elements that extend the former role of the pier as a working landscape into a civic one. The ground-level arcade, carved as a continuous sheltered passage, recalls sea-eroded coastal caves and operates as a sequence of framed ocean views.

a hotel amongst the fishing village

a shared sunset view between the room guests and the public

hotel entrance plaza

transforming a decommissioned fishing pier into a public-facing coastal landscape

the diving tower’s porthole windows

a public threshold towards the coastline

the project marks the first diving-themed resort on the island

viewing deck open to the public

ocean view from the hotel suite

seafront hotel restaurant | image by Lin Yongchen

hotel reception | image by Lin Yongchen

coastal public boardwalk

aerial view of the hotel

project info:

name: Dongshan West Bay Resort

architect: Protoscapes | @protoscapes_architects

location: Dongshan Island, China
design team: Huang Jinhui, Chan Pakkin, Qiu Bin, Hu Bin, Cai Zhijie, Chen Tianying, Lin Zhaoli, Liu Wanting

designboom has received this project from our DIY submissions feature, where we welcome our readers to submit their own work for publication. see more project submissions from our readers here.

edited by: thomai tsimpou | designboom

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