A project by Stefan Hinteregger and Teresa Unterthiner, Forestis was conceived as a modern sanctuary that celebrates the four natural elements – air, water, sun and climate. Though larger than many Alpine hideaways, with 62 suites, it feels remarkably quiet and peaceful.

Wallpaper* checks in at Forestis, Dolomites

What's on your doorstep?

Forestis sits above the town of Bressanone in South Tyrol, surrounded by ski runs in winter and hiking trails in summer. Days begin with views over the Peitlerkofel massif and end with sunsets that turn the peaks rose-gold. Guests can step directly from the hotel onto the Plose ski slopes, or in warmer months follow spruce and larch forest paths.

This part of South Tyrol carries a strong blend of Italian and Austrian influence, evident in both its architecture and its cuisine. Villages nearby are worth exploring for their small markets and traditional craft workshops, though most guests find it hard to leave the hotel’s serenity once they’ve settled in.

Who is behind the design?

Designed by Brixen-based architect Armin Sader, Forestis reinterprets mountain architecture through natural geometry. The original stone house – once a historic sanatorium – now connects seamlessly to three slender timber towers that rise from the slope, their vertical lines inspired by the surrounding trees. Inside, the palette stays deliberately minimal with pale spruce, stone and glass layered with soft, tactile fabrics from a local weaving mill in Trentino.

Everything at Forestis feels quiet and purposeful. Light filters through the rooms in tones that change throughout the day, and balconies extend like ledges above the forest canopy. Sustainability underpins the project – from the CO₂-neutral construction to renewable energy sourced on-site – but it’s the integration with nature that defines its character.

The room to book

Each of the 62 suites is built around uninterrupted views of the Dolomites, with windows that draw the landscape directly into the room. Materials are simple – wood, stone and linen – but the proportions are generous and the atmosphere cocooning and restorative.

The Tower Suites are the showpieces, their covered terraces opening directly onto the peaks and their interiors defined by a calming sense of space and light. In the original building, the rooms retain their historic windows, which add a touch more character to the otherwise uniform interiors that run throughout the hotel.

Staying for drinks and dinner?

Dining at Forestis takes its cue from the forest itself. At Panorama, the hotel’s main restaurant, dining feels like theatre, the room looking out towards the views of the Dolomites so that every seat faces the mountains. Each curved banquette is like a private cocoon, so even when the restaurant is full, it never feels busy. Mornings here are especially calm, sunlight streaming through the wide windows onto a breakfast that combines a meticulously curated buffet – complete with an extensive butter offering and a make-your-own juice station – as well as an à la carte menu of hot dishes.

For lunch and throughout the day, the recently renovated Garden Restaurant brings a lighter, more Mediterranean mood. Surrounded by meadows and mountain plants, the space opens to the landscape, making it an ideal autumn sunshine spot. The menu features regional classics such as Wiener Schnitzel sitting alongside dishes made from herbs, vegetables and roots foraged from the hotel’s own garden and neighbouring forest. As evening settles in, the bar with its cosy fireplace and wine cellar becomes a quiet gathering spot for a glass of wine, which has a strong South Tyrolean list at the centre of the selection.

The most ambitious dining experience, though, is Yera, the hotel’s new immersive restaurant built directly into the mountainside behind the main building. Conceived as a cave carved from the red earth, it’s centred around a fire pit where a 14-course tasting unfolds over the course of four hours. Each dish – from white fish with hawthorn berries and fermented horseradish to Jerusalem artichoke, sauerkraut and walnut ravioli – is made using ingredients foraged from the surrounding forest. The meal is paired with small-batch kombucha infusions crafted with the same precision, and in keeping with its ritualistic atmosphere, cameras are not allowed, highlighting the experience’s intimacy.

Where to switch off

At Forestis, switching off starts the moment you arrive. The stillness of the setting does most of the work; however, the spa takes it a step further. Centred on the healing power of the region’s four native trees – mountain pine, spruce, larch and Swiss pine – it spans several levels, with saunas, steam rooms and relaxation spaces that open directly to the forest.

Recently renovated, the spa now includes a series of new spa suites equipped with two treatment beds, a large round bathtub, a steam bath and a relaxation area. Treatments continue to follow the property’s nature-based philosophy – drawing on Celtic traditions and the energies of the surrounding woods – and new additions include the Healing Wood Massage, which uses intuitively selected wooden sticks.

The showstopper is the indoor-outdoor pool, divided by floor-to-ceiling glass, that looks out towards the same Dolomite peaks visible from the suites. After a hike or a day on the slopes, guests drift between the Tree Circle Ceremony, herbal rituals or Wyda yoga, while the saunas follow local custom and are clothing-free, which is just another reminder of how naturally life aligns here with the elements.

The verdict

Forestis is a benchmark for contemporary Alpine hospitality with its clarity of design, deep connection to place, and a sense of time slowed to nature’s flow, and though larger than many retreats, it still feels intimate and personal. Best experienced between seasons when mist drifts low through the trees and the light turns silver, it’s the kind of hotel that quietly reminds you why people fall in love with the mountains in the first place.

Forestis is located at Palmschoss 22, 39042 Bressanone, Italy.

Lee Broom at Mandarin Oriental Mayfair

The British designer is known for everything from domestic lamps (like the cute and portable ‘Chant’) to public installations during design fairs and other events – don’t miss his brutalist sculpture Beacon, currently on view as part of the Southbank Centre’s Winter Light festival. At the Mandarin Oriental, he tells a story of poetic brilliance through a site-specific installation.

At the heart of the Mandarin Oriental Mayfair’s emblematic ming green marble staircase, Broom suspends time with a stately chandelier specially designed for the occasion. ‘I wanted this sculpture to converse directly with the hotel’s architecture and to enhance the guest experience,’ he explains of the RSHP-designed property.

Made from brushed anodised aluminium and hand-blown reeded glass LED fittings, the piece casts a gilded glow over the lobby and Atrium Restaurant, which has recently refreshed its menu. ‘When the teams at Mandarin Oriental Mayfair and Mayfair Design District approached me about this project, they were immediately drawn to my idea of creating something entirely different to the traditional Christmas tree for the festive period,’ Broom says. And while a tree is still in place in the hotel, the star of the show is undoubtedly the designer’s Hail Chandelier.

Also on display at the rooftop Hanover Bar, London-based Studio Waldemeyer delivers another whimsical exercise on light design, true to its technology-forward ethos. Inspired by its collaboration with the Mythos Mozart Museum in Vienna, the Amadeus installation transforms light into melody. A constellation of LED candles flickers like a musical phrase, tracing the bar’s curved architecture in a choreographed display.

Both installations continue the hotel’s recent partnership with the Mayfair Design District, which curates a periodic display of art and design at the hotel under the theme ’Elemental Resonance – Nature Reimagined’.

Mandarin Oriental Mayfair is located at 22 Hanover Square, London W1S 1JP, United Kingdom.

Our edit strikes a balance between function, comfort and design intelligence. True to Wallpaper*’s sensibility, it gathers the sharpest designs in tech and lifestyle. The categories may be familiar, but each pick brings a fresh, forward twist on the pieces we reach for time and again.

For more design-driven gifting ideas and aesthetically attuned stocking fillers, explore our other seasonal gift guides.

The Wallpaper* travel gift guide 2025

Analogue in-flight entertainment

Five-star treatment

A chic name-drop

Escape artist

Pleat elite

An order keeper

Mile-high comforter

Free roaming

Lights out

A mood mixer

A reset wash

A flight-mode facial

A pocketable friend

A power move

Do not disturb

The opening marks a homecoming for the Langosteria group, a mainstay in the city’s culinary scene since its first opening in Via Savona eighteen years ago. Following a few years of international expansion, with the debut at Cheval Blanc Paris in 2021 and an anticipated opening in St. Moritz in 2023, the group is back in its cherished home turf. ‘This is a project that deepens its connection with the city and its most loyal guests,’ Enrico Buonocore, Founder and CEO of Langosteria, tells Wallpaper*.

Langosteria Montenapoleone, Milan

Like the transformation of the Lancia Palazzo, the design of this stately multi-level dining destination has been conceptualised by the Fendi Architecture Department, which sought to convey the warm feeling of slow, romantic travel. The overarching design language evokes the structure and symmetry of the building’s Rationalist past through the recurrent use of Venetian blinds and a hot-air balloon motif.

On the fifth floor, the Langosteria restaurant accommodates 120 indoor seats and 40 outdoors. Eighteen large windows bathe the interiors in natural light, while the brand’s signature lobster red punctuates the space. Teeming with tactility, canaletto and Italian walnut shape the woodwork of the bevelled floors, while travertine clads stone surfaces, and brass pops in accents. The dining area is kitted out in Murano-glass Venini wall lamps, custom ‘Limousine’ mahogany wood chairs, and leather banquettes.

The floor below will soon welcome Pepe, a new concept by the group centred on convivial counter-style Italian dining, while the one above houses Langosteria Ally’s Bar, equipped with a terrace overlooking the city skyline and a private dining room. Throughout, an open-kitchen layout draws guests into the rhythm of service.

According to the team, Langosteria Montenapoleone ‘speaks Milanese with an international accent.’ This resonates not only in the interior design but also in the menu. Beloved dishes such as Pappa al Pomodoro and Blue Lobster Nature headline the offerings, while new creations like Amberjack tartare in panzanella, Red tuna carpaccio with eggplant and candied tomatoes, and Smoked Rigatoni with Scorpion fish are poised to become new favourites.

Langosteria Montenapoleone is located at Corso Giacomo Matteotti, 9, 20121 Milan, Italy.

Mubi announces ‘Let’s Eat! A Film Feast’

The Cinema at Selfridges alongside production company and film distributor Mubi have teamed up for an all-day immersion into food on film, held on 20 November and aptly titled Let’s Eat! A Film Feast. The programme spans screenings, food-focused talks and a pop-up exhibition.

Across the selected screenings, audiences can revisit cult favourites and contemporary gems alike, including The Lunchbox (2013), First Cow (2020), Babette’s Feast (1987) and Raw (2016). For those wanting to dive deeper into cinematic appetite, Little White Lies will explore Big Night (1996); the Mubi Podcast will dissect Paul Thomas Anderson’s Phantom Thread (2017); and Notebook magazine will delve into Peter Greenaway’s sumptuous and savage The Cook, The Thief, His Wife & Her Lover (1989). In addition, Sandwich magazine will host a playful, palate-teasing quiz to round out the day.

Every ticket includes popcorn, complimentary Campari-partner cocktails, and free pizza from 2.30 pm. As evening falls, a bespoke menu created by chef and culinary artist Heal Goblin (Nil Mutluer) will be served.

If you’re not in London, Mubi extends the festival online. From 27 November, the new Mubi Podcast season spotlights cinema’s most memorable meals. Besides, a collection of food-led films – including La Cocina (2024), Flux Gourmet (2022), The Taste of Things (2023) and Dessert for Constance (1981) – brings the festival to your living room.

The Cinema at Selfridges is located at 40 Duke St, London W1U 1AT, UK. Tickets for ‘Let’s Eat! A Film Feast’ are available here.

Ichio Matsuzawa: Architecture at the edge of perception

He created the bar with a series of curved, three-millimetre acrylic sheets, each a two-by-four-metre panel with 94 per cent transparency. They hovered at the edge of consciousness, present only when they caught the light, distorted a likeness or, momentarily, eclipsed a moving body.

The panels were heat-formed in an industrial oven using steel moulds, a process as delicate as it was unpredictable, as the acrylic became almost liquid when heated, making the ultimate curves impossible to control. Matsuzawa embraced the risk, allowing ‘beautiful accidents’ to shape the final forms, discarding everything that felt too rigid, precise, or artificial. What remained was a series of ephemeral thresholds that appeared and dissolved as visitors moved through the space.

This is where Matsuzawa drew a line between architecture and sculpture. Objects, he commented, are static. Architecture is perpetual: it changes with people, climate, sound, and time. In the bar, nothing stayed still. From the street, shadows of trees rippled across the acrylic, and echoes bent and multiplied. The breeze pushed both surfaces and images out of alignment. ‘New, mirage-like spaces are constantly being generated,’ he explained.

The transparency also blurred the divide between inside and out, a deliberate strategy given the bar’s street-level site in central Tokyo, which became part of the architecture, not merely the backdrop. Nature, too, entered the framework: wind, branches, sunlight, passing cyclists, and the casual choreography of pedestrians.

To counter the coolness of the acrylic, Matsuzawa designed stools and tables wrapped in richly coloured Afghan textiles, introducing tactility, warmth, and cultural layering. A soundscape by composer Yusuke Nakano completed the multisensory environment.

Matsuzawa, who has quietly built up a reputation for projects that question material presence and spatial perception, saw the AWT Bar as part of a philosophical enquiry into architecture as experience rather than form. ‘Each visitor encounters a different space, depending on their movements, their timing, their sensitivity,’ he said. ‘The work isn’t complete until someone inhabits it.’

The bar served cocktails designed by artists, including Chim↑Pom from Smappa!Group and Tsuyoshi Ozawa, and snacks by chef Shinobu Namae, including Seaweed Jambon Beurre made with Suji-Aonori seaweed butter and two kinds of seaweed pickles, but the bar’s real takeaway was spatial. In creating architecture that existed only through perception rather than solidity, Matsuzawa inverted conventional notions of what a building should be.

Rather than defining space, his near-invisible acrylic panels dissolved it – making the architectural experience something visitors sensed rather than saw, felt rather than touched. For an architect committed to spaces that emerge from sensation rather than structure, the AWT Bar wasn’t simply a commission. It was a manifesto.

imoffice.net

Wallpaper* dines at Monsieur Dior by Dominique Crenn, Beverly Hills

The mood: ladies who lunch

As the first Dior restaurant outside Paris, the mood embodies French art de vivre, woven with fashion and taste. From the moment you step into the lifts, engulfed in floral motifs, an enchanting experience unfolds. Designed by architect Peter Marino, the space blends the spirit of 30 Montaigne with laid-back Californian ease, including a large patio shaded by the quintessential palm trees of Rodeo Drive.

A curved bar crafted in ebony and onyx, overlooked by a ceiling of sculpted rose petals in shades of white and backed by a wall sculpture of faceted mirrored panels, almost cut like a diamond, offers signature cocktails such as the J’Adior, made with pear, elderflower and Champagne, alongside a menu of small bar bites. The main room features a full-wall canvas: Gardens of Courances (2025) by Nicole Wittenberg, a major site-specific commission created to immerse guests in an enchanted botanical cosmos. Dining chairs are swathed in chartreuse green and peach-coloured abstract fabrics surrounding round white tables, though you may prefer a seat along the banquette wall or one of the cosy side booths for prime people-watching.

The rainbow of colourful crystal-cut plates and glasses used during your meal can be purchased in a small Maison conveniently located between the bar and the main restaurant; a tempting prospect after a few fruity or Damask rose cocktails.

The food: light French fare with a Californian twist

Pardon the cliché, but every dish is a work of art. If you’re feeling decadent, the caviar service arrives in a tin layered with smoked crème fraîche textured to resemble tweed. Dig deeper and you’ll find egg-yolk jam and pickled shallot, intended to be spread on a fluffy herbed madeleine. The most-ordered dish so far is the confit salmon with fermented red pepper, clams and grilled spinach. Other hits include seared scallops with blood orange, beef tartare (again with egg-yolk jam), and abalone served with anchovy and pepper sauce.

Crenn’s signature has been reimagined for Beverly Hills as the Guinea Hen Rodeo with mushrooms, though her rich, creamy potato millefeuille remains unchanged. Desserts take the ‘couture cuisine’ theme to its peak and are almost too pretty to eat – from a coconut rosé cream tart with raspberries and pistachio to a chocolate mousse patterned after a quilted handbag. Get your camera ready: photographs are encouraged, and the dishes are crafted to be captured like A-list stars.

Monsieur Dior by Dominique Crenn is located at 323 N Rodeo Dr, Beverly Hills, CA 90210, United States.

Wallpaper* dines at Bonheur by Matt Abé, London

The mood: tactile minimalism

Russell Sage Studio is behind the look of Ramsay restaurants, including Pétrus and 22 Bishopsgate, but here it’s Abé who has been heavily involved in the design process. Details such as the yellow leather tabletops reflect the chef’s vision for a tactile and comfortable space that matches his culinary ethos of approachable refinement (Bonheur is the French word for ‘happiness’). Dramatic flourishes include floral installations, sculptural waiter stations and horsehair wallpaper adorning illuminated recesses in the dining room.

‘The space is intended to feel soft, stylish and emotionally resonant,’ says executive creative director Russell Sage, ‘with discreet luxury that is crisp and elegant, without being over the top. The palette includes peach, rust, sandy walnut and ochre tones, subtly referencing Matt’s Australian roots without being literal, and reflecting the overarching concept of rich, warm minimalism.’

The basement dining room is unrecognisable from the glossy black-and-red Le Gavroche days, with the best seats in the house at Petit Bonheur, the six-seat chef’s table, which offers the opportunity to get up close and personal with Abé and his team.

The food: Abé unleashed

Bonheur is very much Abé’s, not Ramsay’s restaurant, but don’t come expecting a radical departure from the fine-dining playbook. There’s a three-course à la carte menu, but two tasting menus – the five-course Journey and the seven-course Dream – are the main attraction. The cooking, however, is no re-tread of what Abé was doing at Royal Hospital Road. Here at his first solo restaurant, the chef has total creative freedom, best exemplified by his choice of ingredients.

Bonheur is the only restaurant in the country to serve Cumbrian 125-day-aged Blue Grey sirloin, developed between Abé and Lake District Farmers as an experiment into the dry-ageing process and transformed by the chef into a butter-soft slice of pink meat encased in crisply seared fat with a half-moon of potato terrine on the side: the poshest meat and potatoes imaginable.

Other classic dishes given the contemporary haute-cuisine treatment include quiche Lorraine re-imagined as a cheesy tart of leek and pork belly with vin jaune sauce, and a sweet-toothed dessert of pecan mousse with cocoa ice cream and the grown-up addition of Pedro Ximénez gel.

Bonheur by Matt Abé is located at 43 Upper Brook Street, London, W1K 7QR, UK.

Yet, the experience stretches far beyond retail. Customers might drift between the Deli Bar for a lobster roll, the Lázaro Rosa-Violán-designed Jncquoi Avenida restaurant for white prawn carpaccio beneath its signature dinosaur, or Jncquoi Asia for grilled wagyu with ponzu.

The next chapter will arrive in spring 2026 with Jncquoi House, the group’s first hotel, occupying a separate townhouse and designed by Vincent Van Duysen. In the interim, on the building’s ground floor, the doors to new restaurant Jncquoi Fish are already open.

Wallpaper* dines at Jncquoi Fish, Lisbon

The mood: sophisticated, sexy and sea-centric

At this new outpost of the Jncquoi empire, dishes pay homage to the bounty of the Atlantic, the food taking centre stage, with many tables clustered around the open kitchen. But it is the design that sets the tone. Step through the neo-Moorish façade and a world crafted by Vincent Van Duysen opens up: a play of mirrors and white marble, ceramic and limestone.

Dark clay flooring is produced by Viúva Lamego, one of Portugal’s most historic ceramic factories, forming a perfect counterpoint to Lisbon’s local Lioz limestone and the ceramic wall tiles, whose palette and pattern draw inspiration from the kitchens of the National Palace of Sintra. The lighting fixtures – handmade in Portugal by Fátima Neto to Van Duysen’s design – are sculpted from Carrara marble, while the furniture was custom-made locally by Room2Fit. Bespoke tableware comes from Vista Alegre, founded in 1824 and one of Portugal’s most respected brands. And, in a gentle nod to the owners, quintessentially Portuguese cork – sourced from founder Paula’s Amorim Cork – appears as a salt cellar encasing glittering white crystals.

The food: Atlantic soul

With Jncquoi’s executive chef António Bóia and chef Filipe Carvalho (who earned a Michelin star at Lisbon’s 50 Seconds) at the helm, good food is a given. Equally assured are the ingredients, freshly sourced from the cold Atlantic waters that lap Lisbon’s shoreline. Carvalho has a deft touch, skilfully balancing traditional Portuguese flavours with the luxurious notes that 21st-century fine dining demands. Think cod fritters crowned with a spoon of tartare sauce and a generous dollop of caviar, or a hot starter of scarlet shrimps from the Algarve, served with garlic and fried quail eggs.

Main courses include Portuguese blue lobster rice with coriander, or oven-baked octopus à lagareiro, richly drenched in local olive oil. Sommelier Filipe Wang may reach for a prized Burgundy to pair with your choice, or a particularly compelling Portuguese bottle – do hear him out; he knows precisely what he’s talking about. Do save room – the chocolate mousse with olive oil and fleur de sel is impeccable, while the oven-baked pão de leite (a sweet, yeasted milk bread) served warm with custard and cream cheese, already seems to have gained a cult following.

Jncquoi Fish is located at Av. da Liberdade 189 1, 1250-096 Lisbon, Portugal

A grape escape: Quinta de Adorigo

The client’s brief was refreshingly open, with the only stipulation being to design a hotel and a winery capable of producing 300,000 bottles. Mission accomplished; the property produces Port wines alongside a series of lush reds and perky whites from more than 40 grape varieties, spanning both heritage vines and new plantings.

Rebelo’s creative approach focused on honouring the past while embracing the future, a task complicated by the fact that the project sits in such a culturally and ecologically sensitive landscape. ‘How would we responsibly design a building that is both modern and iconic, and yet merged with this historic landscape?’ he asks. ‘The response was to develop a structure that is technically innovative, but expands the acquired knowledge of vernacular wine structures.’ To that end, Rebelo assembled a crack team of experts, including an oenologist and historian, to research how wineries and architecture have evolved in this region through the centuries.

A key challenge was to maintain perfect wine-ageing conditions year-round despite extreme temperature swings. ‘In the Douro Valley, temperatures range from -5 °C in winter to above 40°C in summer,’ he says. His solution was to bury most of the building, exposing only the north-facing façade for passive climate control, supplemented by geothermal systems. The result uses an eighth of the energy of a conventional winery. Elsewhere, water flows through the property in a cycle of collection and reuse, while native plants attract symbiotic insects to the vines.

The design follows the terroir, its gentle curves mirroring the patterns of surrounding vineyards, while avoiding direct mimicry so that the eye is drawn down the estate’s cultivated terraces. This harmonious progression shapes the building’s layout, a series of connected spaces that follow the existing slope, where each level plays a role in the grape-to-bottle journey. It’s a structural metaphor for the way wine flows through the production process by gravity – a practice as old as the way wine has been produced in this region since Roman times.

The soaring roof reimagines traditional Portuguese timber construction in a way that feels both grounded and ethereal, as the wooden frame turns into a sculptural canopy that seems to breathe with the surrounding hills. It’s easy to imagine that it will age beautifully, just like the wines it houses.

The material palette draws from the Douro landscape – warm pinkish browns, sage greens and soft greys through local schist and granite, while the façade uses specially crafted concrete panels made nearby. Choosing wood over concrete wherever possible cuts carbon emissions by 40 per cent.

Equally organic is the guest experience. From the welcoming entrance, with its curated wine shop, visitors ascend to a light-filled meeting room and spacious tasting gallery where floor-to-ceiling windows frame panoramic views of both the working cellars below and the vine-covered hills beyond.

The winery represents the first phase of Rebelo’s broader remit for the estate, which includes a 25-room hotel, adjacent to the winery, due for completion in December 2026. Rebelo envisions this as ‘a 21st-century monastery, a place of reconnection with the self, and with nature’, organised around a central courtyard with fragmented volumes that frame views of the striking Douro landscape between each building.

Quinta de Adorigo is located at Q.ta de Santo António, 5120-011 Tabuaço, Portugal.

This article appears in the December 2025 Entertaining Issue of Wallpaper* , available in print on newsstands, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News + from 6 November. Subscribe to Wallpaper* today

Located on the subtropical shores of Ishigaki Island, in Japan’s southernmost Okinawa region, Not A Hotel Earth is a private villa designed in the form of a tilted, plant-wrapped circle, overlooking the East China Sea. White, light and purist, with a hint of futurism, the seemingly wall-less structure hovers weightlessly in its setting. Infinity pools and glass walls create near-invisible boundaries between inside and out, while at its curved heart lies a wild meadow.

This is the latest addition to the rapidly growing Not A Hotel portfolio, an innovative Japanese company specialising in architect-designed spaces with fractional ownership. Properties are managed by Not A Hotel, with owners able to rent out their share when not in use, giving guests the chance to enjoy the rare experience of a hotel-like immersion in remarkable residential-style surroundings. More than 30 buildings now span six sites across Japan, from Tokyo and Nasu to Kitakaruizawa and Fukuoka, with four more in development – all brought to life by a star-studded roster of architects, including Suppose Design Office, Snøhetta and Nigo (who, alongside Pharrell Williams, is also a creative adviser to the company).

Hidden depths: Not A Hotel Earth

Not A Hotel Earth, a four-bedroom space sleeping up to ten people, is the new flagship of the Tokyo-based company, which is headed up by new-generation entrepreneur Shinji Hamauzu. ‘The Not A Hotel locations we choose are often not famous tourist spots, but we feel that they have potential,’ says Hamauzu. ‘We always trust the architects completely and don’t give them a brief. We just tell them how many rooms we would like, then let them create as freely as possible.’ Describing the allure of Fujimoto’s work, he adds, ‘Often when people see his buildings for the first time, they may think they’re a bit unusual. But with time, people can feel how his designs harmonise with the land and with nature.’

Arriving at Not A Hotel Earth, there is an immediate sense of being cocooned. A gently sloping walkway to the front door transitions visitors from the outer world to the inner sanctum – and after crossing the threshold and slipping off shoes, the journey continues along a curved white corridor, which flows into an airy living room.

Centre stage beneath high ceilings is a bespoke mahogany Cassina table, its softly curved lines mirroring the building’s form. Wrapped around it are a set of Carl Hansen chairs, while alongside is a sunken seating area. A minimalist unit by kitchen appliance brand Hoshizaki is home to a signature Not A Hotel ‘conbini’ (the name given to Japan’s ubiquitous convenience stores) packed with local treats, from mango juice and whisky to Cup Noodles. Nature, however, quickly steals the show. Along one side, the space opens out onto a 20m infinity pool, dissolving into an expanse of sea and sky; and on the inner side, glass walls flow into a circular courtyard garden.

The house’s green inner sanctum is by acclaimed landscape architect Taichi Saito, whose design company, Solso, creates green environments for a wide range of residential, commercial and urban ventures. This tilted, organic cosmos of vivid green vegetation, with an edge of untamed beauty, features leafy banyan trees, scattered cut-out circles (one containing a children’s pool, the other a sunken firepit), and lush planting flowing seamlessly all the way up to the roof, where views of sea and sky once again loom large.

For Fujimoto, the idea of creating a light circular structure arose soon after visiting the site – a spacious expanse of land, on which stood a private villa, surrounded by gardens. While the initial plan had been for several villas, the architect was struck by how well-maintained the original house was, and the project soon refocused on the idea of building a single property. From the start, Fujimoto was keen not to create a conventional rectilinear structure facing the sea. Instead, he maximised the depth of the land plot by making a circular structure. Its round shape also softly echoes gusuku, the ancient curved stone fortresses particular to Okinawa.

‘It’s not just about having an ocean view, but also a view to the sky,’ says Fujimoto. ‘We tested many ideas and eventually came up with a kind of huge open courtyard. Once you are in the courtyard, protected by its wall, you can only see the sky. You are surrounded by nature. It’s calm, but you can also feel a dynamic topography. It’s like being in the middle of a valley. That’s a wonderful feeling. You’re both open and protected.’

Back inside, several ocean-facing guest rooms flow off the main space, each white and minimalist, with light woods and high ceilings – one also features a library annexe with a desk placed distractingly in front of a floor-to-ceiling glass pane. The lower level is home to more guest rooms, a gym and an underwater sauna, illuminated by a skylight that captures light-reflecting ripples of water.

As with many Fujimoto creations, the idea of harmonising the structure with its natural setting ultimately shaped its creation. ‘The project name is Earth,’ says the architect. ‘If you look from above, it almost disappears into the ground. The circle itself also looks like a small Earth. It can make you feel like you’re the only human on Earth.’

Not A Hotel Ishigaki Earth is located at 120-92 Miyara, Ishigaki, Okinawa 907-0243, Japan.

This article appears in the December 2025 Entertaining Issue of Wallpaper* , available in print on newsstands, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News + from 6 November. Subscribe to Wallpaper* today

It’s the first space that the duo have designed and art directed, and the cocooning yet upbeat interior carries the mood through from early aperitivo to midnight. ‘A blend of contemporary design and vintage pieces echoes the contrasts of Marseille itself: historic façades facing bold modern lines, classical stone meeting industrial textures,’ says Axel.

Wallpaper* dines at Dévo, Marseille

The mood: sultry vermuteria

The stained Okoumé wood wall panels, varnished resin dusky burgundy floor, and sweeping lime-coloured satin curtains offset the sheen of the vintage zinc bar and tubular steel bar stools and chairs. ‘Our inspiration came from old cafés and vermuterias in Italy and Spain; timeless places where you feel the patina of life,’ explains Mélissa.

The cinematic atmosphere is enhanced by curiosities: mirrors designed by Marseille-based artist Aurélien Ciller are printed with mountains, referencing the landscape that surrounds the city, and the mirrored advertising panels of old bistros and classic train station restaurants.

Plaster seagulls, originally destined for a theatre set, soar across the walls. Axel discovered these in the workshop of his plaster craftsman in the Var: ‘I’m often drawn to shapes inspired by the sea: fluid, imperfect, alive.’

All of the lighting has been crafted by Axel’s brother Aimeric, in their family metal-working atelier in Marseille, inherited from their father. They work there together on prototypes and limited-edition pieces. The inverse pyramidal lamps are so new they haven’t even been named yet; their shape nods to the red hats worn by the Devo band members.

The food: comfort Provençal

Moving away from sharing plates, chef Fravega proposes lighter bites and mains that complement each other. Dishes such as salted anchovies, pissaladière and French onion soup occupy the former, while hearty options, such as Milanese risotto and coq au vin, feature on the latter. The extensive wine list boasts around 100 choices of independent and natural winemakers on menus designed by the local Flirt Studio, also behind the restaurant branding.

With its richly atmospheric décor, soft lighting, and curated music playlist, Dévo is a congenial spot with a distinctive mood – the result of its thorough art direction and creative team. ‘The goal with Dévo is, of course, to seduce the eye but also to awaken a sense of belonging and curiosity. It is the same feeling you get when you wander through the streets of Marseille, where every corner holds a new surprise,’ says Mélissa.

Dévo is located at 22 Bd Paul Peytral, 13006 Marseille, France.

Wallpaper* checks in at The Standard, Pattaya Na Jomtien

What’s on your doorstep?

Sprawling silvery sands are the USP at The Standard Pattaya Na Jomtien, and here a distinction must be made: Na Jomtien is the tree-lined, breezy suburb of coastal metropolis Pattaya, which can be spied in the distance over the waves. Opting to locate in the vicinity of a city with a somewhat unsavoury reputation (Pattaya is known for crime and corruption issues) might seem like a maverick move, but if anyone can make an address desirable, it’s The Standard, and Na Jomtien currently has everything to play for.

General manager Jason Macleod explains, ‘We want to redefine the image of the area. Na Jomtien is hip, up-and-coming and spacious, with an electric energy, and there really isn’t any competition yet. We’re the new kids on the block.’ Given that the brand is so well loved by Bangkokians (the capital is just a 1.5-hour drive away), a South Pattaya metamorphosis feels imminent.

Who’s behind the design?

Steered by the chain’s global head of design, Verena Haller, The Standard Pattaya Na Jomtien’s sophisticated white structure with undulating curves is by Onion, the Thai architecture firm also behind The Standard Bangkok and The Standard Hua Hin – the former nestled within German architect Ole Scheeren’s Mahanakhon tower. With Pattaya Na Jomtien, Onion has infused the complex and its four courtyards with a sense of modernist allure.

Between buildings, an architectural walkway, dubbed the S Curve, meanders through light and shadow, the effect as you walk through it changing throughout the day. In their design, including the rippling walls, the architects responded to the ocean. Say Siriyot Chaiamnuay and Arisara Chaktranon of Onion, ‘The moving shadows of skylit structures create ever-changing patterns and colours.’

The standout details

On arrival, guests encounter colourful art installations that contrast with the structure’s bright backdrop. Both the main and the VIP reception desks are backed by wide tapestries created by Yarn Studio, richly textured and in local tones, while the two abstract figures of French artist Chloé Kelly Miller’s Unity of the Double sculpture provide a welcome in the first courtyard. Interior design is conceived by Din Studio, its third collaboration with The Standard’s Thai outposts. From sleek furnishings to quirky light fittings, in the shape of lips, for example, and playful murals, the studio has adopted natural tones with occasional pops of bolshy colour. Perhaps most memorable on the design front are the staff uniforms by Vickteerut, a Bangkok fashion house under the creative direction of Aurapraphan ‘Pang’ Sudhinaraset, designed for ease in upbeat colours.

The room to book

With 161 rooms of seven different types, this is a subjective question. All categories come large, with high ceilings and wide spaces flooded with light, but it’s the Deluxe One Bedroom Suites to angle for. Among these, the Ocean View Pool Suites are perfect for voyeurs who like to see and be seen, with vistas across the suite's own pool towards the beach club in the near distance. Our favourite is the Deluxe One Bedroom Pool Suite, which comes with a high-walled backyard, meaning you can enjoy the room’s own pool and loungers in blissful privacy. Both types of suite have decadent bath tubs, outdoor showers and indoor rain room showers, as well as a bespoke Din Studio sofa to recline on.

Staying for drinks and dinner?

Elegant restaurant Sereia specialises in seafood, spotlighting ingredients from Thailand’s eastern seaboard, the regions of Chonburi, Chanthaburi and Rayong. Head of food Khun Matt supports local fishermen, the green lights of whose boats dot the horizon at night. He worked closely with chef Liew to develop tasting menus and à la carte options at Sereia, and the Mexican platters for beach bar Esmé, where elevated CDMX street food is served as sharing plates. Sereia’s centrepiece is a sweeping bar, a magenta island where mixologist Khun Tok leads the bar team; his tequila-based cocktail, Magenta Paloma, is as refreshing as it is colourful – pink, topped with lime green.

Where to switch off

The indulgent spa has embraced the mud bathing renaissance and allotted a terrace specifically to the ancient art. Four concoctions are on offer, the charcoal and tea tree oil-rich ‘Purify’, a dark grey paste, is our favourite. Once you've selected the mud, it's a DIY affair to ‘paint yourself pure’, lathering up in richly scented goop, then reclining on a lounger in the mud terrace. The spa also has ice baths for guided sessions with therapists, who time the chilly dunks that, for the brave, promise euphoria afterwards. The oatmeal body scrub also deserves an honourable mention for being the finest-smelling exfoliant in the kingdom.

The verdict

This is the largest branch of The Standard in Thailand, and once you've checked in, it’s a resort at which to park yourself, with everything needed on site – from the zen spa treatments to tacos and margaritas at the beach bar. It’s also undeniably a hotel for music lovers as much as beach fans, and being such a short drive from Bangkok, it's the perfect sanctuary from city life. As I checked out, I was already discussing my next visit – and how to get my hands on tailoring by Vickteerut.

The Standard, Pattaya Na Jomtien is located at Thailand, Chon Buri, Sattahip District, Tambon Na Chom Thian, Soi Na Jomtien 10 8.

Wallpaper* checks in at Soil Nihonbashi Hotel, Tokyo

What's on your doorstep?

Located in a predominantly small wholesalers and office area of Tokyo, the location might not be an obvious choice for staying in the capital, but with multiple train stations close by, access is easy and with most buildings emptying out at night actually makes for a very quiet location to call home in the metropolis.

Staple’s signature approach to developing whole neighbourhoods and not just a standalone hotel also means that within walking distance, you have the amazing sourdough Parklet Bakery and cafe, and the Hong Kong-inspired Chinese wine bar Timsum serving natural wines by the glass or bottle. There are also plenty of small Izakayas and restaurants frequented by after-hours salarymen to be explored.

Who is behind the design?

This is architect Kiyoaki Takeda’s first time working with Staple, and also his first time designing a hotel. ‘We spent a long time walking around the neighbourhood interviewing locals and researching the many potted plants found outside people’s homes.’ Takeda explains. The greenery is a big part of the design and something that Takeda says was inspired by the conversations with the locals during his research. ‘We used more than 100 different plants on the balconies. We received many cuttings from neighbours.’ The consistent use of red-brick exterior tiles throughout the design, bespoke natural stone door handles and dyed paper lamps add personality to the rooms.

The room to book

The 14 rooms come in three basic types: small but cosy doubles (with or without bathtubs) at 16-18m2, larger studio queens (again, with or without bathtubs and the 50m2 top floor Park View Loft (our favourite) with a huge bathtub, serene living area and vintage tape deck (complete with an eclectic selection of mix-tapes). Common for all rooms are floor-to-ceiling windows offering plenty of natural sunlight, greenery both outside the windows and inside, brick tiles and custom-dyed paper lamps. Amenities are basic; free coffee and tea, original shampoo, conditioner and body-wash, but showers are spacious, beds are comfortable, and the rooftop garden offers a quiet place to hang out and enjoy a quiet moment outside the rooms.

Staying for drinks and dinner?

Breakfast is offered at the ground floor Pizza Tane. Guests choose between a sourdough hot dog or a mortadella-topped single-serve pizza. Both come with salad, a choice of drinks and fruit for dessert. While it’s perfectly ok, we recommend you skip breakfast at the hotel and instead head across the street to the Parklet Bakery for a much wider choice of baked goods and delicious coffee. If you crave Pizza for lunch or dinner, Tane is definitely worth a visit, but the nearby Timsum is a more fun and unique option to enjoy dim sum-inspired cuisine paired with an impressive selection of natural wines.

The verdict

We loved the local feel of Soil Nihonbashi and the super-friendly staff, both at the hotel and the restaurants/bakeries run by Staple nearby. The rooms are well designed and, while simple, offer a great refuge from the busy metropolis.

Soil Nihonbashi is located at 3-2-4 Nihonbashi-ningyocho, Chuo-ku, Tokyo 103-0013, Japan.

Wallpaper* dines at Marvito, Los Angeles

The mood: rustic saloon with a classic rock soundtrack

Marvito began as a pop-up at Marder’s other restaurant, the much-praised neighbourhood French-style bistro and natural wine bar Marvin on Beverly Boulevard. The permanent concept for Marvito took shape while Marder was listening to a lot of Grateful Dead and tasting small-batch, additive-free tequilas. Those same tequilas now line the back bar, joined by a high-fidelity sound system powered by a MacIntosh amp inspired by the Dead’s legendary ‘Wall of Sound’, and an old-school rock record collection.

Cosy black tufted-leather booths glowing beneath vintage amber-glass pendant lamps set the tone: rustic, a bit louche and deeply lived-in. The decor includes Western artwork, two portrait drawings of Steely Dan (a favourite on the vinyl rotation, especially ‘Glamour Profession’, which also inspired the decor theme), MacIntosh and Dodgers posters, and a Peter Alexander painting of the LA skyline.

The food: All your favourite Mexican-American comfort dishes

The Mexican-American menu by co-owner and chef Ricky Moreno (Marvin and Capo) pays homage to LA classics, including crispy shrimp tacos with the salsa brushed on the outside of the shell, topped with sliced avocado. Beef tacos are another crowd pleaser, alongside shrimp enchiladas and chicken piccata. For a lighter bite, there’s tortilla soup finished with crema, or a bright-and-tart Hamachi aguachile. Larger-format plates include slow-cooked carnitas and rich chile Colorado.

Sharing options are generous: barbecue baby-back ribs lacquered in a sweet-and-spicy borracha sauce, or a whole grilled fish with pico de gallo and olives. Drinks bridge past and future. You can still order a ‘secret-ingredient’ margarita, though the new signature Marvito Martini made with Plymouth gin, Dolin dry vermouth, a Castelvetrano olive and a lemon twist feels like a slick step forward.

Marvito is located at 1113 N Harper Ave, West Hollywood, CA 90046, United States.

‘Our intention is to create the greatest fish restaurant this country has ever seen,’ Major Food Group co-founder Jeff Zalaznick said in a press release.

To create a restaurant of that calibre, Zalaznick and his team needed a designer with chutzpah. Martin Brudnizki, the founder of the powerhouse interiors firm Martin Brudnizki Design Studio, was the man for the job. Not only had he worked on two prior projects with the Bellagio’s operator, MGM Resorts, but he’s gained a reputation for interiors that balance audacity with refinement (see: the prancing unicorn at legendary London club Annabel’s).

The empty space the restaurant would occupy offered no shortage of precedent; up until last year, it housed Picasso, Julian Serrano’s pioneering fine-dining concept that not only contained authentic Picasso paintings and made a cameo in Ocean’s 11, but also brought haute cuisine to the Strip.

‘The space was famous and they wanted someone to treat it with the respect it deserved,’ Brudnizki tells Wallpaper*. ‘I wanted to pay homage to the past, but then really make it all about the future.’

Brudnizki and his team were captivated by the original tenant’s namesake, Pablo Picasso. They were drawn, in particular, to the artist’s years spent along the Côte d'Azur in Vallauris, France, a fruitful period during which he produced thousands of ceramic designs. Like those whimsical plates, vases and pitchers, ‘the space we did for Carbone Riviera is quite playful’, Brudnizki says.

The design team softened the existing blank-slate interiors by introducing a series of rounded arches echoing the Bellagio’s windows. Diners walk through an arched passageway that glimmers with a swirling mosaic-tile floor, and past an arched niche containing a seashell sculpture overflowing with lemons and artichokes before entering the grand, main dining room.

Here, Picasso’s beloved French Riviera was the muse, with an ocean-blue carpet underfoot, columns clad in more glittering mosaics and curved wine-red banquettes, where diners can choose from dishes like truffle-sprinkled scallops, grilled octopus or an arrabbiata made from a two-pound lobster. A series of snug dining alcoves feature framed artworks by Joan Miró, Pierre-Auguste Renoir, and, of course, Picasso. Crowning it all is a whirling ceiling mural evoking the movement of Mediterranean waves and Picasso’s meandering brushstrokes.

Diners can also opt to sidle up alongside an onyx-topped bar, which offers a front-row view of the Fountains of Bellagio and its famous lightshow from a central window. Or, they can relax on the outdoor patio, perched upon Riviera-inspired striped cushions and take in the Bellagio’s very own Riva yacht.

In a less deft set of hands, all of these elements might feel a little, well, Vegas. But, according to Brudnizki, creating an elegant-yet-exuberant interior is ‘all in the detailing.’

‘It’s all very elevated,’ he continues, ‘and that's what makes it work at the end of the day.’

‘We noticed this great energy around Raf's – people would finish dinner and want to hang out a bit longer, or they'd show up early looking for a spot to grab a drink or a bite,’ says Jennifer Vitagliano, who opened the haunt with her sister, Nicole Vitagliano. ‘Zaf’s answers that desire. It's livelier, transportive, and built for socialising from day to night.’

Wallpaper* dines at Café Zaffri, New York

The mood: history with a rebellious streak

Zaf’s occupies the entire ground floor of the recently-opened hotel, The Twenty Two New York. While Raf’s pays homage to the long-beloved Sicilian bakery that once stood in its place, Zaf’s celebrates the history of the 1891-built midrise it occupies: its original use as the Margaret Louisa Home boarding for ‘rebellious and ambitious’ women who had just moved to the city.

Prolific Brooklyn design firm Post Company imbued the restaurant with both implicit and explicit hints at the locale’s storied past, but with a fresh feel. ‘Old New York dining rooms had this sense of permanence and personality,’ says Nicole. ‘They were cultural rooms; places where people came to gather, to watch and to be seen. We wanted to honour that lineage but reinterpret it for how people dine and socialise today. We leaned into warmth and subtle nostalgia – something familiar and romantic but without being stiff.’

Leigh Salem, Post Company partner, responded in kind with a scheme that’s timeless, ‘fully transportive,’ and yet still relevant to the community of ‘regulars’ the Vitaglianos have forged. ‘We were playing off the foundational and intimate qualities captured at Raf’s but within a much more ambitious space, one geared towards large celebrations and events – a more exuberant tone,’ he says.

Because it sits inside a hotel, the restaurant needs to serve three meals per day. Salem and his team accommodated this daily shift by delineating three distinctive spaces. The moody entry lounge leads into a bright atrium with detailed colonnades, tiled floors and woven-cane chairs – all custom-made for the space. Also of note: a framed quilt art piece emblazoned with the moniker ‘Calling All Rebels.’

The opulent main dining room toward the rear can be accessed through double-height doors and comes with an intricate wood-panel bar. The three-sided one up front is finished in burl and black marble.

The main dining room is defined by a complex floral wallpaper; an embroidered brocade based on vintage samples. Unlike the central atrium that takes in tons of natural light, this space doesn't have any windows. Post Company implemented a central ceiling motif with discs of rose and peach glass – a play on iconic Tiffany lamps – to help infuse the space with colour and vibrancy. Hand-painted walls and ceilings, patterned upholstery and semi-sheer drapery tie everything together. An analogous palette of reds, oranges, purples, yellows and pinks play well off of the cream-toned walls and mirror-wall surfaces.

‘The cafe and atrium are the heartbeat of the daytime – bright, casual, and energetic,’ says Jennifer. ‘As you move into the dining room, the atmosphere deepens. Lighting softens, the palette warms. By night, the whole space feels charged and immersive. It’s still welcoming, but there’s a current to it: a place you're meant to stay awhile.’

The food: A trip to the Mediterranean

On any given afternoon, digital nomads might be hard at work on their computers. Others might be having lunch and catching up. ‘Zaf’s is an anchor space, acting like the lobbies of grand hotels once did: a living room or social center that invites guests and locals alike, grounding the hotel in the neighborhood,’ says Nicole.

On offer is a dynamic menu developed by award-winning chef Mary Attea (who also heads up the kitchens at Vitagliano's other restaurants Raf’s and the Michelin-Starred Musket Room). Here, it's a refreshed interpretation of classic Mediterranean and Levantine dishes. ‘It’s about bright, simple ingredients, a little char, a little acidity and warmth – traditional flavours through a New York lens,’ Jennifer explains.

One can choose between starters like fried jibneh (Syrian cheese and preserved lemon) or a cucumber fattoush salad with feta and sumac. For mains, there’s a stew-like halibut chraime with Lebanese rice but also a dry-age beef burger and the full skewer service. Deserts include Egyptian-style aish al saraya ‘palace breads’ and uniquely flavored sorbets.

Café Zaffri is located at 16 E 16th St, New York, NY

The mood: High-gloss hedonism

Anyone who has been to pop-tastic Town will recognise the high-gloss visuals, with Town’s red and orange swapped out for yellow and green. The look in the 150-cover space is inspired by British motoring companies of the 1960s and 70s (hence the name), though the sleek aesthetic is very much more Jaguar E-Type than Austin Allegro.

Other touch points for North End Design include post-war office furniture brands such as Knoll and Cassina, the psychedelic art of Alan Aldridge (who collaborated with The Beatles and Elton John), and the soft curves of jet-set furniture designer Willy Rizzo. 'Motorino is young and playful,' explains Samuel Hosker, North End’s founder and creative director. 'The sound system is fantastic, and the open private-dining space has been designed to suggest a recording studio, with comfy carpeted flooring enveloped by 70s timber panelling.'

The look of the restaurant reflects the menu, Parle believes. 'We cook simple but bold food,' he says, 'showcasing the best ingredients while purposefully restricting the number of them. It’s the same approach for the interiors: limit the number of finishes, use interesting, high-quality materials and colours, and use them confidently. It’s not minimalism, but there’s a restraint and appreciation for materiality coupled with a sense of fun and irreverence that brings it together.'

The food: Simple ingredients, maximum impact

Expect a classically constructed Italian menu of snacks, starters, primi, mains, sides and dolci, given some unclassical treatments. Fans of Ahearne’s cooking at Lita will recognise dishes such as the flavour bomb of bluefin tuna carpaccio with corno peppers, coriander and sudachi (a sour Japanese citrus), or the umami-rich chopped Dexter beef with fermented green chilli and porcini ketchup under a wigwam of shoestring fries.

New dishes are playful takes on Italian staples. Gigli al gin with fennel sausage, tomato and Fords gin is a London spin on penne alla vodka, while beef cheek slow-cooked to tenderness with peppercorns and polenta is Ahearne’s version of a Tuscan stew. And while the inspiration is Italian, the ingredients are British and Irish, sourced from Parle’s network of trusted suppliers.

You don’t need to eat here, though. As at Town, the bar is overseen by Kevin Armstrong, the owner of Satan’s Whiskers in Bethnal Green (number 29 on the World’s Best Bars list). Things kick off with seasonal chargers on tap – think a Lampone made with vodka, raspberries, Campari and raspberry eau de vie – or there’s a trio or martinis and Negronis apiece. Just don’t drink and drive.

Motorino is located at 1 Pearson Square, London, W1T 3BF

APT Solara

Decks, windows and balconies offer almost-within-reach views of the picturesque mountains, castles and forests. The outside is brought indoors, too, by works by Australian photographer Nicholas Wilkins that capture the European locations of the boat’s passage. In addition, there are also landscapes by painter Greg Wood, inspired by his time in Germany, and scenic wallpaper depicting a forest inhabited by birds.

While the boat’s exterior is sleek, with glazing and chrome handrails, the interiors adopt a more relaxed sensibility. There is a focus on built-in furniture – to minimise movement, breakage and vibrations as the boat steers through the river locks. It was also important that the weight of the fitout be minimised to ensure that it wouldn’t impact the draft of the boat. The calming, neutral material palette of creamy stone and blonde timber is layered with upholstered banquettes and rattan armchairs. Pieces from Gubi, Expormim, Cassina, Gebruder Thonet, Sika, Fritz Hansen and Gervasoni pepper the interiors.

Conceived as a ‘floating hotel’, Solara accommodates 154 people across 77 cabins. There are three room types: Owner’s Suite, the largest, with a balcony and sitting room; The French Balcony Suite, with electric floor-to-ceiling slide-down windows; and Twin Window Seat, a smaller yet cosy timber-panelled space. Structurally, contemporary curved corners on the walls are juxtaposed with traditional wainscoting elements.

There are subtle maritime references throughout: cast aluminium hooks by Australian designer Henry Wilson nod to nautical anchors, cabin lighting is inspired by a ship’s lantern, woven artworks by Jo Elbourne hint at naval flags, and circular design details allude to portholes. There’s also an impressive pendant by Sarah Parkes, whose knotted light is draped from the lobby skylight, calling to mind a chunky rope used for rigging or mooring.

With trips spanning 14 days, culinary options are important, and there are five to choose from. ‘Guests spend two weeks aboard the ship, eating all meals there, so we wanted to create variety within the hospitality offerings in addition to other calmer and more intimate spaces they could retreat to. This new but tangential design language allows for subtle shifts in mood and ambience, all underpinned by elegance,’ says Van Hearn. The main restaurant, Bistro Saison, is fitted out with slipcovered chairs and decorative tablecloths by Lewis and Wood.

The multifunctional sun deck has space for dining and a sunken lounge at which to hang out. ‘It’s a place for both quiet reflection and social connection,’ says Van Hearn. ‘It’s a convivial, communal space to pause, meet and talk while taking in the views. It’s where people naturally gather to watch the landscape unfold.’ At the rear, the bar hydraulically lifts up to deck level when the boat is moored, transforming into an open-air rooftop where guests can relax and drink in the stillness of the surrounding natural environment, from powder-coated outdoor furniture.

aptouring.com

Enter the ‘pizzaissance’

The Margherita was invented in 1889 to commemorate the visit of Queen Margherita to Naples. But it is the world’s other most famous pizza city, which has recently led to a pizza boom in London: New York. Gerry del Guercio, who, with Paul Delany, runs the Bite Twice Instagram account reviewing pizzas across the capital, credits Tom Vincent with introducing authentic American-style pizza to the UK when he brought New York pies to Vincenzo’s in Bushey, Hertfordshire, in 2022. After trialling over 1,000 pizzas, the Bite Twice boys have opened their own homage to East Coast pizzerias, Carmela’s, in Islington.

The small space evokes a mid-century Midtown bar crossed with a Little Italy pizzeria, featuring Tala pendants, brass lighting, and walls saturated in Yes Chef paint, an earthy red that transforms from burnt pink by day to moody crimson in the low light of evening. Crisp-yet-foldable 13-inch pies with classic toppings like fennel sausage and pepperoni are complemented by cocktails and Italian wines.

Like many of the newcomers del Guercio reviews on Bite Twice, Carmela’s is East Coast Americana refracted through a London lens. ‘In the past, London only replicated very literal versions of other pizzas,’ he explains. ‘What we are seeing now is London developing its own distinctive pizza culture.’

The transformation has been built upon a Neapolitan foundation first laid by the original Franco Manca in Brixton Market, which opened in 2008. ‘Franco Manca was really fresh and exciting,’ del Guercio recalls. ‘The pizza was phenomenal.’ Yet as the brand expanded and focused on low prices, it shaped public perception of pizza as something cheap. ‘That devalued what a pizza was in the eyes of the public for a long time,’ del Guercio notes. Now, though, a new generation of pizza makers is elevating both quality and perception.

Chef Tom Kemble spent 20 years in Michelin-starred kitchens such as Hedone and Fäviken before pivoting to pizza. ‘Operating Michelin-starred restaurants has become increasingly challenging,’ he explains, citing rising costs and food inflation. ‘It’s become almost impossible to offer the customer the spirit of generosity that I would like when cooking at that level.’ Pizza, in contrast, offers the sort of accessibility and immediacy that would be unthinkable with a tasting menu.

Kemble launched Spring Street Pizza in April 2025. The restaurant is named after the Manhattan thoroughfare where Lombardi’s, New York’s first pizzeria, opened in 1905. Functionality, not fine dining, has driven Kemble’s design ethos. ‘I didn’t want anything that felt too polished,’ the chef says. ‘It had to be practical, because 18-inch pizzas take up a lot of space to prep, cook and eat.’ But he still maintains the high standards he learned in high-end kitchens. ‘I source with the same rigour and demand for quality. I celebrate seasonality and pursue continuous improvement.’

Pizza’s potential for delivering crowd-pleasing quality is driving innovation in unlikely places. Carl McCluskey grew up around his family’s Hammersmith pub, The Chancellors, where he watched the drinks trade dying but lacked the space to go full-on gastropub. ‘We did toasties and that was about it,’ he says. ‘We needed a food operation small enough for our tiny kitchen.’

His solution came through discovering Mark Iacono on Instagram, the chef who turned Lucali in Brooklyn into a social media sensation and, like McCluskey, had never cooked pizza professionally before launching his business.

When Crisp Pizza at The Chancellors debuted post-pandemic with pepperoni, nduja and mushroom pies, McCluskey’s ambition was ‘to sell 150 pizzas a day. We were way past that straightaway.’ The secret of his success is a signature style of pizza he calls ‘New York method, Neapolitan ingredients.’ Where traditional Neapolitan dough uses only minimal salt, New York-style incorporates additional salt, plus sugar and oil. ‘I wanted to balance looking like a Neapolitan pizza with charred blisters and bubbles, but having that stronger New York hold and crispier base.’

This month (November 2025) sees Crisp relocate to The Marlborough in Mayfair, a Grade II-listed pub a stone’s throw from Selfridges – a site ‘every operator in London wanted,’ says McCluskey, who is opening in collaboration with the team behind The Devonshire. He describes the look as ‘Victorian movie set,’ with the ground floor maintaining traditional British pub aesthetics while the basement houses an ‘ode to New York.’

While McCluskey was reimagining pub spaces, Francesco Macri was pursuing a different approach with Alley Cats: first in Marylebone, then in Chelsea and now its latest pizzeria in Notting Hill. Once again, America is the inspiration – ‘the pizza scene in the US has always felt like it was operating on another level compared to London,’ says Macri, who is head chef of Alley Cats – but executed in a way that doesn’t feel like a pastiche. ‘We’ve done very little in terms of design. We wanted our restaurants to feel stripped-back and welcoming, with the focus firmly on the pizza.’

This anti-design philosophy has created its own visual language. ‘Certain elements have become part of our identity: the church pews, glazed tiles, gingham tablecloths and even the projector playing classic films on the wall.’ But how can Alley Cats maintain a sense of originality as the group expands? ‘It’s about keeping each site individual,’ Macri says. ‘We don’t want to replicate a cookie-cutter model, though we know public perception can shift once you have multiple sites. The goal is to share Alley Cats pizza with as many people as possible, but to do that sustainably – by choosing locations carefully and growing at a pace that allows the product to stand the test of time.’

American might be the ascendant style on London’s pizza scene, but it’s not all over for Italian, though individuality remains an equally essential ingredient. Bechara Aoun chose to focus on Roman pizza when he opened Marta in Chelsea at the end of 2024. ‘Roman pizza is stretched with a rolling pin and is larger, crisper and baked for longer than Neapolitan pizza,’ Aoun explains. ‘I like to think it’s lighter and more refined, but our goal isn’t to replace Neapolitan pizza in London. We want to remind people that Italy has other rich traditions that are just as deserving.’

His design philosophy mirrors this artisanal approach, both at Marta and Martina, his new Fulham restaurant. ‘Martina mixes mid-century and contemporary design: terracotta tones and a big communal table make it playful and casual,’ Aoun says. ‘Marta feels like it belongs to another era: all hand-crafted solid wood, a travertine bar and the wood-fired oven as its hearth. In both places, the goal was the same: to restore that sense of eating somewhere that feels alive, where the design, the food, the wine and the service all connect.’

Broadening British tastes beyond Neapolitan isn’t the only shift in London’s pizza culture. ‘In New York,’ says Henry Hill, ‘slices you grab on the move are part of everyday life – fast, cheap, delicious and fun.’ Now Hill is introducing Londoners to slice culture at the first permanent site for Bad Boy Pizza Society, which opened in Bethnal Green in August.

Hill describes his new venture as ‘like a Brooklyn pizzeria collided with an old-school English pub. The front has that industrial grab-a-slice energy, while the back is dimly lit and built for table service and hanging out.’ Bad Boy serves 18-inch pizzas cut into foldable slices, and Hill believes the pace of life in the capital supports slice culture: ‘London has a similar energy to New York, so there’s no reason slices can’t catch on here.’

But has the time come to revive the style of Anglo-Italian pizzeria that many British operators have moved away from? Rachel Jones had been running Ace Pizza as a pop-up since 2018 before opening a permanent restaurant in Victoria Park, with a design scheme inspired by her childhood.

‘Growing up in 1980s Birmingham, I remember the family-run British pizza joints – wooden panelling, deep-red tones, warm low lighting. They were always our go-to for birthdays and family celebrations, and they left a big impression on me. A lot of places in London now lean heavily into the NYC slice-shop look, but I wanted to create something more relevant to me. I worked with Jo at Hunter’s Daughter on the interior, and we leaned into what we called ‘80s British Italian party’ – fun, a bit cheeky, inviting.’

The cooking feels Anglo-Italian, too, and has been dubbed ‘London-style pizza’. How would Jones define that? ‘I think London-style pizza is a hybrid of lots of different styles, and there are lots of variations within that. It’s a confident blend of influences rather than a strict adherence to any single tradition. There’s a bit of New York, a bit of Neapolitan, some Roman influences, but it’s ultimately defined by creativity and adaptability – much like London itself.’

The creative confidence characterising London’s vibrant pizza scene hasn’t gone unnoticed internationally. Del Guercio reports that Anthony Falco, the former chef of legendary Brooklyn restaurant Roberta’s, turned pizza consultant, recently researched London for a book on undiscovered pizza cities. American operators are showing interest, too. ‘There’s talk of some big New York names coming over to London, and that only happens when they know they can make enough money.’

Del Guercio's assessment reflects a city-wide pizza scene transformed. ‘London is going to become one of the big pizza powerhouses,’ he says. ‘People are really excited about it.’ No wonder hungry Londoners aren’t the only ones queuing up for a slice of the action.

Discover our guide to London’s pizza renaissance below.

Meyer Davis unveils a new look for Hotel Arts Barcelona

The first milestone – unveiled in summer 2025 – was a redesign of the property’s nearly 500 bedrooms and suites. All are exterior-facing, offering vistas across either the Mediterranean coastline or the city and its mountainous backdrop. A view-centric philosophy therefore lies behind the redecoration: half the rooms are now themed ‘mountain’, with an earthy, fertile colour palette, while ‘sea’ rooms feature soft blues against sandier tones.

Svetlana Samardzic, senior associate at Meyer Davis, says one of her main objectives was to break down internal walls, allowing natural light to fill the sleeping, living and bathroom spaces. Mirrored interiors also accentuate the sense of openness and light, with reflections of the outdoors visible from nearly every angle. ‘Now, when you open the door, the view is right there,’ says Samardzic. ‘That’s the wow moment.’

This area of Barcelona was once known for textile production, explains Will Meyer, co-founder of the design firm whose wider hotel portfolio includes projects for Four Seasons, Mandarin Oriental, Rosewood and W. His team drew from this local trade heritage when creating elements like the upholstering of their custom-made armchairs. ‘We looked at the different weaves and textiles made here,’ Meyer says, ‘which inspired our layering and patterns.’

Other designers have also created bespoke pieces, all evoking marine life: Ayus Design has crafted lampshades from sugarcane sculpted into shapes inspired by waves, while turquoise-coloured wall sconces by SkLO are moulded to resemble floating buoys. Translucent aquamarine tables by Extra Ordinario are made of lava stone, featuring glazed crackled tabletops, while hand-tufted rugs by Spanish atelier Nanimarquina are embossed with a pattern recalling droplets of water.

Catalan creatives bring a flavour of local creativity – like ceramicist Rosa Cortiella, who has created decorative clay pieces, and artist Lorena Canals, who has designed abstract textile wall hangings hand-woven by artisans in India. Smart new tech installations, meanwhile, support greater eco-consciousness: Lutron systems automatically switch a room’s energy supplies off when guests leave, and taps for osmotised drinking water reduce needless bottle usage.

The rooms are just the start of Hotel Arts’ overall revamp, estimated for completion in 2027; valued at 220 million euros, it’s set to be Spain’s most expensive hotel renovation on record. It will include a reworked layout merging indoor and outdoor space and a wellness centre spread across four floors; new F&B spaces will add to the existing gastronomical offer, which currently includes Paco Perez’s two-Michelin-starred restaurant Enoteca.

These aren’t the only changes afoot in this part of town: the multimillion-euro redevelopment of the surrounding Port Olímpic district includes new docking, walkways and leisure spaces. ‘The city is trying to redefine that area,’ says Meyer, ‘and the hotel is one of the most important features.’

Hotel Arts Barcelona is located at Carrer de la Marina, 19-21, Ciutat Vella, 08005 Barcelona, Spain.

Wallpaper* checks in at Villa Dubrovnik

What’s on your doorstep?

Situated in the eastern part of the city, next to Plaža Sveti Jakov, Villa Dubrovnik makes the perfect base to explore the city while enjoying the calming sound of the sea. Even though the hotel offers shuttle service, it’s worth the 15-minute walk to the Old Town, which is designated as a Unesco World Heritage Site. As you go, let your mind wander on one of the wooden benches overlooking the sea or visit the Umjetnička galerija Dubrovnik with its stunning sculpture terrace showcasing works from Croatian artists like Branko Ružić.

Who is behind the design?

Known for his subtle shades and idyllic escapes, Brazilian architect Arthur Casas and his team are the masterminds behind Villa Dubrovnik’s redesign. ‘Each internal space naturally dialogues with the surroundings, creating an immersive experience where the landscape becomes the main protagonist,’ says Casas, who was heavily inspired by the vastness of the Adriatic Sea for this project. Here, tradition and contemporary spirit coexist in balance, offering a continuous encounter between inside and outside.

Every detail – from the choice of materials to the colour palette – carries the identity of Dubrovnik and makes its heritage feel present in every corner. The use of terracotta pays tribute to the city’s rooftops, and the limestone in walls and sculptural elements mirrors the stone walls of the Old Town, which protected the city from invaders back in the day. ‘The materials are not decorative layers but elements of identity, allowing the interiors to resonate with the city’s stone heritage,’ Casas continues.

The room to book

Most of the 56 rooms (including suites and residences) have an ocean view, so you can’t really make a wrong choice. For everyone looking for a panoramic balcony to witness the most beautiful sunsets and a magnificent view of the island of Lokrum, we recommend booking the Deluxe Grand Sea View Room, which includes a walk-in shower, a bathroom with two marble sinks and a bathtub to rest after getting your steps in. As an add-on, every room connects to Bluetooth in order to listen to your darling playlists while getting ready or ordering room service.

Throughout the hotel rooms, you will find subtle cues of Dubrovnik’s heritage, such as the traditional patterns of the blankets and cushions, inspired by an old traditional dialect. Even the hotel logo represents a modern take on Dubrovnik’s infamous ‘maskeron,’ an ancient stone ornament you can spot on various fountains and walls throughout the Old Town.

Staying for drinks and dinner?

Arthur Casa’s personal highlight of the project is the bar and restaurant (as well as the library). Throughout the property, you’ll spot timeless furniture pieces by design icons such as Eileen Gray and Gio Ponti, as well as paintings, sculptures and ceramics by Croatian artists.

For a fine-dining experience, the on-site Restaurant Pjerin offers degustation menus or à la carte. Expect traditional dishes with a modern twist made with locally sourced ingredients, such as lobster tail, turbot fillet and sea bass fresh from the Adriatic. For a more casual dining setting and lunch menu, Giardino Restaurant, located on the hotel terrace, surrounded by century-old pines and with a breathtaking view of the Old Town, serves Croatian dishes such as šporki makaruli or cuttlefish black risotto. Lounge in one of Pierre Paulin’s and Fratelli Monti’s armchairs with a digestive drink right next to Libero Bar, or get the lift to the 5th floor and enjoy a signature fig negroni on the rooftop at Galanto Bar – the best spot to watch the sunset apart from your room’s balcony.

Where to switch off

If you need relaxation for body and mind, the spa offers a variety of facial and exfoliant treatments, massages and even a hydrating after-sun package for everyone who has spent too much time on the sun deck. We recommend booking the ‘experience massage,’ a full-body massage tailored to meet your specific needs, featuring a selection of Dalmatian oils. Every treatment comes with locally crafted products, including remedies from Dubrovnik’s infamous Franciscan Pharmacy, Mediterranean herbs and a range of Sodashi products, which are vegan and cruelty-free. With the Adriatic Sea right on your doorstep, there’s nothing more enjoyable than taking a dip after the spa or a swim in the heated indoor pool. For everyone who loves to sweat, the hotel also comes with a sauna and a steam room.

The verdict

If you’re searching for the perfect sunset and a much-needed timeout, Villa Dubrovnik is the spot. There’s nothing better than enjoying a fresh, local Croatian dish by the sea with a magnificent view of the Old Town – and the option to walk towards the buzz or simply stay away from it.

Villa Dubrovnik is located at Ul. Vlaha Bukovca 6, 20000, Dubrovnik, Croatia.

Tour The Netty, Oxford

The stay begins with a touch of theatre: a descent down a stairwell with tumbling ivy, chequered tiles and a bright red door. Inside the rooms, glass-block windows – remnants of the 1895 public conveniences – filter daylight from the pavement above, creating shifting patterns of light. ‘You have to give people a reason to want to sleep below street level,’ says interior designer Rachael Gowdridge. ‘The drama, texture and detail do exactly that.’

Inside, Gowdridge – whose portfolio includes The Hoxton Hotels and Gleneagles – has created richly layered interiors that make the most of the compact scale. Each suite measures just 22 square metres, with an open-plan shower extending directly from the bedroom, giving the space a feeling of cosiness rather than constraint. Prints and patterns play against glossy ceilings and textured wall finishes, while reflective surfaces maximise depth and atmosphere. ‘Designing something on such a small footprint pushes you to be more intentional,’ Gowdridge explains. ‘Every detail had to earn its place, but that constraint also gave us the freedom to be bold and expressive in ways that larger spaces sometimes don’t allow.’

The design blends crisp, new finishes with vintage furniture and found artworks, chosen both for their individual histories and for their links to Oxford. ‘There’s something deeply satisfying about turning a place people once hurried past into somewhere they now want to linger,’ Gowdridge notes. ‘We wanted The Netty to feel rooted in Oxford’s past, but also full of humour, softness and surprise.’

That spirit comes through in a host of custom details. Bespoke bathroom tiles are patterned from a 19th-century lithograph of the ancient yew trees in the walled garden of the nearby Botanic Garden. Behind the headboards, woven tapestries introduce tactility and colour, while delicate cast plaster motifs nod to the Ashmolean’s decorative arts collection. The result is a setting where Oxford’s cultural layers are embedded in the very fabric of the rooms.

The site had been shuttered for 17 years before its reinvention, and it remains one of the city’s most unexpected hospitality offerings. Much of its distinctiveness comes from the clients’ willingness to embrace eccentricity. ‘The clients came to us with a gem of an idea and total trust in the process,’ says Gowdridge. ‘It’s rare to have clients who want to celebrate history, play with humour and commit to such rich detailing all at once.’

That sense of playfulness runs throughout. ‘It’s probably the first time I’ve designed a hotel room around a toilet, but that’s what made it so much fun,’ Gowdridge reflects. ‘There’s a tongue-in-cheek energy to The Netty, but it’s also a genuinely beautiful space.’

The Netty is located at 1A St. Giles, Oxford, Oxfordshire OX1 3JS, United Kingdom.

Wallpaper* dines at Nela, London

The mood: pale fire

Nela’s design language is a love letter to warmth: rich travertine, soft sandstone, red lava stone tabletops. A glow emanates from stainless-steel columns, pooling into banquettes that snake through the cavernous space. The studio’s inspiration, a droplet’s ripple, manifests in the circular bar, adorned with handmade Portuguese tiles and serving as a sculptural magnet for anyone nursing a cocktail and contemplating whether to linger or fully surrender to dinner.

Suspended aluminium fins choreograph the view towards the kitchen’s fiery procession, transforming chefs into performers. Throughout, the art collection features works by Richard Serra, Sterling Ruby, Meg Cranston, Joyce Pensato and Alighiero Boetti. For those seeking a touch of hush without disrupting the atmosphere, the semi-private dining room glows like an ember-lit enclave, illuminated by custom PS Lab’s sculptural lighting.

The food: live-fire eloquence

The house lavash bread introduces guests to a menu anchored in flame. A selection of raw and cured dishes is recommended to open the palate, such as a bright yellowtail dressed with lemon and truffle. From the grill, slow-cooked Scottish short rib and braised lamb shank bring slow-cooked richness, though the open-flame sea bream commands attention with a parsley rub.

Vegetables also receive a smoky treatment: crispy courgette with a charred cucumber tzatziki, artichoke roasted over charcoal, grilled corn swaddled in tempura. Dessert keeps the theme alive. Baked Alaska is the perfect theatrical finish, its vanilla ice cream core offset by passionfruit compote and a citrusy whisper of yuzu marshmallow. From the cocktail list, ask for your favourite and expect a twist. The Aperol Spritz, for instance, is reimagined with charred pineapple soda, plus mint and lime sorbet.

Nela is located at 163 Queensway, London W2 4BD, UK.

‘The building appears as a carved incision in the landscape, embraced by nature on three sides and from above,’ Thun explains. ‘This deliberate cut opens up a complete, uninterrupted view of the magnificent Lake Louise and its glacier. The concept is to extract a portion of the terrain to form a protected space.’

Basin Glacial Waters

The entrance sequence establishes an immediate shift in consciousness. The reception sits elevated above the main bathing floor, creating what Thun describes as ‘a journey of descent.’ As guests move down the gently curving pathway, a narrow channel runs alongside, water flowing over smooth lake pebbles. The effect is both sensory and psychological, compressing space before releasing visitors into the facility’s soaring main volume. Here, dramatic windows command attention while serving a deeper purpose.

‘The arched windows are a homage to the original Chateau building,’ Thun says, pointing to the historic Fairmont’s Painter’s Wing. ‘Our building is designed to feel as though it truly belongs; we chose an architectural language that respects both the natural and built context. Loud, attention-seeking architecture belongs to the past; we believe in an architecture that harmonises and blends in.’

These carefully proportioned openings flood the interior with natural light while creating powerful visual connections to the glacier-fed lake and surrounding peaks.

This philosophy of restraint and longevity is reflected in the material choices. Cedar and fir provides warmth against the stark alpine landscape, complemented by stones, pebbles and lime plaster that echo the surrounding terrain. Thun’s palette also features the use of porcelain tiles, which he says is ‘the most sustainable and thoughtful alternative to natural stone’ and a pragmatic choice for environments exposed to constant water and temperature extremes.

The spatial organisation follows what Thun calls a 'box within a box' strategy: ‘Inside the larger container, we’ve placed smaller boxes that house the primary functions, such as saunas, steam rooms and changing rooms. The spaces surrounding these inner boxes define the circulation routes, the more open zones, the water areas, and the places for connection. It’s an urban design approach translated to an interior scale.’

This strategy creates a natural flow between moments of solitude and social connection, allowing guests to move between the intimate Silent Salt Relax room and the communal energy of the pools.

Rather than treating interior and exterior as separate realms, Thun created fluid transitions that shift with Lake Louise’s dramatic seasonal changes. The Infinity Pool extends seamlessly onto an expansive terrace, while the outdoor Aufguss sauna maintains visual connections to interior spaces, forming what feels like one continuous, breathing environment. Positioned to capture uninterrupted glacier views, the reflexology pool transforms functional bathing into a contemplative ritual, while varying water temperatures create microclimates within the larger architectural envelope.

When asked about bringing Nordic wellness traditions to the Canadian Rockies, Thun emphasises their universal appeal. ‘We found an incredibly receptive context to propose something indeed very European. When you move away from trends and distill directly the essence of wellness experiences, I feel the whole world can easily speak the same language.’

As part of Fairmont’s broader wellness portfolio, Basin establishes new precedents for how contemporary architecture can honour both cultural wellness traditions and specific geographical contexts, creating spaces that feel transformative rather than merely accommodating.

Basin Glacial Waters is located at 111 Lake Louise Dr, Lake Louise, AB T0L 1E0, Canada.

The new cinema at Reina Sofia Museum

The modern and contemporary art museum’s architectural legacy continues to evolve, its next chapter marked by the transformation of a former auditorium, built in 1987 by Jaume Bach with Gabriel Mora, into an enclave devoted to audiovisual arts.

Bach now revisits the project alongside Anna and Eugeni Bach, dreaming up a new cinema and auditorium that nod to the aesthetic sensibilities of cinematic worlds ranging from Luis Buñuel to David Lynch, and from Pedro Almodóvar to Aki Kaurismäki. It also acknowledges the legacy of the neighbouring Cine Doré and Stockholm’s Bio Skandia.

Situated within the Sabatini building, Bach sought to preserve the venue’s singular character. The generous vaulted entrance hall retains a preserved serliana that conceals a triangular projection hub framed by velvet curtains. The old hospital windows have been closed with wooden panels, their carved raindrop motifs offering a tactile contrast to the overarching red palette.

The screening room transitions into deeper blue tones to prevent reflections. Here, the 133-seat area has been reconfigured to increase the slope and improve sightlines to the screen, while the emblematic suspended triangle has been reimagined as a large acoustic screen concealing the central speakers.

‘The blue of the sky and the red of the carpet recall classical theatres, establishing a link between the function of the space and the tradition of cinema, especially since it is located in a neoclassical building,’ says Bach.

The new cinema will host the museum’s film and new-media programme throughout the year. It is also available for private hire, tailored for events ranging from meetings, courses and conferences to screenings, presentations and press gatherings.

Reina Sofia Museum is located at Santa Isabel, 52. 28012 Madrid, Spain.

Polymath Park spans 130 forested acres, a little over half an hour from Wright's residential masterpiece Fallingwater, and only slightly farther from Kentuck Knob, making it an ideal stop for anyone tracing Wright’s work, or simply seeking a quiet escape about an hour from Pittsburgh.

Polymath Park’s connection to Frank Lloyd Wright began indirectly – through his apprentice, Peter Berndtson. A Guggenheim museum collaborator turned independent architect, Berndtson eventually established his practice in Western Pennsylvania, designing around 30 homes, some in partnership with his then-wife and fellow Taliesin graduate, Cornelia Brierley. In 1964 and 1965, he created two weekend retreats on what is now Polymath Park: the Blum and Balter Houses. His vision extended to 24 more, though the plan never materialised. For decades, the pair of houses slipped quietly into obscurity.

Current owners Tom and Heather Papinchak first discovered Polymath Park in 2001, while buying a nearby house, unaware of what lay just down the road. ‘When we saw a sale sign, it felt okay to go back and look,’ Tom tells Wallpaper*. ‘I was dumbfounded when I saw those two Berndtson properties.’

Determined to save them from demolition, Tom set out to acquire the site. A lifelong Wright devotee with a background in construction, he soon widened his vision. He learned of Duncan House, an endangered Wright house built near Chicago that had been disassembled and moved to Johnstown, Pennsylvania. But when the Duncan House rescuers lost funding, Tom stepped in to buy it himself and relocate it.

The 2,200-square-foot, three-bedroom house may not be as spectacular as Fallingwater, but its identity is unmistakable. The L-shaped plan features Wright’s signature compression and release, a hipped roof and Maryland ledge-rock walls. Mahogany plywood battens align perfectly with the stone banding, creating an easy rhythm. The kitchen – bright, open, and lined with oak cabinetry and red Formica – sits unusually on a corner rather than buried in the core. Reassembly from shipping containers was a feat of architectural forensics. Tom sited the house precisely as before, aligning it with the sun. By 2007, he and Heather began renting it, alongside the two Berndtson houses, for overnight stays.

Then came another rescue: the Lindholm House from Cloquet, Minnesota, a grander Usonian designed for the family who also commissioned Wright’s only gas station. The Papinchaks acquired and reconstructed it on site, a process Tom calls ‘architectural surgery.’

This one, he says, was easier. ‘It felt like Duncan was the training wheels and then Mantyla came along.’ (The house was later renamed Mantyla, meaning ‘of the pines’).

Even so, rebuilding the 3,000-square-foot home – refitting cypress windows and 6,750 terracotta roof tiles – was no small feat. Mantyla reflects Wright’s full Usonian vision: elegant yet pragmatic, using modest materials like concrete block. Its L-shaped plan brings sunlight deep into the interior. The social spaces open onto the forest through floor-to-ceiling glass, while built-in bookcases, benches and clerestory windows rhythmically define the rest. The house’s contents came intact, from furniture to art. Even the vintage book collection – Picasso-illustrated Lysistrata among them – feels like an exhibit.

Staying in a Wright house brings surprises. The stools are intolerable; the benches, perfect. Wright’s design gently herds you from the bedroom into communal space; you grasp his intent not academically, but instinctively.

The Berndtson houses have their own, earthier charm. Built as weekend retreats, they’re rusticated, more approachable. The four-bedroom Balter House features a shallow hipped roof, redwood board-and-batten walls and a cathedral ceiling with skylight. A cantilevered great room and screened porch add a note of modernism. Meanwhile, the three-bedroom Blum House, stuccoed and redwood-trimmed, feels similarly poised between prairie and post-war. Furnishings range from Le Corbusier chaises and Lane tables to Graves Alessi teapots and Smeg appliances; a perfect blend of mid-century authenticity and modern usability.

And then there’s Treetops, the on-site restaurant offering brunch, lunch and dinner. Its glass-walled pods, suspended among the trees, recall Paul Mayén’s visitor centre at Fallingwater. Guests dine on a prix-fixe menu while looking out over the forest canopy – an apt setting for Wright’s architecture of immersion.

The venture was not without risk. ‘To make it successful in the first several years was a struggle,’ Tom admits. ‘We didn’t have any exposure out in the middle of the woods.’ But perseverance and preservation proved good business. ‘It was never about financial gain,’ he says. ‘It was always about keeping these houses alive for inspiration and education.’

And the story isn’t finished. Awaiting reconstruction in shipping containers nearby is another piece of architectural lineage: the 1965 Birdwing House by Wright’s son, Lloyd. Soon, it too will nest among the trees of Polymath Park – another chapter in this improbable forest of modernist revival.

Polymath Park is located at 187 Evergreen Ln, Acme, PA 15610, United States.

‘This project is a love letter to the spirit of the city, crafted through our singular lens of storytelling. Just as in Buenos Aires and Miami, we’ve created a place that invites people to feel, dream, and connect, where every detail is an expression of beauty, emotion, and soul,’ Alan Faena tells Wallpaper*.

With conversation-starting art, a convivial social scene and a theatricality often missing from luxury hotels, Faena New York is at once a vibrant expression of its South American roots and a reflection of the Big Apple’s creative pulse. Staying at the 120-key travertine-clad stunner is like scoring front-row seats to Manhattan’s most high-impact production.

Wallpaper* checks in at Faena New York

What’s on your doorstep?

Located at 500 West 18th Street, Faena New York overlooks the High Line and the Hudson River Greenway for fresh-air-filled strolls. It’s quite a rarity in Manhattan to not be wedged in by concrete and to have a car-free place to stride. Its West Chelsea perch also means access to many restaurants and galleries (Hauser & Wirth and Nicola Vassell are just one block away). You’re also within a short walk of Chelsea Market and the Meatpacking District for designer shopping, the Whitney Museum and even more urban excitement.

Who is behind the design?

Faena New York rises within a striking high-rise designed by Bjarke Ingels Group. The interiors are even more captivating. Led by Alan Faena and the Faena Design Team, in collaboration with Peter Mikic, the vivid vision comes to life through larger-than-life artwork, rich colour (lots of red, gold and black) and animal prints. The entry, referred to as ‘the Cathedral,’ looks more like a chic gallery than a hotel reception, with Argentine artist Diego Gravinese's enormous mural Ascension, A Sephirotic Journey covering the soaring walls and a gilded spiral staircase in the middle of it all. Throughout the hotel, art plays a important role, with the cosmic symbolism of creation as a recurring theme. A forthcoming theatre – a Faena-fied twist on Old Hollywood – will take centre stage with pieces by Andres Resinger and cabaret performances when it opens next summer.

The room to book

In contrast to the rest of the maximalist fever dream, rooms feel refreshingly restrained. There’s still plenty of Faena swagger, but the light timber, white walls and crisp linens give the guests' quarters a more sanctuary-like vibe. The floor-to-ceiling windows offer sweeping views of West Chelsea or the Hudson River. Bathrooms are kitted out with dual vanities, walk-in showers and Toto toilets.

For travellers unencumbered by budgetary constraints, the $35,000-a-night Faena Suite is as close to staying (and sleeping) in a gallery as you can get. Accessible via private elevator and made for entertaining, the duplex penthouse flaunts three bedrooms, bathrooms larger than most studio apartments, and a double-height living room complete with a pair of jewel paintings by Cynthia Cohen, a baby grand piano and huge windows looking out over the panoramic terrace.

Staying for drinks and dinner?

If you have dinner plans, seriously consider cancelling them to snag a reservation at La Boca. Panther and cheeky monkey murals by Edgardo Gimenez, custom red velvet banquets and bespoke chandeliers by Alberto Garutti (the artist’s last pieces before his passing) set the scene for flavourful fare prepared by chef Francis Mallmann.

At the very least, you must stick around for a drink at The Living Room, a glamorous boozer draped in leopard prints, black lacquer and gleaming accents. The front of the two gold-crested Art Deco bars is flanked by a pair of glass murals, Argentinian artist Juan Gatti’s decadent ode to New York City. The social hub also boasts a 900 sq ft side terrace so close to the High Line, you can basically touch it while imbibing (though, please, we beg of you, don’t attempt to do so).

Follow the corridor crowned by Keith Haring’s Montreux Jazz Festival – a gift from the artist to Alan Faena, and the largest work of his not permanently fixed to a wall – into El Secreto, an intimate speakeasy, or head to La Cava for private dining and drinking wine under the watchful eye of Queen Elizabeth II (a work called Lightness of Being by Chris Levine).

Where to switch off

Between the lively bars, opulent decor and non-stop energy, a stay at Faena New York tends to leave you buzzing. But a moment of peace and quiet is also on the way: Opening in spring 2026, Tierra Santa Healing House, a 12,000-square-foot wellness sanctuary, will feature temperature therapy, plunge pools, a hammam and treatment rooms for massages, facials and bespoke South American healing rituals.

The service

Some hotels with pomp and panache miss the mark on service. That’s not a concern at Faena New York. Yes, everyone is dressed to impress – from the doormen who wear white top hats and tails to the ‘Guest Experience Curators’ in fitted red suits. But what shines through even more than the impeccably tailored uniforms is the attention to detail and bend-over-backwards service. All of the high-end hallmarks you’d want in a luxury hotel exist in Faena fashion. Complimentary packing and unpacking, garment pressing and shoe shine are available. Turndown comes with chocolate and plush red slippers. Above all, it’s the personalised attention that stands out. Most memorably, I returned to my room to find plush cheetahs and colouring books thoughtfully left behind by Raquelle, who remembered I have little ones at home.

The verdict

Faena New York is an unapologetically audacious and head-turning addition to West Chelsea that’s as well suited for conviviality and cocktails as catching up on sleep. Devotees of Scandi minimalism likely won’t feel at home in the over-the-top dreamscape. Although some (ahem, this writer) might argue that anyone squeamish about aesthetics that pack more punch and personality than clean lines, light wood and a Marie Kondo lack of embellishment probably needs exposure therapy to bolder, richly textured design even more than the rest of us. And, by that logic, Alan Faena’s stage-worthy new hotel is the perfect place for an overnight – dripping in evocative art, mega-watt moments galore and revelry stitched into the red velvet fabric. If you have cash to splash, toss on a sparkly ensemble or something in an animal print, order up a $28 Faena Spritz and go have a great time.

Faena New York is located at 500A W 18th St, New York, NY 10011, United States.

‘I see motels as pop-culture symbols of freedom and escapism,’ says Seymour. Her fascination began after watching Ridley Scott’s (1991) Thelma & Louise, the ultimate road movie. ‘I was in awe of these two cool, rebellious women driving through America in a blue 1966 Ford Thunderbird convertible, hiding out in dive bars and motels along the way.’

The world’s first motel opened in 1925 in San Luis Obispo, California – roughly halfway between Los Angeles and San Francisco. Designed by architect Arthur Heineman, the Milestone Mo-Tel coined its name when ‘Milestone Motor Hotel’ wouldn’t fit on the sign. With private garages, hot showers and a new sense of road-trip luxury, it set the tone for America’s love affair with the open road.

By the 1960s, more than 60,000 motels lined US highways – glowing beacons of mid-century freedom – before air travel and the Interstate Highway System diverted the traffic, leaving many to fade into nostalgic relics. A century on, the motel is firmly back in vogue. From the Pacific Coast Highway to Route 66 and the Catskills, classic roadside icons are being reborn with sharp interiors, chef-led diners and a renewed spirit of wanderlust. Once a stopover, now a destination.

‘There are still those no-frills, budget-friendly curb-side lodges people stop at for the night to break a journey,’ Seymour explains, ‘but now there are also beautifully restored motels that have become destinations in their own right – with all the luxurious features of a hotel.’ Each entry in the book explores a motel’s backstory, design ethos, facilities and character, offering both a visual journey and a practical guide for future road trips.

For Seymour, the perfect motel is built on a simple equation: ‘A super-comfy, spacious bed, easy access to good morning coffee, and a cosy bar to unwind in over a margarita or a negroni.’ She cites the Starlite Motel in New York’s Catskill Mountains and Silver Sands on the tip of Long Island as quintessential examples. ‘Both have pastel-toned 1950s drive-up buildings and immaculately preserved neon signs,’ she says.

While motels are often viewed as playful shrines to Americana and kitsch, their design language is deeply rooted in place. ‘Character, as well as architecture, shifts depending on region and geography,’ notes Seymour. ‘This became increasingly clear the further I got into the project.’

Coastal motels exude easy beach energy – like Hotel Palms in Florida or The Pacific Motel in California – while desert lodgings such as Hotel Wren in Twentynine Palms mirror the surrounding landscape’s sun-bleached palette. In Palm Springs, the exuberant Trixie Motel leans into the city’s hedonistic spirit, all bubble-gum pinks and poolside sparkle.

‘Those in mountain settings tend to feature darker, cosier tones and larger, multi-storey structures with generous communal areas and roaring fires, such as Scribner’s in the Catskills,’ Seymour adds. ‘In New Mexico, motels draw on traditional Southwestern influences, as at El Rey Court, or on Route 66 heritage, as with the Blue Swallow Motel in Tucumcari.’

Vintage Motels captures a uniquely American blend of nostalgia and modern reinvention, where the open road meets design-led restoration, and the stopover becomes the story.

You can find ‘Vintage Motels’ by Ellie Seymour on Amazon.

Wallpaper* dines at Lagana, London

The mood: tongue-in-cheek

Fluidity drives the design. Come summer, bi-fold doors dissolve the threshold between inside and out, opening the restaurant onto the street. Its loose, youthful aesthetic syncs with Shoreditch’s creative charge. ‘The ambition was to keep the industrial grit of east London, while introducing the warmth and openness of the Mediterranean. It had to feel casual, agile, and tuned to everyday life here,’ says Shree Narain, the group’s brand manager. The former Pachamama East shell remains visible in wabi-sabi textures, exposed services and a clean industrial scaffold.

Lunara Bramley-Fenton, managing director, led the interiors, with her own bold artworks splashed across the walls, echoing the childlike graphic identity. The fit-out and design were done in collaboration with Inter Interiors. Weighty shelving was cleared out to bring in light and vertical breathing space. Much was repurposed: mohair-clad chairs, timber reborn as generous banquettes. The honest patina meets flashes of glamour in Murano glass and vintage chandeliers. A stainless-steel mosaic bar runs the full length of the room. Beyond, the main dining room encourages looseness and play.

The food: sharing, scribbling, snacking

The open kitchen, spearheaded by Group Executive Chef Tzoulio Loulai and conceptualised by Brand Director Yaroslava Malkova, keeps the cooking honest and generous. It all begins with the signature lagana: a blistered, puffed flatbread, fresh from the oven, torn through bowls of seasonal spreads: tzatziki, tarama, spicy feta. Plates land fast and bright. Courgette tempura is feather-light with a hit of spiced red pepper. Corn on the cob is charred, slicked with yellow chilli butter and cumin salt.

From the grill, dry-aged picanha arrives in deep, tender slices, while lamb belly in oregano-tomato sauce under a cool spoon of cumin yoghurt keeps the tempo bold. Sea bass ceviche in kakavia sauce and a beef tartare lifted with kokkinisto ketchup, cut clean and bright.

Desserts swing between playful and decadent: soft serve, layered pastries, and the Pachamama signature cheesecake reimagined with a rich caramel gloss. Cocktails toy with colour, mood and season, each named for a shade of the rainbow.

Lagana is located at 73 Great Eastern Street, Shoreditch, London EC2A 3HU, UK.

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Inside The Connaught’s first book

Since its opening on Carlos Place in 1897 (initially under the name The Coburg), the hotel has become a cultural landmark, building a reputation for charm, courtesy and discretion. Its interiors tread an elegant line between British character and contemporary style, while the requisite decadence extends to a personalised butler service, and gastronomy from three Michelin-starred Hélène Darroze, Jean Georges Vongerichten at The Connaught Grill and Nicolas Rouzaud’s patisserie.

Over the years, The Connaught has welcomed high-profile guests, from Queen Elizabeth II and King Charles III to Princess Grace of Monaco, Alfred Hitchcock, Princess Diana, Jack Nicholson and Dame Maggie Smith.

Says author Bill Prince, editor-in-chief of Wallpaper* and The Blend, ‘History may be written in stone, but it can also be captured in more mutable material. The Connaught’s near-130-year history illustrates this point wonderfully. Honed over generations, the hotel’s approach to hospitality is forever present and remains every bit as integral to its story as the building itself.’

Prince continues, ‘It’s these elements that best illustrate the extraordinary heritage of the “Monarch of Mayfair” – and continue to define its place on the world stage. Researching such a storied past has been fascinating, and I’m indebted to The Connaught’s team, past and present, for making it such a rich and satisfying experience.’

‘The hotel has so many incredible stories and guest memories from over the years, it is an absolute joy to see this captured all together in one very special book,’ says Sandeep Bhalla, managing director of The Connaught. ‘We hope that The Connaught’s longstanding motto, placere placet – the pleasure to please – will always ring true.’

The Connaught, written by Bill Prince and published by Assouline, is available now to purchase from The Connaught Shop at RRP £100.

The eponymous gem’s hue runs throughout. A soft green plastered surface wraps walls and ceilings in one seamless gesture, punctuated by a matrix of frosted acrylic cylinders capped in steel. The effect is enveloping – plush mohair seating tucked into carved alcoves, high-gloss lacquered furnishings catching the light, all of it orbiting the green marble bar with its swirling, veined mass. Behind it, a private room reveals a bespoke stainless steel and marble bottle display, each cantilevered holder engineered as much as sculpted.

The design draws on the intimacy of old-world smoking rooms without leaning on nostalgia. ‘In all of us, there’s a yearning for the past, which brings us comfort, and the excitement, energy, and awe sparked by the new,’ Ferrari explains.

The clients, Cathy Chui Lee and her husband Lee Ka Shing – chairman and managing director of Henderson Land Development, the tower’s developer – shared Ferrari’s vision from the start. ‘Working with Paolo was nothing short of revelatory,’ Chui Lee notes. ‘At Peridot, there isn’t a single straight line; every curve honours the building’s fluid form. We began by deconstructing a disco ball – not for glamour, but to capture its essence: light, refraction, intimacy.’

Joining the drinks is an equally imaginative snacks menu. Chef Lisandro Illa, whose background spans Noma and his own Madrid-based culinary art gallery Morfo, concocts an entirely plant-based menu that includes nut-based cheeses and charcuterie, watermelon ‘tuna’, and fermented creations using koji and natto. The quarterly rotations transform the madly creative nibbles into something more akin to collectable gastro-journeys than simple drinking.

There’s live music most evenings – saxophonist, pianist, and DJ for the musically indecisive – and at 38 floors up, getting high has never felt more literal.

Peridot is located at Summit 38, 38/F, The Henderson, 2 Murray Road, Central, Hong Kong.

It’s no surprise that the journey upward matters here. Ground-level arrival transitions through a generous staircase – or escalator for the practical or high-heeled – to a timber-lined serambi on level 3, evoking the raised veranda of traditional Malay kampung houses. Pivoting shutters filter daylight while brass accents add contemporary warmth. From there, lifts silently whisk guests to level 75, where the reception unfolds as the hotel’s social hub. Double-height brass batik screens cast intricate shadows across warm stone, while dizzying city views anchor the space firmly in place.

Park Hyatt Kuala Lumpur

What's on your doorstep?

The Park Hyatt’s address delivers instant cultural immersion. The hotel sits within the Merdeka 118 precinct, historically significant and steps from the buzz of Petaling Street's Chinatown. Yet the real asset is vertical, not horizontal, with floor-to-ceiling windows framing a rotating cast of urban landmarks: the KL Tower, the Petronas Twin Towers, which once held the laurel of the world’s tallest building, and the gleaming Exchange TRX. Kuala Lumpur holds Southeast Asia's highest concentration of skyscrapers, and at this height, you're catching the entire skyline theatre. It's an architectural viewing gallery that never closes.

Who is behind the design?

GA Group, the London-based studio behind luxury properties from Rosewood to Corinthia, spent over a decade on these interiors. Directors Terry McGinnity, Corinna Galdies and Pippa Ayres had a tricky brief: capture Malaysian spirit without tumbling into theme-park territory. Their solution reinterprets the traditional Malay kampung home through clean lines, natural light, and contemporary materials. Batik, songket weaving, and timber carving appear throughout – abstracted and refined. Think heritage passed through a modernist filter, resulting in spaces that read as distinctly local without brashness.

The room to book

Obviously, the views get better the higher up you get, but the Corner King Rooms nimbly exploit the building's geometry. Different alcoves offer shifting perspectives – a window lounger for introspective afternoon reading, a bathtub positioned for skyline soaking. The layout carves out intimate zones within the generous space, with a window seat arrangement inspired by traditional Malay verandas – a daybed that frames panoramic views without actually stepping outside. Mirrored panels above extend vistas, while flexible shutters connecting living areas to bathrooms echo kampung house fluidity. Linen wall panels and delicate brass detailing add texture, and woven motifs multiply obsessively: brass basket-weave tiles in showers, three-dimensional ceramic reliefs, rattan lampshades. It's pattern gone wonderfully overboard.

Mini bar highlights?

Forget the quotidian champagne truffles. Here, the minibar performs double duty as a cultural artefact, its goodies concealed behind batik-inspired cabinet doors that echo the lobby's craft narrative. Inside are locally created lavender chocolate exclusive to the property, refreshing sparkling tea, and Billecart-Salmon for impromptu celebrations. It's showmanship in miniature, where even the hardware tells a story.

Staying for drinks and dinner?

Three dining destinations claim level 75, each with its own mood. The Park Lounge functions as the hotel's living room, shifting from bright communal energy by day to an intimate glow after dark. Breeze-block geometry inspired by Malay architecture defines the space, while Peranakan red tiles punch colour into the open kitchen. Merdeka Grill goes darker and moodier – silver travertine, ribbed walls, suspended pools of light sculpting drama at each table. The open kitchen is equally show-stopping, with the city skyline providing an ever-changing backdrop. Then there's Cacao Mixology & Chocolate, the richest of the three, where Amazonite stone and dark timbers meet double-height shutters. Seating swings between private pockets and gregarious communal tables; it’s the kind of space that properly comes alive after sunset.

Where to switch off

The spa and pool occupy level 99. The spa reinterprets shophouse architecture through arched corridors echoing the traditional five-foot way – a journey toward treatment rooms rather than just a hallway. The design stays minimal, weaving in subtle Malay motifs without overdoing it. The indoor pool commands attention with its vast scale. Fretwork friezes filter light and soften the volume, while you’re literally swimming above the Petronas Towers, KL Tower, and Exchange TRX. It’s a perspective normally reserved for helicopter pilots and the trust fund set.

Getting around

The hotel’s elevated position means you're usually surveying the city rather than navigating it at street level – an extravagant loftiness that defines the entire experience. But if your mood or schedule dictates a change of altitude and scenery, the hotel makes much of its proximity to Petaling Street's Chinatown, and the neighbourhood does deliver street-level energy when you venture down. The location works on multiple scales. Merdeka 118 houses a mixed-use development with the forthcoming 118 Mall spanning seven storeys, meaning the tower buzzes with activity beyond hotel guests. The building connects directly to the Merdeka MRT station, providing easy access to the city's mass rapid transit and light rail networks.

The verdict

The Park Hyatt Kuala Lumpur pulls off a difficult trick: making grand scale feel intimate, and grounding sky-high luxury in local culture, all while turning spectacle into genuine comfort. The views alone justify the check-in, but GA Group's interiors ensure you stick around beyond the obligatory Instagram moment. This is luxury hospitality for travellers who want a meaningful connection to place, just wrapped in clouds and exceptionally comfortable furniture. Time will tell if it becomes Kuala Lumpur's definitive luxury address, but the positioning – literal and otherwise – makes a compelling case.

Park Hyatt Kuala Lumpur is located at Warisan Merdeka Tower, Presint Merdeka 118, Wilayah Persekutuan, 50118 Kuala Lumpur, Federal Territory of Kuala Lumpur, Malaysia.

Wallpaper* dines at Tobi Masa, London

The mood: craftsmanship and contrasts

Masa was the restaurant that convinced New Yorkers that perching on a stool at a sushi counter with a pair of chopsticks could be every bit as refined as sitting at a table dressed with starched napery and polished cutlery. There’s a counter at this London outpost too, but also a dining room featuring inward-facing banquettes for guests whose idea of sparkling conversation isn’t asking the sushi chef where they source their tuna.

‘Tobi Masa’s design inspiration was extracted from the envelope of Eero Saarinen’s former American Embassy building,’ says Alex Reed, design director of AvroKO London, the global studio behind the restaurant’s look. ‘The space embraces contrast – the formal rigour of Saarinen’s architecture softened through refined materials inspired by Asian craftsmanship. Every detail creates an atmosphere of ritual and intimacy that complements the artistry of the culinary offering.’

The food: pure flavours, gilded edges

The Manhattan Masa was credited with reinventing New York’s sushi scene when it opened in 2004, blending Japanese technique with Western luxury. These days, you can’t move in Mayfair for omakase and kaiseki, but there’s still a thrill to be had from the chef’s combination of Japan-flown fish and salad leaves gilded with extravagant adornments such as truffle and foie gras. Yet for all the opulence, each bite-sized delight mainlines a startling purity of flavour.

There’s more to the place than toro-caviar maki rolls and A5 Wagyu nigiri, though: Peking duck tacos and Masa Surimi – ‘pasta’ made from seafood – are NYC signatures that have crossed the pond, while the simplest sushi proves that Masa is a master of minimalism and an expert in extracting the essential character from exceptional-quality fish.

‘Tobi’, by the way, is the Japanese word for ‘flight’; take wing before dinner with a drink in the rooftop Eagle Bar, in the shadow of the old embassy’s gigantic gilded aluminium eagle.

Tobi Masa is located at The Chancery Rosewood, 30 Grosvenor Square, London, W1K 6AN, UK.

Wallpaper* checks in at Hotel Casa del Limonero

What’s on your doorstep?

Located in the Judería (Jewish quarter), Casa del Limonero is hidden among the narrow, winding cobbled streets of Seville’s historic centre. Major sites like the cathedral and Real Alcázar palace lie a five-minute walk away – but for a more tucked-away attraction, pop into the enchanting Casa de Salinas, where visitors relive Renaissance-era Seville. Historic masterpieces are found at Casa Fabiola and the Santa Isabel de Hungria academy, while contemporary art galleries like Haurie, Zunino and Rafael Ortiz are also nearby. There are traditional tapas at casual bars like La Bartola, Casa Morales and La Fresquita – or, for a sophisticated experience in innovative contemporary Andalusian fine dining, walk 10 minutes over to Sr Cangrejo.

Who is behind the design?

The French art collector who owns Casa del Limonero (and prefers to remain anonymous) has filled the spaces with her glittering collection of paintings, photography, sculpture and furniture. She also worked with Seville-based interior designer Ernesto de Ceano, who has sculpted a new beige stucco fireplace, whose swirling, conic form is inspired by the shape of an elongated tower shell. Carmen Riego, a local expert in heritage restoration, was enlisted for her specialism in the delicate ceramic murals widespread in Andalusia, while Luis Balmaseda – a cabinetmaker from Écija – restored the original woodwork.

The standout design elements

Seating pieces around the property range from 16th-century wooden Savonarola chairs from Florence to India-inspired modernist cane armchairs by Pierre Jeannette and 1960s ‘Mies’ loungers by Archizoom Associati. Antiques like an ebony and bone bureau from Renaissance Italy and a Baroque church altarpiece from Mexico contrast with an art deco rosewood table by Jacques Adnet and a contemporary, multicoloured glass and aluminium cabinet by Doshi Levien.

It’s a feast for visual art lovers too: the dining room houses an abstract oil-on-canvas by Spanish painter Manolo Valdés, a wall hanging by Malian textile artist Abdoulaye Konate and a crochet-covered bull’s head by Joana Vasconcelos; a series of black-framed pieces by Mat Collishaw hangs in the stairway alongside a linen and plaster installation by Colombian artist Olga de Amaral. The corridors display around 20 works by Malian photographer Malick Sidibé, while photos by Moroccan artist Hassan Hajjaj and South Korean photographer Bae Joon Sung are also nearby.

The rooms to book

Each of the 14 rooms and suites offers a different design concept. The ‘Cabinet of Curiosities’ room has a retro look, with vivid green walls and red backlit cabinets displaying decorative objects from the owner’s travels around the world. In the ‘Italiana’ junior suite, a 19th-century fluted wooden bed and a steel navy safe transformed into a minibar are set against two mid-century leather seats by Arne Jacobsen and a lacquered brass wardrobe by Roland Mellan, inspired by the Japanese tsugaru nuri technique. But for a room with a view, opt for ‘Mirador', whose comparatively understated decor is balanced by a more extravagant vista of the Giralda belltower from the private terrace.

Where to switch off

The alluring pool and hammam area feature aquamarine-coloured Italian and Moroccan tiles, complete with a treatment room for relaxing massages. The garden filled with orange and lemon trees is ideal for an early evening aperitif, as is the rooftop with a panoramic view. There’s also a cosy library overlooking the gardens – and don’t miss the fireplace lounge upstairs, complete with a pastel-coloured modernist sculpture by Ettore Sottsass, a Pop Art piece by Daniel Cherbuin and midcentury sofas by Gio Ponti and Federico Munari.

The verdict

Casa del Limonero is steeped in the building’s history: the hotel’s deer logo is inspired by hand-painted motifs found in the original 15th-century flooring discovered during the renovation, now displayed in the reception. These restored architecture elements provide a quintessentially sevillano backdrop to the otherwise strikingly eclectic and diverse decor, creating a visual experience that cuts across regions and eras while still in the heart of Andalusia.

Hotel Casa del Limonero is located at C. Guzmán el Bueno, 4, Casco Antiguo, 41004 Sevilla, Spain.

What began in the 1920s as a family-run lobster market evolved into Duryea’s Lobster Deck, a waterfront fixture that has since become a summer ritual for locals and visitors alike. Purchased from the Duryea family in 2014 by Apollo Group CEO Marc Rowan and his partner, designer Carolyn Rowan, the restaurant underwent a deliberate transformation that aimed to preserve its much-loved spirit, while adapting for a new generation.

The cottages are the latest chapter in Duryea’s story; a continuation of the Lobster Deck’s lineage. Conceived by Viola Rouhani of Stelle Lomont Rouhani Architects, specialists in coastal architecture, alongside co-owner Carolyn Rowan, the project reworks Montauk’s familiar vernacular of surf shacks and bluff cottages through a more contemporary lens. Sliding glass panels dissolve the divide between interior and landscape; unfinished cedar cladding weathers to the region’s signature silvery patina, and native plantings root the structures to the slope.

Restricted to the site’s original footprint, just four cottages were permitted. Each one spans roughly 650 square feet, open and airy enough to feel larger. Though similar in form, each layout responds to its orientation and favours privacy. Sunset Cottage, furthest from the shore, has a roof terrace with views over the glinting water, while Bluff Cottage retreats quietly into the greenery.

Inside, hand-stained mahogany cabinetry and bluestone floors fitted by local artisans anchor the interiors in their coastal context. Texture leads the design, with Venetian plaster, travertine, and swathes of polished marble, with soft lighting to mimic natural daylight. Each terrace is partially covered for year-round use, with a custom metal spa recessed into every deck for cool nights or post-swim thawing.

Beyond the dwellings, a shared lawn leads to a narrow gate and stairway that drops down to the beach. Each cottage has its own storage chest stocked with paddleboards, fins, yoga mats and folding chairs to take to the sand. Daily life here shifts with the tides: dawn walks on driftwood-strewn shores, afternoon rides into the heart of Montauk on complimentary electric bikes, where surf shops, fancy delis and classic diners keep the town’s easy-going spirit alive.

Service is discreet – breakfast hampers arrive as if by magic at the door, as do occasional treats like Duryea’s signature lobster rolls. As for the Lobster Deck itself: guests get priority tables, a coveted perk in high when the restaurant is otherwise walk-in only.

While much of the Hamptons chases spectacle, Duryea’s Sunset Cottages holds onto something quieter: the grain of weathered wood, the scent of salt and cedar, the slow hum of distant surf. Days unfold in an unhurried and elemental rhythm, as if time itself drifts more gently at Montauk’s edge.

Duryea’s Sunset Cottages are located at 80 Firestone Rd, Montauk, NY 11954, United States.

Hiroshima, a city rebuilt

Today, 80 years after the bombing, Hiroshima not only remains a place of post-war architectural pilgrimage: it’s also an evolving contemporary hub, with a constellation of experimental structures by leading architects (Tadao Ando, Shigeru Ban, Jun Aoki, among others).

This month, its creative credentials were deepened further with the launch of a new three-yearly architecture festival. The Hiroshima Architecture Exhibition 2025 aims to spark revitalisation through architecture, with eight exhibitions, featuring 23 architects and artist groups – including Sou Fujimoto, Junya Ishigami and Jo Nagasaka, plus nine Pritzker winners, from Kazuyo Sejima and Ryue Nishizawa to Toyo Ito.

As Ai Yoshida, co-founder of Suppose Design Office, one of Hiroshima’s most high-profile studios, tells Wallpaper*: ‘Hiroshima possesses a uniquely fertile creative soil. The proximity of the sea, mountains and rivers creates a gentle connection between city and nature, while the city’s collective experience of destruction and reconstruction has fostered a deep-rooted sense of renewal.’

Architectural highlights are plentiful. There is Simose Art Garden Villa, a Shigeru Ban-designed gallery and hotel with his famous residences reincarnated as guest rooms; renovated Hiroshima City Museum of Contemporary Art, a metabolist masterpiece by Kisho Kurokawa; Azumi Setoda and SOIL Setoda, design hotel gems and creative hubs on lemon-scented Ikuchijima island; and Nekoyacho Bldg., a renovated office building with a raw industrial edge (with craft ice cream, galleries and a smooth sauna) by Suppose Design Office.

The new architecture festival adds a further creative layer. For Toyo Ito, a key festival figure, there is no doubting the imprint of Hiroshima on many creatives – himself included, having made his own architectural pilgrimage in 1964.

‘Many foreigners already visit the island Naoshima for contemporary art,’ Ito tells Wallpaper*, referring to the popular ‘art island’, on the far side of the Seto Inland Sea. ‘We need to tell people that they should visit Hiroshima for architecture.’

One highlight is a temple: Shinshoji Zen Museum and Gardens in Fukuyama (its local shipbuilder owners, Kambara & Tsuneishi Foundation, organised the architecture festival). It’s home to traditional architecture, Zen meditation and a lotus-filled pond – plus contemporary innovations such as Kohtei, a shingle-wrapped abstraction floating on pilotis by artist Kohei Nawa; and a structure thatched with hand-bent copper plates by Terunobu Fujimori.

Here, festival projects include Yasushi Horibe’s portable, flat-packable hinoki teahouse sitting on rocks in a Zen garden, with a peaked roof and a hand-chiselled counter surface, where hot matcha shots are whisked. It’s one of three architect-designed kiosks: Junya Ishigami’s ‘Clouds Descend’ installation – softly curved and seemingly weightless (despite being made of welded steel plates) also floats outside Fukuyama Station.

‘Hiroshima is a mecca for architecture,’ says Horibe, also behind dream-like guntû, a minimalist wooden ‘floating hotel’ on the Seto Inland Sea. ‘The climate is nice and there are not many natural disasters, the sea is very serene.’

An ambitious new project to reconstruct Kenzo Tange’s former Tokyo home, Seijo House on a Hiroshima hilltop, is also highlighted in an exhibition, with an architectural model by a temple carpenter plus photography of visitors, from Isamu Noguchi to Charlotte Perriand.

Tange’s daughter, Michiko Uchida, who spent her childhood in the 1953 home, tells Wallpaper*: ‘My father was born in Imabari, on the opposite side of the Seto Inland Sea. I feel a connection here, as my father grew up seeing the same sea. That’s why I decided to rebuild the house here. It’s very calm and peaceful.’

She adds, ‘Hiroshima was very important to my father. He went to high school in Hiroshima, and his first big project was here. There was a strong sense of community at Seijo House when I was growing up; it was very open. I want to create a similar community here.’

Five architects – including Sou Fujimoto, Clouds Architecture Office and Norihisa Kawashima – also explore their vision for the future in the temple’s Next Architecture: Connecting To Tomorrow exhibition.

Another Hiroshima pulse point is Onomichi – a scenic city tumbling down mountains into the Seto Inland Sea, lined with steep stone walkways, old temples and houses, having escaped wartime bombing.

In recent years, several projects have put Onomichi firmly on the creative map – including U2, a renovated wartime shipping warehouse by Suppose Design Office at the start of a famed cycling route. A buzzy modern hub, it’s home to eateries with local treats (from lemons to salt) plus curated design stores and a hotel – and, during the festival, an exhibition of architectural zines, including Tokyo studio MMA Inc.’s crafted Fragments publication.

On a steep slope nearby is LOG (Lantern Onomichi Garden) – a peaceful six-room hotel (plus shop, gallery, café) spanning a former 1963 apartment block, renovated by Studio Mumbai into a serene haven of minimalist lines and organic textures, all softly wrapped in in-between colour tones. A festival Experience Kit (by Osaka-based UMA/design farm) enables visitors to create frottage with original crayons, explore shapes and collect sounds.

It was while staying at LOG in room 303 that Jo Nagasaka, founder of Tokyo-based Schemata Architects, spotted a derelict 110-year-old house, which he has since transformed into Llove House, an art residency and creative hub.

‘For me, Hiroshima is a place of discovery,’ Nagaska tells Wallpaper*. ‘Onomichi is very special. There are very few places like this in Japan. Many people used to live here, fewer now. Today, people really need this kind of place – no cars, people walking. It’s old style but new style. If we adjust our minds, it’s a new way of thinking.’

On a nearby hilltop is another architectural standout – Tadao Ando’s signature lines of minimalist concrete, with dancing tree shadows, at the Onomichi City Museum of Art. By the entrance sits Shigeru Ban’s humanitarian Paper Log House, fashioned from paper tubes; while inside unfolds Nine Visions: Japanese Architects from Japan to the World, a creative tour de force through the works of nine Pritzker winners.

And a short walk away is perhaps one of the best spots to experience Hiroshima’s timeless harmony of architecture and nature: the minimalist concrete Senkoji Peak Observatory, looping into blue skies with sweeping views, by architects Jun Aoki and Masatoshi Shinagawa.

The Hiroshima Architecture Exhibition 2025 runs until November 30.

Now, under a new partnership with Aman, the hotel has been reimagined as Aman Rosa Alpina. Bringing the brand’s signature serenity to the mix, the result is a more minimalist expression of Alpine living shaped by contemporary calm. Hugo and Ursula Pizzinini, who led the hotel in its most recent chapter, still live above the property and remain very much part of daily life here.

Wallpaper* checks in at Aman Rosa Alpina

What’s on your doorstep?

Located in San Cassiano, a tiny postcard-perfect village of around 700 residents in Italy’s Alta Badia valley, the hotel is surrounded by the Dolomiti Superski area’s 1,200km of runs and 450 lifts. In summer, meadows bloom with elderflowers and the trails open up to hikers, cyclists and climbers, while autumn – a favourite season for the locals – is when the crowds disperse and the larch forests turn a fiery gold.

Beyond the ski lifts and rustic mountain restaurants, Ladin heritage still defines the region. For a taste of its soul, head to Maso Alfarei Hof, a tiny family-run restaurant in a traditional farmhouse that dates back to the 1200s – where a husband and wife team cook and serve hearty dishes like barley soup and deep-fried pastries filled with sauerkraut, or goulash and polenta using ingredients from the farm.

Who’s behind the design?

The transformation is the work of Jean-Michel Gathy of Denniston, the designer behind several Aman icons. Here, his characteristic approach of pale oak, stone, glass, and beautifully proportioned spaces brings a sense of clarity to the interiors, now framed by openness and light.

It’s a bold move, but the result is striking, a modern Alpine cocoon that reflects the serenity of its mountain setting. And while familiar corners like the former Piano Bar have now been reimagined as the much sleeker Il Salotto, Mauro, the long-time pianist, still serenades guests each evening after nearly 35 years.

The room to book

Each of the 51 rooms and suites reflects Aman’s signature restraint with soft palettes, clean-lined furniture, fireplaces and views that steal the show. For total immersion, the Dolomites Suite – located on the top floor – combines a private outdoor Finnish sauna and terrace with sweeping mountain vistas, while the Aman Suite – the hotel’s largest – is a discreet bolthole for families or small groups, with two en-suite bedrooms, ample outdoor space, and access to the ski room and ski butler service (in winter).

Staying for drinks and dinner?

There’s The Grill, which serves a menu of timeless Italian classics within a calm, earthy tonal setting. Prepared using seasonal mountain produce, expect dishes from handmade pastas and pizzas to wood-grilled vegetables and the perfectly crisp veal cotoletta.

The sunlit Heritage Room, with its soft mountain views, is a calm space for breakfast, which serves a small buffet of pastries, fruit and local cheeses alongside an à la carte menu of hot dishes. Il Salotto, with its double-height ceiling and picture-perfect views, is the natural gathering spot for a casual lunch of small bites after the spa, or for an evening aperitivo. And for something more private, Di Vino, tucked beside the cigar lounge, offers intimate dinners accompanied by bottles from Hugo Pizzinini’s personal cellar of nearly 30,000 wines.

Where to switch off

After a day on the slopes or hiking the surrounding trails, the stillness of the Aman Spa awaits. The hotel’s centre of calm, the sanctuary is spread over two floors with calming mountain views. Start off with one of the signature therapies like the Muscle Relief Massage, followed by a dip in the indoor pool or perhaps an ice bath and sauna session – one of which has a window that frames the Alpine vistas. From there, the 20m heated outdoor infinity pool is the best and most atmospheric place to watch the sun start to dip as the steam drifts off the surface.

The verdict

In its new form, Aman Rosa Alpina feels calm, assured and unmistakably Aman, with its pared-back aesthetic, and where light, proportion and service take centre stage. Yet for those familiar with the original property, the layers of Ladin warmth and the quiet eccentricities that one defined this hotel might feel a nostalgic absence.

Still, in a region defined by raw natural drama, Aman’s disciplined minimalism offers a different kind of escape. Best experienced just out of season, when autumn paints the peaks amber and the air turns crisp, it’s a sanctuary that feels true to Aman.

Aman Rosa Alpina is located at Strada Micurà de Rü, 20, 39036 San Cassiano, Italy.

Born in Bordeaux and now based in Madrid due to an art residency at Casa de Velázquez, Love has frequented the French capital since childhood. Since graduating from HEAD Genève in 2021, the artist has travelled widely to present and exhibit their work. Following their first solo show with Exo Exo in May 2025, Love and the gallery reunite this autumn for a solo presentation at Art Basel 2025 (booth M54, part of the fair’s emerging sector), which runs until 26 October.

Titled ‘Bébé Boum,’ the showcase unpacks the social construct of birthdays. Floating balloons printed with images from the artist’s archive and a series of paintings conceived as greeting cards evoke the erosion of meaning that accompanies age and repetition. Through commercial typography and iconography, Love creates a physical and symbolic space that celebrates the mundane. Their distinctive approach to constructing reality through language – spanning painting, installation, writing, and performance – finds distilled expression here.

When leaves turn orange and the air is crisp, Love always makes a case to be in Paris. ‘Autumn is when the days grow shorter – my favourite time to meet friends in a café and sit indoors, sheltered from the city’s constant hustle,’ they say. Here, they share their go-to haunts.

What to see and do in Paris, Ash Love’s tips

Where to eat and drink

Café les Deux Gares

‘On the menu: cauliflower, olives, salted praline, grapefruit. That equals a quadruple yes from me. I love the foggy atmosphere in winter – perfect for between trains or for a solo date. It’s also part of a great hotel.’

Café les Deux Gares is located at 1 Rue des Deux Gares, 75010 Paris, France

Laïzé

‘Order matcha, bubble tea, and coffee. Drink them in any order you like.’

Laïzé is located at 19 Rue de Montmorency, 75003 Paris, France

Paloma

‘Women-owned, tiled to perfection, and all about seafood – what more could you want?’

Paloma is located at 93 Rue Julien Lacroix, 75020 Paris, France

What to do

Exo Exo

‘Currently on view is Yann Stéphane Bissô’s first solo exhibition with the gallery. I may be biased, as Yann is both a friend and an artist I truly admire, but since Exo Exo is also my gallery and art family, I must recommend it.’

Exo Exo is located at 34 Rue Albert Thomas, 75010 Paris, France

ICI – Institut des Cultures d’Islam

‘[Expect] insightful and heartfelt exhibitions, often from emerging artists. [It’s] worth sparing some time [here] when passing through Paris.’

ICI – Institut des Cultures d’Islam has two venues. ICI Léon is located at 19 Rue Léon, 75018 Paris, France, while ICI Stephenson is at 56 Rue Stephenson

Le Louxor

‘A historic public cinema with a colourful past – it had a stint as a discotheque in the late 1980s. Catch a premiere or buy tickets to see an anime in this spectacular and unique building (again, with tiles).’

Le Louxor is located at 170 Bd de Magenta, 75010 Paris, France

Where to shop

After 8 Books

‘My most treasured bookstore. Come with the intention of finding a specific book, speak to the staff, leave with one different to what you had in mind – guaranteed effect.’

After 8 Books is located at 7 Rue Jarry, 75010 Paris, France

Marché d’Aligre

‘Rue d’Aligre is the best place for grocery shopping. After grabbing your weekly haul of ripe fruits and fresh vegetables, finish your visit by heading to the square at the end of the street to find antiques and second-hand treasures. A childhood memory.’

Marché d’Aligre is located at Pl. d'Aligre, 75012 Paris, France

Also read our guides to Art Basel 2025 and the best design exhibitions to see in Paris while you're there.

Supernova Mayfair, London

Set on North Audley Street – where parent group BVC Hospitality also runs the French bistro NAC – Supernova’s Mayfair edition occupies the shell of an 18th-century townhouse. Its white-paned façade remains untouched; inside, the space has been entirely reimagined by New York-based Sarita Posada Interiors, whose London debut was the Aimé Leon Dore store in Soho. ‘It’s always a fun challenge to place something new within a historical framework,’ says founder Sarita Posada.

Posada’s concept, which received architectural support from West Architecture, draws from 1970s American diners, filtered through Supernova’s own visual language. The palette runs from soft yellow laminate to three tones of stainless steel, anchored by terrazzo underfoot. The interior choreography includes black Robert Mallet-Stevens stacking chairs, Charlotte Perriand wall lights, early-1970s-style banquettes, custom condiment holders and a single retro clock. In essence, design nostalgia with a modern pulse.

That same restraint carries through to the menu. The cheeseburger purist offers just two iterations: both built on a bespoke blend of dry-aged British beef, smashed on the grill and cloaked in American cheese, pickles and onions. One arrives with the house Supernova Sauce in a soft potato bun; the other, a classic mustard-and-ketchup variation. Fries, a sundae, coke – and repeat.

Supernova Mayfair is located at 15 North Audley Street, W1K 6WW, United Kingdom.

Earlier this month, Uchronia unveiled a sculptural daybed at the Hôtel Plaza Athénée’s Cour Jardin in Paris, inspired by the palace’s emblematic gardens. Now, across the Channel, Uchronia brings its lustrous alchemy to Mandarin Oriental Hyde Park, London, with a new project that celebrates the hotel’s bespoke Mandarin Oriental Celadon Green, a soft bluish-grey hue created in partnership with the Pantone Colour Institute.

Tasked with curating an immersive space around the tone, Uchronia has conceived a dreamscape that blurs the line between comfort and fantasy. The Pantone Celadon Suite proposes layered textures, bold forms, and exuberant British craftsmanship.

Following an under the sea design theme, Govindia Hemphill was commissioned to create a bedspread in a moiré fabric to evoke the fluidity of water. Similarly, the bespoke curtains resemble coral formations. Also in the bedroom are eccentric pieces such as Lydia Chan’s Swamp Monster Bone lamp or Neal Camilleri’s friendly four-legged sculpture.

In the living room, a large painting by Isabel + Helen (who created the cover artwork of our Design Awards 2025 issue) doesn’t fall quietly into the background – it perfectly complements Francesco Binfaré’s sleek On the Rocks sofa, alongside a resin desk and flower-shaped cushions. Meanwhile, the bathroom features delicate glassware by Jochen Holz.

‘Mandarin Oriental Celadon Green is a colour that carries both serenity and strength. In bringing the colour to life in the Suite, we sought to craft a space that evolves with the guest’s mood – playful in one moment, tranquil in the next,’ says Julien Sebban, founder of Uchronia.

The experience stretches well beyond the suite. At The Spa at Mandarin Oriental Hyde Park, guests can sink into a Celadonite-inspired treatment, harnessing the restorative power of the green crystal that defines the palette.

The package includes a full English breakfast (in-room or overlooking Hyde Park), two limited-edition Sunspel T-shirts marked with a single celadon stitch, a matcha celadon green tea ritual, two celadon gin cocktails at Mandarin Bar, welcome amenities and a bottle of champagne to toast in-suite. Celadon green, it seems, is the new black.

The Pantone Celadon Suite is available to book until 15 December 2025, priced from £3,000 per night for two guests. Mandarin Oriental Hyde Park, London, is located at 66 Knightsbridge, London SW1X 7LA, United Kingdom.

It’s a relief to arrive and feel the weight of expectation lift. Sir David Chipperfield’s meticulous transformation has given the building new life while reinstating its civic poise. ‘We wanted to re-engage the building with the square,’ he notes. Indeed, it’s a pleasure to see the façade unobscured again, with the once-introverted structure now opening Grosvenor Square back to the city.

Inside, Joseph Dirand’s interiors pick up the baton with grace. Known for his sensual finesse, Dirand has infused Saarinen’s austerity with warmth, tempering modernist restraint with a generous dose of understated glamour. The soft caramel and sandy tones are punctuated by gold anodised aluminium and deep walnut, while Alcantara-clad walls are so tactually inviting you almost forgive how thoroughly they must be brushed spotless before each guest arrives. Corridor walls fold gently like the pages of a book, highlighting the intention behind what could have been a mere transitional space into something beautifully polished.

The bones of Saarinen’s strong lines and Chipperfield’s precision are a defining framework, but it’s Dirand’s interiors that add soul. This is a hotel shaped by tactility – stone, brass, timber and Savile Row fabrics – where each detail feels instinctive and deliberately considered, from the ribbed wall panels to the way the gold accents catch the changing light throughout the day.

Delightfully, there’s no check-in process here. Instead, guests are whisked straight to one of 144 suites – all of which have a cocooning, residential feel that seeps in through soft textures, generous proportions and a palette of layered neutrals and burnished tones. Even the Junior Suite, which is sizable for an entry-level room in London, has sumptuous bathrooms clad in rare green marble from India, generous dressing areas, rich fabrics, and the kind of weighted glassware and stationery that signal a hotel paying close attention.

Service is polished, impressively so for a new opening, though not without small quirks. Top tip: if you don’t want to be wandering around the lobby in your dressing gown, there’s a separate lift that discreetly takes guests directly to the spa, a thoughtful feature that reflects the care put into the hotel’s overall design and flow.

The fitness area, with its Technogym equipment in an elegant neutral palette, was an exceptionally chic surprise that extends the same considered aesthetic found throughout the property, while Asaya Spa captures the hotel’s poise. Beautifully realised and elevated by its 25-metre pool, softly lit treatment rooms and partnership with Dr Wassim Taktouk’s clinic, the spa feels both practical and indulgent. Treatments range from MoodsPro massages to EviDenS de Beauté facials, with therapists who work with genuine care and intent.

Dining is where The Chancery Rosewood asserts itself as a social destination with eight bars and restaurants. Sharing the hotel’s address, Carbone, freshly imported from New York, has arrived with the subtlety of a parade, while rumours are still swirling about Richard Caring’s Le Caprice making its long-awaited return within the building, though nothing has yet been confirmed.

Within the hotel proper, though, there is a diverse line-up that holds its own among the city’s best. Jacqueline, behind the lobby, is the hotel’s most graceful space. With its soft curves, polished brass detailing and generous daylight, it hums throughout the day, its easy buzz and golden glow making it one of the loveliest rooms to linger in. Serra, a relaxed, unhurried space, brings a lighter Mediterranean offering with dishes from mezze platters to perfectly grilled seafood, while Tobi Masa introduces Japanese precision to the mix, led by chef Masayoshi Takayama in his London debut.

Downstairs, GSQ Deli – an elegant all-day stop for coffee, pastries and sandwiches – opens directly onto the square, while on the rooftop, Eagle Bar is the city’s new sunset hotspot – so popular, in fact, that guests may find themselves queuing downstairs, in a move that feels a little offbeat for a place of such polish. But once inside, the views more than compensate, even if the design – the only space not overseen by Dirand – doesn’t quite reflect the refinement below.

Still, the curation of the entire hotel feels assured, right down to the street-accessible delicatessen and shop. In a city crowded with new luxury contenders, The Chancery Rosewood delivers on its promise with remarkable execution, and after all the anticipation, it was, indeed, worth the wait.

The Chancery Rosewood is located at 30 Grosvenor Sq, London W1K 9AN, United Kingdom.

First came The Pelican in Westbourne Park, followed by The Hero in Maida Vale and The Fat Badger on Golborne Road. Now, they’ve made the move from west London to the West End with their first central opening: The Hart in Marylebone.

Wallpaper* dines at The Hart, London

The mood: naff-free nostalgia

Named after the Hart family, landlords in the 1840s, the pub leans into its history with a dose of nostalgia that never slips into pastiche. Winser heads up the Public House Studio, collaborating with lead designer Leticia Blakiston Houston to create interiors that feel timeless yet fresh.

‘For us, pubs are the original members’ clubs, without the membership,’ Winser says. ‘Even though it’s the same food and drink throughout the building, we wanted the patrons to be able to use The Hart in different ways depending on the occasion.’

Expect a proper boozer on the ground floor, where snacks are enjoyed on stools or in intimate booths framed by original stained-glass windows. Upstairs, the second and third-floor dining rooms take a more formal turn, with hand-aged panelling, scalloped banquettes and glowing gas fires. Throughout, there’s bespoke joinery by Philip Clay, custom lighting from Fosbery Studio, and window treatments designed by Daniel Gabriel.

‘As with our food philosophy,’ Winser says, ‘we try and source all our products within the UK, championing British designers and materials, from the lime plaster on the walls to the reclaimed wood panelling. We strip everything back to its core, focusing on sourcing quality products used in a simple way.’

The food: seasonal simplicity and serious sourcing

Gummer and Winser grew up in Oxfordshire near their Cotswolds pub The Bull at Charlbury, where they’ve pioneered a new form of pub grub using produce grown following regenerative principles at their Bruern Farm market garden up the road.

They’ve applied the same farm-to-table ethos at The Hart, with meat supplied by Public Houses’ butchery programme in the Cotswolds, from bar snacks such as chicken liver toast and pork pies, to full-size dishes of steak and potatoes and lamb chops with beans.

The sense of transparency extends to the open kitchen, too. ‘We put the kitchen in the heart of the building on the first floor,’ Winser explains, ‘to make it a more enjoyable working space for the chefs and a special experience for guests as they wander up to the dining room on the second floor.’

Not all the cooking is so hearty – there are soups and salads for office lunches – but it is all British and seasonal. Ditto the beers, which include Portobello London Pilsner and Allsopp’s IPA, though the snappy wine list looks more to France and Italy.

The Hart is located at 56 Blandford St, London W1U 7JA, United Kingdom.

Wallpaper* dines at Genghis Cohen, Los Angeles

The mood: a time warp into an old-school Chinese diner

With design input from Jared Frank (of Wildcrust in Highland Park), the team has resurrected the kitschy, retro 1950s Chinese-American haunt just a few blocks down from its original site – now neighbours with Jon & Vinny’s, Badmaash, and the new Lucia. The new location retains many of the original’s quintessential details: red booths, silk dragons suspended from the ceiling, and an array of red paper lanterns in varied sizes. Newer additions include more neon, mirrored walls, bold red carpeting, and teal accents, with a few large round tables at the front fitted with lazy Susans for easy sharing.

The bar area is now significantly larger, seating 12, and features a fishtank alongside an expanded cocktail list, including the new frozen, Dole Whip-inspired Dole Survivor. While there’s no longer space for the long-standing Genghis Cohen Live sessions (formerly held at the Kibitz Room in the old venue), the live music tradition continues across the street at Canter’s Deli – another Fairfax legend – every Wednesday and Thursday.

The food: don’t forget the egg rolls

The menu is extensive, and narrowing down choices will be a challenge; best to come with friends, as it’s one of the few cool LA spots where you can order a generous spread without breaking the bank. Old favourites return, including New York egg rolls packed with shrimp, pork, and vegetables, Crackerjack shrimp, and Queen chicken. Other standouts include sautéed green beans with garlic, cold sesame noodles in a light peanut sauce, and the triple kung pao – a lively mix of chicken, beef, shrimp, and candied walnuts – or the sweet and sour pork.

A new addition, the Szechuan chicken sliders – made with crispy fried chicken, Szechuan mayo, the restaurant’s signature slaw, and pickles on a King’s Hawaiian bun – are available exclusively from the late-night bar menu after 10pm.

Classic ‘foo foo’ cocktails endure: the lychee martini, Szechuan margarita, and a timeless mai tai, plus a dedicated martini section. For the indecisive, the trio of mini ‘tinis offers a playful sampler, while groups can share the Seinfeld, Party of Four punch bowl. And for a touch of Hollywood lore: Seinfeld creator Larry David is a long-time regular, and the original Genghis Cohen famously inspired the show’s legendary ‘The Chinese Restaurant’ episode.

Genghis Cohen is located at 448 N Fairfax Ave, Los Angeles, CA 90036, United States.

The project presented a very contemporary challenge: how to translate flavour itself, and the laboratory mentality of one of the world’s most experimental kitchens, into physical form?

OEO Studio designs Noma Projects Flavor Shop

‘René was very specific about what he didn’t want,’ explains OEO Studio co-founder Thomas Lykke. ‘He didn’t want a traditional shop or café. He wanted something that captures the laboratory atmosphere, as well as the playfulness, the quirkiness, the nerdiness, and especially the energy of experimentation.’

The result is a study in contrasts, both material and conceptual. Where Noma the restaurant orchestrates a carefully timed sequential experience, the shop is more informal and invites browsing through the full pantry of Noma Projects and Noma Kaffe, to enjoy in the shop or to take home. In keeping with a particularly Danish sensibility that prizes substance over spectacle and practicality over decoration, there’s nothing performative here: OEO Studio has created a space that is simultaneously raw and refined, allowing the materials to speak without shouting.

Paradise granite from Bornholm anchors the material palette in three separate treatments: jet-burned, honed, and chiselled. ‘It’s the same stone, just treated differently,’ Lykke says. ‘You almost feel they are different stones. It’s a bit like how Noma treats raw ingredients to create flavour: depending on what you do with it, it has a distinct expression.’

The parallel between culinary and material transformation runs throughout: burnt bricks provide warmth, Douglas fir treated with linseed oil adds a subtle blue, and hairline stainless steel and brushed aluminium introduce a cooler, more technical and industrial touch.

Most striking, however, is the contradiction between high-tech circularity and traditional craft. Bespoke glass jars by Danish workshop Holmegaard Værk, designed with a laboratory finish but a hand-crafted feel, sit beneath Terra pendant lamps made from Matek, a sustainable material made of coffee shell and wood waste mixed with recycled e-waste.

‘We both have an obsession about the crafted feel in combination with technology,’ says Lykke, ‘and the contrast makes it interesting.’

The centrepiece is an extra-long display table, like a responsive scientific specimen presentation, softened thanks to OEO’s juxtaposition of warm, tactile materials against the cooler, more technical ones. A sculptural pendant with what Lykke describes as an atomic plant aesthetic adds an unexpectedly high-tech accent, its light creating an otherworldly glow.

However, the design’s most memorable aspect may be its newfound openness. The greenhouse reveals the garden, lake, and glimpses of Noma itself, marking a shift in how the restaurant engages with the city beyond its dining room. ‘It’s open to everybody. You can stroll by, go in, touch, go into the garden, have a coffee,’ Lykke says.

This accessibility represents a new chapter for Noma, one that reflects its continual evolution and inventive new coffee programme, which features six baristas and their own in-house roasting operation, as well as a fascinating selection of items from the Noma Projects pantry.

‘They’re taking coffee to the same level as their food,’ says Lykke.

Noma Projects Flavor Shop is open Tuesday-Sunday, 9 am to 6 pm, and until 7 pm on Fridays. It is located at Refshalevej 96, 1432 Indre By, Denmark.

‘We were inspired by the landscape and heritage of the Puglia region,’ says the hotel’s architect, Roberto Murgia, who designed each of the 28 rooms and 19 suites as an homage to local materials and craftsmanship. ‘But also preserve the building – to bring it back to what it looked like 200 years ago.’ Vista Ostuni was originally constructed in the 14th century as a convent, and later functioned as a tobacco factory until the 1960s, with some locals even still recalling the days when sacks of leaves harvested from the surrounding fields were once stacked high under its triple-height atrium. That space is now a showstopping central hall with a trio of curving De Sede ‘Snake’ sofas and chartreuse curtains that fall from the soaring arched loggia.

The rooms, which range from the 36-square-metre Deluxe rooms to the 75-square-metre Prestige Suites, are characterised by natural textures: hand-painted ceramics from Grottaglie, woven rattan panels on the walls and furniture, and glazed terracotta floors sourced from local producers. Murgia also incorporated materials from the surrounding countryside. ‘For the bathrooms, we used a local marble from a quarry that only opened last year,’ he says. ‘We were the first to use the stone. It feels really rooted in the region.’

Though it sits only a few steps from the city walls, that provides just enough distance to frame the view of the White City from its rooftop Infinity Bar and pool. From a seat above, on one side, the city rises up against the skyline, and from the other, fields of olive trees and carob extend towards the Adriatic Sea in the distance.

In addition to the rooftop Infinity Bar and its sweeping panorama, Vista Ostuni boasts several other dining concepts, including the Chiostro Bar, with its colourful design inspired by neighbourhood cafés. ‘We started from the idea of the typical Italian village,’ says Murgia, who installed oversized terrazzo flooring to anchor the soaring vaulted ceiling, pinstriped textiles on the walls, and a wall-sized shelving unit with hundreds of bottles backlit like sparkling jewels. ‘It’s where everyone meets in the bar. It’s an essential public space.’

For fine dining, there is Berton al Vista, the latest outpost by Michelin-starred Milanese chef Andrea Berton. Here, tasting menus take diners on a tour through the region, with dishes like seared amberjack in a sea salt broth and lamb with roasted plums and chicory.

‘At Vista Ostuni, you have two worlds,’ adds Murgia. ‘One is the heritage and the story of the building. The other is a modern Mediterranean vision.’

Vista Ostuni is located at Via Giosuè Pinto, 60/A, 72017 Ostuni, Italy.

Tour The Sloane Club, London

The 56 club bedrooms and ten suites now channel Chelsea mews-house aesthetics, with bespoke headboards echoing the club’s oval cameo motif. The designers’ interventions also span a year-round glass-roofed terrace, wellness and fitness facilities, and co-working spaces that morph through the day.

Helena’s, the all-day dining restaurant, showcases bespoke needlework pieces from a charming collaboration with the Royal School of Needlework, while local artist Rosie McGuinness’s striking mural frames the club’s signature dining room, Venus. At 251 sq m, Lila emerges as the most versatile dining option, offering a Southeast Asian menu and available for private hire.

Members should also take advantage of the stylish Demob cocktail bar, which features a silk parachute ceiling as a clever nod to the club’s military roots, alongside private dining spaces such as The Wren Room, the Lady in Black, and The Ranalegh. For those wishing to unwind with a book or a board game, The Library is the place to be.

‘As we enter a bold new chapter, every aspect of our member experience has been thoughtfully reimagined, from beautiful new interiors and spaces to a renewed focus on wellness, cultural programming, and culinary excellence. This transformation honours our rich heritage while strengthening the positioning of the Club for the future, welcoming a new generation who value tradition with a modern spirit,’ says managing director, Neena Jivraj-Stevenson.

The Sloane Club is located at 52 Lower Sloane St, London SW1W 8BP, United Kingdom.

Wild Cherry opens inside Cherry Lane Theatre

True to A24’s understated aesthetic, Wild Cherry favours intimacy over spectacle. The 45-seat room, led by chefs Lee Hanson and Riad Nasr (of Le Veau d’Or, Le Rock and Frenchette), feels equal parts neighbourhood haunt and cinematic vignette. Designed by Zeb Stewart, known for Brooklyn’s Hotel Delmano, Café Colette and Frenchette, the space layers nostalgia with subtle glamour: deep green banquettes and limewash wall paint cast a moody glow beneath a slatted ceiling, while funfair bulbs and chequerboard floors nod to retro diners. A striking 12-seat horseshoe bar anchors the room.

The menu plays its part with considered flair. Raw seafood leads the opening act (oysters, tuna crudo, Bang’s Island mussels, whole dressed crab) before giving way to heartier crowd-pleasers: a lobster club, roasted monkfish kebab and a cheeseburger with just the right swagger. A steak for two arrives with baked potato, green salad and a swirl of soft-serve, while coconut cake offers a gentle curtain call. To drink, classic cocktails and natural wines set the tone, but the true showstopper is the Scorpion Bowl, a shared concoction served in vintage Murano glass – the wild cherry on top of an already cinematic night out.

Wild Cherry is located at 38 Commerce St, New York, NY 10014, United States.

The 2025 edition of ARCO Madrid gathered 214 galleries from 36 countries, turning the city into the art world’s spring focal point. But beyond the contemporary art fair’s temporary pulse, a constellation of cultural projects is now repositioning Madrid more permanently. The capital has become a hotbed of artistic proposals, with an increasing number of international collectors choosing to settle here.

At the centre of this momentum is the arts project Solo. Established a decade ago by entrepreneurs-turned-collectors Ana Gervás and David Cantolla, it has steadily become one of Spain’s most innovative cultural initiatives. ‘From the start, we’ve tried to remain on the experimental side of what it means to build an arts project: not too extreme, but also never taking ourselves too seriously,’ say Gervás and Cantolla.

The pair unveiled their first public space in 2018 on Plaza de la Independencia. It offers a mix of permanent and rotating exhibitions, and more than 1,200 works, but access is by appointment only, so a visit feels closer to a private viewing than a museum outing. ‘It was a turning point that allowed us to present ourselves to the public for the first time,’ they add. Further north, Solo Castanedo in Cantabria expands their reach with a rural outpost devoted to research and production.

Solo’s support for artists has evolved organically, too, from acquisitions and residencies to exhibitions and grants. The annual Solo AI Award, now in its third edition, funds projects at the intersection of art and machine learning, while the Artistic Support Program provides tailored career guidance, production support and international exposure.

In 2018, Solo made headlines with Memories of Passersby I, by Mario Klingemann, the first AI artwork to go under the hammer at Sotheby’s London: a pair of endlessly morphing portraits, generated live by neural networks. Beyond digital experiment, last year Solo Independencia turned to Juan Barjola, a key figure in 20th-century Spanish painting. His stark, expressionist canvases of twisted and distorted figures offered a grounding counterpoint. The exhibition was, for the founders, a deeply personal milestone.

Now comes their most ambitious chapter, Solo CSV, which resists definition, operating without a fixed programme and designed to reveal itself gradually. That might sound contradictory; after all, a gallery is, more traditionally, a space for public display. Yet for Gervás and Cantolla to reveal too much, too soon, risks reducing the place to a passing novelty. ‘More than a strategy, it is a philosophy that allows things to grow and find their own form,’ they explain. ‘What we want is to build, step by step, what this space can mean and how it can take shape. You might come across a work of art revealed only at a single hour, on a single day each year.’

Tucked into Madrid’s Moncloa-Aravaca district, Solo CSV carries the weight of history. Nearby once stood the Quinta del Sordo, where Francisco de Goya produced his haunting Black Paintings – works that would echo through the birth of modern art. The 4,500 sq m complex itself is a former printing press, once home to Semana magazine. After four decades lying derelict, the site was reimagined by Estudio Herreros.

Navigating Solo CSV is intentionally disorienting. ‘We aimed for every space to be simultaneously the interior of one and the exterior of another. And while each seems directly connected, that isn’t always the case,’ says Juan Herreros, founder and partner of the Spanish architecture studio, whose most representative project is arguably the Munch Museum in Oslo. At Solo CSV, a skeletal structure of reinforced concrete, all finished in white plaster, provides the framework, while additions were realised in dry construction, assembled on site by skilled carpenters and metalworkers.

‘It’s a kind of labyrinth where we can’t promise which part you will get to discover, but we will do our best to make sure you get lost,’ note Gervás and Cantolla. Visitors enter through steel doors still bearing their foundry marks, now punctured with Solo’s circular logo. Inside, a plaza opens onto a retro café and Bowman Hal, a gallery hosting shows in partnership with worldwide institutions. On display until 15 November are works by Aaron Johnson organised with the gallery Almine Rech. This will be followed by a Siro Cugusi exhibition and the launch of Movimiento 37, a network promoting exchange between galleries and artists.

From here, areas remain a secret, although Gervás and Cantolla reveal some of what’s to come. ‘There are some bright areas for reading comics, an art lab, and spaces for visual arts, films or video game sessions.’

Traversing Solo CSV feels dreamlike, its paths slipping from memory as if refusing to be pinned to a layout. What anchors the experience is the collection itself, a riotous choreography of sculpture, painting and digital works that shifts between the surreal and the confrontational. Canadian sculptor David Altmejd’s crystalline figures dialogue with Japanese artist Osamu Mori’s almost totemic wooden sculptures. On the walls are Neo Rauch’s surrealist tableaux and Gary Simmons’ chalkboard erasures. One of the most notable digital interventions is Dutch collective Smack’s hyper-slick animation Speculum, which reinterprets Bosch’s The Garden of Earthly Delights for the 21st century.

Gervás and Cantolla are keen to keep thinking outside the box. ‘Our mission? To support contemporary art, to explore and to stay awake, resisting the temptation to become a recognised model for as long as we can.’ Solo CSV may be introverted by design, but it embodies the Spanish capital’s outward surge: a city finding its contemporary voice with equal parts confidence and curiosity. ‘Madrid has changed enormously in recent years, and its momentum is remarkable,’ the pair say. ‘We feel fortunate to live through this time and to play a part in it.’

Solo CSV is located at Cta. de San Vicente, 36, Moncloa - Aravaca, 28008 Madrid, Spain.

This article appears in the November 2025 Art Issue of Wallpaper*, available in print on newsstands, on the Wallpaper* app on Apple iOS, and to subscribers of Apple News +. Subscribe to Wallpaper* today

Much like Gent himself, his Clerkenwell restaurant is ever-restless, periodically reimagined by artists and designers, and, since last year, no longer bound by the historic walls of its home in Sessions House, a former courthouse. Its first foray beyond what was once a judges’ dining room came at Frieze London 2024, where the team created a discreet refuge from the fair’s frenzy. The pop-up concept took its cue from the reverse of an artist’s canvas: walls draped in untreated cotton that diffused the light in soft, painterly tones, layered with floral shadow installations by Hattie Fox. The collaboration between Gent, architect Russell Potter of Soda Studio, and Richard J McConkey of A Studio Between was a study in texture, intimacy and suspended time.

For 2025, Sessions Art Club (SAC) returns to Frieze London with a new mise-en-scène: a dining space that sits somewhere between confessional and stage set. Potter, McConkey and Gent reunite to create an environment shaped by cinematic light and tactile form inspired by the primal surfaces of France’s Lascaux caves (the site of prehistoric paintings), and the stylised tension of Paul Verhoeven’s 1992 movie Basic Instinct. The film’s singular blue-lit interrogation scene becomes a visual leitmotif, refracted through shifting shadows and glowing table surfaces that pulse between natural and artificial illumination.

Cut-out objects from Gent and sculptural forms are interspersed with Hattie Fox’s botanical interventions, a surreal echo of cave flora. Guests enter to find a bar framed by a bold architectural façade, which acts as a display, with others stretching across the rear and side walls. In the kitchen, chef Abigail Hill’s menu channels the same sense of seasonal beauty and studied nonchalance found on the permanent Sessions Arts Club site, equally suited to a fleeting mid-fair interlude or a languid, post-gallery lunch. Expect Carlingford oysters, Cobble Lane fennel salami, Jerusalem artichoke risotto, and goat’s curd with rainbow chard.

As with the 2024 edition, the pop-up features limited-edition objects and collaborations: six one-off Tekla bags embroidered with Gent’s handwriting and quotes from Basic Instinct and philosopher Alan Watts; SAC at Frieze posters; Lost Wines Vols 1-3; graphic T-shirts by Mans Ericson of Every Night Studios; Completedworks objects; Drake’s x SAC x Cabin Studio caps; and other pieces that are half art, half artefacts.

Here, we catch up with Jonny Gent to celebrate the opening of the Sessions Art Club at Frieze London 2025.

Sessions Art Club pops up at Frieze London 2025

Wallpaper*: Sessions Arts Club blurs the lines between restaurant and art installation. How does this Frieze iteration push that idea further?

Jonny Gent: I love to explore the intersections of human complication, memory, sensuality and space. Here, I wanted the dining room to feel as urgent as a gallery, buried beneath the white noise of the fair. A room not curated, but conjured; light falling like a brushstroke. You walk in and you’re not sure if you should sit down or just stand very still and listen.

W*: How can dining, as a medium, sit alongside contemporary art – is it about aesthetics, ritual, or something more primal?

JG: It’s all of it. Food and dining have always been art, ritual and theatre, but also elegance, restraint, and desire. A table can (should) be a canvas, a confession booth, or a stage. The act of eating is ancient and deeply sensual.

W*: The pop-up is within the Frieze fairground; how easy is it to find?

JG: We’ve kept it discreet and a little hidden. The entrance is quiet; you might miss it. Then, suddenly, you’re inside something that feels cinematic, tender, and slightly charged – a hush in the middle of the noise.

W*: What kind of conversations or moments do you hope will unfold in this space during Frieze London 2025?

JG: Private ones. The unexpected. Silences. I love the moment after a glass of wine has tipped over. We hope it invites people to slow down. To breathe and behave differently. To feel, even briefly, transported. Just being sexy is also fine.

W*: What was the initial spark for the design? And how was that idea interpreted through space, light, and form?

JG: I was drawn to spaces that feel both ancient and modern, yet also charged – both sensual and sacred. We began with shadows and light, not objects. Then we considered warmth and that cool Michael Mann blue as a memory. Rooms you half-remember from childhood or desire. Next, we searched for them in materials through our collaborators. I like to strip things back to their bones. The remaining elements evoke something else: a cave, a chapel, an interrogation room, a motel at dusk.

W*: Why were you particularly drawn towards sources such as prehistoric caves and Basic Instinct? How did they translate into the space?

JG: Caves were the first galleries. Flickering walls marked by hand, blood, or smoke. Basic Instinct is just another kind of cave. One speaks to ritual, the other to seduction. I wanted the space to hold both ends of that thread: the ancient and the erotic.

W*: What’s your favourite detail in the space? Something guests might miss unless they’re really looking.

JG: My favourite would be a cut-out shape inspired by my painting of the Barry Kieselstein-Cord jewellery piece that Catherine (Sharon Stone) wears in Basic Instinct. I was fascinated by this piece and its heavy shape. It reminds me of some of the early animal cave paintings. This piece appears in the space, but it’s not easy to spot.

W*: How does Abigail Hill’s menu echo or respond to the environment you’ve created?

JG: Abigail’s food is both restrained and elemental. She cooks with intuition and memory. The menu feels aligned with the space: seasonal, textural, quietly intense. Nothing is superfluous. Everything matters.

W*: Could you share more about the objects available for purchase?

JG: This definitely wasn’t about merchandise. They’re artefacts; limited pieces with an almost archaeological delivery. Ashtrays, vases, glass, stone, linen, cotton, paper – all made slightly off, slightly surreal.

The making process of these objects was of great interest, how that fitted into the studio practice of Cabin Studio and especially the desire to create this cave-like space. The highlight was getting to spend time with Anna and Grace from Completedworks, Jung from Drake’s, Charlie from Tekla, and Mans from Everynight studio. Listening to their thoughts and ideas. This is the beauty of the collaborative exercise.

The Sessions Arts Club at Frieze pop-up is open to all Frieze London ticket holders from 15 to 19 October 2025