Located in the heart of Florence just 10 minutes away from Santa Maria Novella station, The Student Hotel Florence is a dynamic new hotel specifically oriented towards a young, creative clientele. The hotel is sited in the former Palazzo del Sonno—an 1864 building designed by Italian architect Giuseppe Poggi. Rizoma Architetture sought to preserve the site's historic character while infusing it with a modern, contemporary aesthetic.

The hotel is the first project in Italy by The Student Hotel, a Dutch start-up active in the hospitality sector since 2012 and with locations in Amsterdam, Barcelona, Paris, Rotterdam, and several other European cities. The hotel employs a hybrid plan, allocating just over half of its 390 rooms for students to stay for up to two years. The remaining rooms are for tourists, professionals, business travelers, and anyone else looking to stay for two nights to 12 months.

Rizoma Architetture designed a series of communal spaces to serve as the heart of the hotel, including classrooms, co-working spaces, and auditoriums for conferences and meetings. The hotel also offers restaurants and cafes, an outdoor swimming pool, a gym, a communal kitchen, and a rooftop bar.

These spaces are all designed for collaboration and creativity, with a modern, industrial edge that contrasts with the historic walls of the palazzo. The lively and modern interiors are punctuated by neon lights, artwork by local street artists, exposed ductwork, and a bold color palette punctuated with bright blues and reds.

With rates starting at just $88 a night and around $565 to $790 euros a month, the hotel strikes a comfortable balance between democratic and design-oriented, desirable yet still within reach.

Related Reading: 16 Striking Vacation Rentals Under $200 Per Night

Project Credits:

Interior Design: Rizoma Architetture / @rizomarchitetture

Architect of Record: Archea Associati / @archea_associati 

Builder/General Contractor: INSO SPA

Structural & Civil Engineer: AEI Progetti SRL

Lighting Design: ESA Engineering 

Architectural firm ZJJZ was tapped to craft a design destination in the remote village of Tuanjie as part of a government effort to alleviate economically depressed areas in rural China with agricultural tourism.

With no local architectural vernacular to draw on, the firm sought "to capture the beauty of nature with tranquil forms that harmonize with the surrounding environment." For the Woodhouse Hotel, the architects opted to build the cluster of 10 cabins in three different, equally striking shapes: a rectangle, triangle, and trapezoid.

Related Reading: A Chinese Sugar Mill From the 1960s Becomes a Cave-Inspired Hotel

Project Credits:

Architect: ZJJZ 

Structural and Civil Engineer: Guiyang Architectural Design & Surveying Prospecting Co., Ltd 

Client: Guizhou Dafa Tourism Development Co., Ltd.

Photographer: Laurian Ghinitoiu

While dining deep isn’t exactly new—there are several underwater restaurants around the world—they’re mainly held in aquariums or other controlled environments. By contrast, the Snøhetta-designed Under, which opened this week in Lindesnes, Norway, sits in the wild, icy North Atlantic, perched seemingly precariously on a rocky coastline. 

At Under, a table with a view means an awe-inspiring sight that changes by the minute, and fluctuates with the seasons. A 36-foot-wide and 11-foot-tall horizontal acrylic window—cut into the one-and-a-half-f00t-thick concrete walls at the end of the tube-shaped restaurant— provides a panoramic portal to the wildlife outside. 

"Under is a natural progression of our experimentation with boundaries," says Kjetil Trædal Thorsen, founder of Snøhetta. "[It] proposes unexpected combinations of pronouns and prepositions, and challenges what determines a person’s physical placement in their environment. In this building, you may find yourself under water, over the seabed, between land and sea. This will offer you new perspectives and ways of seeing the world, both beyond and beneath the waterline."

The design is a tilted concrete tube that gives the impression of sliding into the sea. "The idea was to make a tube that would bring people from above sea level down under the sea," lead architect Rune Grasdal told Dezeen. "That transition is easy to understand, but it’s also the most effective way to do it. It also feels secure, but you don’t feel trapped."

The angle was also designed with the building’s aquatic neighbors in mind. It’s hoped that, in time, the structure will become part of its environment, acting as an artificial reef. Marine research is part of the project: cameras and other measurement tools have been installed outside the restaurant to help researchers learn about the population, behavior, and diversity of the species living in this part of the North Atlantic.

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The dining experience at Under is created by two-time Michelin-starred chef Nicolai Ellitsgaard, originally from Denmark. His "Immersion" menu is a tasting menu comprised of around 18 locally sourced seafood delicacies.

"Fresh ingredients and pure, naked flavors are of utmost importance to us," says Ellitsgaard. "At the same time, we want to provide a unique dining experience that ushers our guests beyond their current comfort zone."

The tasting menu with wine will set you back about 4 hours and around $400 per person, but you’ve got time to save up. The restaurant is already booked through September.

Related Reading: Snøhetta’s New Cabins in Oslo Offer Refuge For Long-Term Hospital Patients

It’s 2 AM on a Saturday night in the Spanish capital and traffic flows as if it were a weekday rush hour. The labyrinth of 14th-century cobblestone streets in the Lavapiés neighborhood, Madrid’s next big thing, is buzzing with life. The immaculately dressed bar and restaurant crowds huddle in groups on the sidewalk as they discuss where to go next; African immigrants sell pirated CDs displayed on blankets; dreadlocked squatters circle in a powwow in the plaza; and, lest we forget that this is Europe, a Ferrari races by. As Madrid, still spreading its wings after only 30 years of democracy, struggles to find its place amongst world-class 21st-century cities, resolution to its identity crisis lies somewhere in the chaotic mix of old and new.

Contemporary architecture and design reflect this trend of turning old into new with recent starchitect projects like Herzog + de Meuron’s CaixaForum, which conserves the old facade of an outmoded power plant while completely restructuring the building. Juan de Villanueva’s beloved 18th-century Prado Art Museum got a respectful addition from Rafael Moneo in 2007 (no Gehry whorls or refracting metallic skin in sight). In
a city where up-and-coming designers are bucking what they see as a crotchety, inefficient system of commissioning public works in a tear-it-down-and-build-it-up mentality, the next big thing may simply consist of rethinking what is already here.

It all makes perfect sense to architect and designer Andrés Jaque, a 36-year-old Madrid-based principal of Andrés Jaque Arquitectos, university lecturer, and founder of the playfully heady Office for Political Enhancement. The OPE promotes a kind of democratized, eco-Ikea model of urban living emphasizing utilitarian design, making the most of any and all floor, wall, and ceiling space and the merits of colored plastic. For someone like Jaque, modern ideas effortlessly merge with the old-world mentality, both in the physical state of the urban landscape and the lifestyle that goes along with it. 

What can you tell me about this recent tendency in Madrid to build around things instead of starting something new?

I think it’s a very exciting tendency in architecture. Most cities are built already. But what can we do to make them current, to transform them so that they represent us? We have so many abandoned buildings and there’s a desire to do something with them, and there’s not always a need to start with something new. It’s not necessary to have everything in the city so coherent either. You can have something high-tech along with  something taken from the garbage.   Most designers I talk to now don’t like to just throw things away and make something new. We are very aware that our actions have an impact on both the environment and society. We don’t like to create things that are so "sharp" in terms of design—–using the best new design, with the best new material, for the highest of culture. That separates people. We prefer to design things that are "soft," and that can relate to anyone. Something that’s cool, but cool to anyone because it can be transformed by anyone into anything they want—–things that you can relate to in a more relaxed way.

What are some examples of that here in Madrid?

Madrid is like two cities that exist at the same time. One city is the official one, and it’s not very interesting. It’s the city of big architectural commissions. In that sense, Madrid has not been so successful. It’s not very contemporary. Recently, with the new mayor, Alberto Ruiz-Gallardón, there have been some newer commissions, like the CaixaForum by Herzog + de Meuron and the Teatros del Canal by Juan Navarro Baldeweg, but these are exceptions. Underneath this official scenery there’s something very interesting happening, which is daily Madrid. It’s not so easy to spot, but once you get to know it, you see that there are so many interesting things: restaurants and bars such as Café Moderno in Plaza de las Comendadoras; shops selling more specialized things like Victimas del Celuloide, an avant-garde graphic design shop selling home decor; and all of these groups of people in terms of street action like Zulo_ark and their urban activism. There’s all kinds of music, graffiti, T-shirt design by people like VelvetBanana—–very rough things because they don’t have the money to do it properly.

What aspects of this unofficial city set Madrid apart from other European capitals?

What you can experience here at night. The night is lively, and it’s very innovative in terms of design, creativity, and the arts. This is something that can only happen here. People in Madrid put a lot of effort into their nightlife. And the official part of Madrid tends to think that the nightlife here should emulate the scene in Paris, and in my opinion that’s not a very interesting thing to do. The official part of the city tends to just follow what’s happening elsewhere. But we have something very exciting here in the neighborhood Lavapiés, or clubs like Ocho y Medio.   It has become such a mixture of cultures, and everyone deals so well with one another. This is new for Madrid. It’s very exciting.

You’ve contributed to this with your Casa Tupperware project.

The Casa Tupperware is kind of an experiment. I don’t mind trying to do things without knowing how they’re going to end up. A Casa Tupperware can turn a one-story space into two.

Which nonplastic buildings most excite you in Madrid?

I don’t have one favorite, but I’ll choose Las Torres Blancas by Rafael Moneo [a high-rise condo built in 1968]. It’s so visionary. It’s one of those utopian architectural ideas that has actually worked. The apartments inside continue to be a very special place to live. I’m kind of retro with my choices of buildings.

For me, this small house, which I stayed in every summer from ages 6 to 35, has always been framed:house as House. Robert Venturi, Denise Scott Brown, and John Rauch completed it in 1972, and shortly thereafter it gained renown. Architectural historian Vincent Scully called it "what modern architects have always said they most wanted: a true vernacular architecture—common, buildable, traditional in the deepest sense, and of piercing symbolic power." It is also where I lost my virginity, was proposed to, had my biggest family fights.

In 1971 my parents and my aunt and uncle commissioned the then-little-known firm of Venturi and Rauch to build two adjacent summer houses on Nantucket, hereafter known as the Trubek and Wislocki Houses. The clients for the houses were a pair of related families with limited funds. My house, the Trubek House, is "complex and contradictory," following the title of Venturi’s 1966 book. My aunt and uncle, the Wislockis, commissioned the contrasting "ugly and ordinary" one. Our house boasts a cut-off corner, a Palladian and double-paned windows. The Wislocki House is the more traditional cottage. They were built to blend into the landscape and architectural history of the island. They fit into the environment because they are like the old fishermen’s cottages of that island and like 19th century shingle style vacation houses of New England, too—weathered grey to mold into the grey-green foliage and soft blue seascape.

I don’t know who the man in the photograph is, but I suspect he was a graduate student from Penn, or a foreign architect studying postmodern American architecture, or just a Venturi buff. I admire his studiousness, his eschewing of the beach for roof slope lines.

There were always architects in the bushes. I would be doing the dishes, or playing poker, or changing out of my swimsuit, and I would see someone walking up the path or a car slowing to a stop on the road. Usually, I would go out and greet the visitor, offer a tour, and quote what various critics had said about the house. I liked the attention.

And it was warranted. By any reckoning, the front porch of the Trubek House, almost as large as the first floor, is the most beautiful place in the world. The exteriors have a family resemblance and so do the plans. Both ground floors are essentially one large room leading on to a broad porch overlooking the sea, with kitchens tucked into corners. As a kid, I played tetherball with a buoy roped up onto the large middle pillar; in my twenties, I smoked cigarettes and drank gin and tonics with my friends.

Usually, though, I would just sit, rocking in the weathered wicker chairs that peopled the porch, and gaze at Pocomo. These…are…serene and restful places, full of understanding of the nature of their island. On cloudy or windy days, the waves rocked in rhythm with the chair. On a clear day, I could see Coatue, the peninsula that hugs the bay, and behind it the larger peninsula, Great Point, surging straight ahead into the ocean. From my perspective, Great Point ended directly in front of the porch, way out into the sea. There, a lighthouse stood.

Mine was the front bedroom, the smallest of the three on the second floor. In it is a floor-to-ceiling window; given the roof line, that made the window about four feet tall. The sections too show ingenuity, for while the exterior form may be borrowed from a vernacular, Venturi and Rauch have used every cubic inch of space within that form, so that the roof form is read within each bedroom. My window looked out on another window—a large, double-hung one that blew in during Hurricane Bob while I huddled on the floor of the kitchen, the only room in the house not studded with glass. I would sit on the floor of my bedroom and watch relatives walking on the path between the houses or from the driveway, carrying groceries. The houses are sited so as to look toward the water. First seen from the rear, they are set far enough apart to create a sense of openness, yet close enough to be perceived as a pair. If I peered down, I could see my mother or sister or uncle walking up the spiral staircase in between the two windows. The spatial complexities around the staircase are noteworthy.

In my drifting postcollegiate years, I spent a few off-seasons in the house, working in town, getting to know the moors as they reddened and the brutality of early spring wind. I stayed in my parents’ bedroom on the third floor.  The master bedroom is perhaps the house’s best space—a private hideaway up in the eaves.

Up there, you can barely see the ground beneath—one feels at sea, the room a captain’s cabin accessible only by a mastlike spiral staircase. The Trubeck [sic] house has a divided Palladian corridor which allows light into the staircase and the upstairs bathroom. I never felt colder than on March nights in that heatless room, and I have never, to this day, felt more at home.

In the summer of 2001 my family sold the Trubek House, my aunt and uncle the Wislocki one. They made a killing. That the house was built by Venturi and Rauch did not increase its resale value, though. The Trubek House, I believe, is owned by a hedge-fund manager from New York.

Last Thanksgiving, I went back. I drove to the house, emptied for the winter, and peered into those same double-paned, oversize windows I’d looked out of for so many years. Historic preservation laws and codicils state that the new owners cannot change the structure, and, in following with architectural tradition, they will always be known as the Trubek and Wislocki Houses.

That gray, blustery November day, I noticed that grass had replaced the prickly brush, and new, generically puffed-up houses loomed ominously to the left and right, but mostly everything looked the same, that same slip of shore, that same view from the porch. ...Venturi creates a totally different and equally valid image of America, of the empty horizon, the lonely island, and the Viking sea...I walked to the stairs that lead down to the beach, turned around to face the house. …the houses stand up, very tense, taut, and lonely, like individuals trying to speak to each other, Americans in their predicament here…. Scott Fitzgerald...somehow knew all about it: "So we beat on," he wrote in Gatsby, "boats against the current, borne back ceaselessly into the past."  My back was to the waves, and the wind off the bluff was so strong I had to widen my stance to stay upright. I took a picture. No one saw. 
 

Studying the map over breakfast, it looks easy. You board the legendary Star Ferry at the Tsim Sha Tsui terminal in Kowloon, motor across Victoria Harbor toward the skyscrapers lining Hong Kong Island’s financial district, then disembark and stroll a few blocks into the heart of Central, the city’s birthplace. In reality, by the time you’ve figured out that Central’s freeway-esque thoroughfares can only be crossed by pedestrian walkways, gotten lost in one of the luxury-brand-filled malls into which the walkways deposit you, stumbled into Statue Square and made your way through the hundreds in the plaza beneath Norman Foster’s HSBC building, and ridden the 2,600-foot-long escalator up to historic Hollywood Road, you’ll be lucky if you haven’t missed lunch.

If you’ve a taste for urban life in extremis, you’ll be in heaven. Hong Kong is composed of three parts acquired by the British beginning in 1841: the eponymous, mountainous island; Kowloon peninsula; and the New Territories, which include the region north of Kowloon plus roughly 230 islands (leased for 99 years in 1898, an arrangement that precipitated the 1997 handover). Each has its own allure. Hong Kong Island offers an intriguing architectural mélange, ranging from 19th- and early 20th-century works such as St. John’s Cathedral and the former Supreme Court to Foster’s remarkable 1985 machine-for-business and I. M. Pei’s sharp-angled Bank of China Tower. Amidst the cheek-by-jowl vernacular buildings and the steep, skinny streets of Central’s Lan Kwai Fong and Soho districts, you find the hippest nightlife, and at Stanley and Repulse Bay, delightful beaches. In Kowloon, the density borders on the surreal: Monstrous, grimy apartment structures—–hung with laundry, crisscrossed by bamboo scaffolding, and seemingly about to collapse—–line the main artery, Nathan Road, over which a montage of visually cacophonous signage unfurls like a neon thunderhead. In the New Territories (apart from suburban development), there are historic Chinese villages, abundant country parks, and peace.

Overwhelming? Absolutely. But the public-works projects that pepper the city’s history have delivered a surprisingly manageable metropolis. Whether you’re ascending to Victoria Peak, the island’s high point, on a 19th-century trolley line or riding the comprehensive MTR subway to sightsee in Sheung Wan or attend the Sha Tin racecourse, Hong Kong’s pleasures are easily grasped.

To put things in perspective, we spoke with Hong Kong native Rocco Yim, whose Rocco Design Architects Ltd. is one of the city’s most prolific architecture firms, responsible for the graceful Citibank Plaza, Number One Peking Road skyscrapers, and dozens of other local and international projects. We talked about Hong Kong’s development, urban terrors and pleasures, and future challenges.

Is Hong Kong friendly to contemporary architecture? 

If there is some truth to the saying that architecture is a reflection of a city, then the pragmatic, practical nature of Hong Kong influences most of the architecture. We are very efficient at putting up buildings, very good at making the maximum use of whatever space is available. We are ingenious in the way we adapt buildings to difficult sites. But at the end of the day, the first priority is functionality. The general public does not have great aspirations for creativity.

Are architecture and urban design driven by money or by government?  

By money. Of course, the government establishes planning and zoning guidelines, but it is traditionally driven by financial considerations.

By money. Of course, the government establishes planning and zoning guidelines, but it is traditionally driven by financial considerations.

Sometimes, when commercial interests and urban considerations coincide. The best example is how the city’s infrastructure merges with buildings. Mass-transit stations integrate with shopping centers. Pedestrian movement systems merge with architecture. There is no rigid demarcation between what is private and public and no strong psychological demarcation between one piece of architecture and the next. As a result, we have some very dynamic public spaces.

Where haven’t public and private interests merged well?

On large residential projects. The efficiency the developer is trying to achieve is so great that the resulting architecture ignores the basic requirements of good living units. Like that they should be facing south, or that there should be adequate cross ventilation, or that they should not be overlooking other units. Usually such environmental considerations are given up in order to have as much usable area as possible squeezed out of limited available land. At the same time, it gives the city a good compactness.

What are the positives and negatives of Hong Kong’s density?

It is a user-friendly, pedestrian-friendly city, something that cities like Beijing or Los Angeles really should learn. This compactness produces a very vibrant mix. You have living zones very close to commercial zones. You have a market, sometimes literally, downstairs. You are within walking distance of shops, bars, and restaurants.   On the other hand, in order to achieve this, some very basic concerns are neglected. You have to be able to stand the noise. Privacy is a problem—–you can’t be the sort of person who likes living in Vancouver. And sometimes this density creates a "wall" effect, blocking the winds from the sea and worsening pollution.

Is the government confronting these problems? 

They have started to down-zone most development to reduce the density of new sites. In two recent incidents, they almost halved the amount of development that was permitted before.

How did the land-reclamation projects, which have been going on for 150 years and have reshaped Hong Kong’s topography, get started?

We are short of land. And yet the government throughout history has relied on profits from land sales to finance the city. It is one reason why we have such low income taxes. And the only way we could get new land to sell is through reclamations, time and again.

Twenty years ago, it took 15 minutes to cross the harbor by ferry. Now, because of the increased amount of landfill, it takes about eight. Has it gone too far?

It’s a very politically sensitive issue. Two or three years ago, when people saw the last reclamation, they were alarmed that the harbor was becoming more like a river. Now there is a law that prohibits further damage.  Also, people have been complaining for many years that Hong Kong’s shoreline is a mess—–not a single restaurant or promenade. And one reason is that the government is always engaging in further reclamations, so there’s no point in designing anything. Now that the last one has begun, they are finally going forward with consultations on how to best design the waterfront.

Has historic preservation become a priority? 

It has. It used to be that there wasn’t a strong will to do so because if you knocked down an old building and sold the land, you could get more income. Over the last two years, however, the government has been actively trying to preserve historic structures like Central Police Station, but there is always difficulty getting a consensus. There are organizations that say you cannot touch a single brick. On the other hand, there are people—–including myself, and most architects—–who say you have to be creative by adding or transforming elements to make it work, as with the Tate Modern.

What are the big challenges for the future?

What we need is a couple of good-quality public buildings that we can be proud of. The government does not go for design competitions. They’re afraid of budgeting, of controversies.   The second challenge is to find an intelligent balance between sustainability concerns and issues of density and compactness. Government is responding to environmental groups and downscaling development sites. But there is a danger that the pendulum is swinging too much the other way too fast. That by drastically reducing the density of our city, we might lose our original strength, that we are walkable and connectable.

Has the city changed much since the handover?

It changed quite a bit over the last two years. The public is more concerned with the environment, preservation, and reclamation. That is very different from the British era. It’s an outgrowth of a new form of government. We have more independent legislators, so people’s voices are increasingly heard.

If a visitor only has a few days, what are Hong Kong’s must-dos?

You must take the Peak Tram and take a look from above. And the ride is interesting—–there’s one stretch where it’s so steep, it’s almost vertical.   Then I would suggest you take the escalators up to the mid-levels [of Central]. There you can see the different strata of development. From the latest, to old Central, to the messy residential neighborhoods on the upper mid-levels, to the more high-class, quieter residential levels.

Any museums?

Unfortunately, our museums are all bad [laughs].

When Heliotrope Architects and Price Erickson Interior Design were tapped to outfit Willmott’s Ghost, a new restaurant brought to Seattle by James Beard Award-winning chef Renee Erickson, they were tasked with the unusual challenge of avoiding the straight and narrow. The restaurant would occupy the ground floor of the Spheres, a dome in the center of Amazon’s campus that mostly serves as a workspace and cloud forest conservatory for the tech giant’s employees. 

But, as the final product proves, it often pays off to think outside of the box. 

"The Spheres bring Buckminster Fuller’s geodesic domes to our minds as well the 1960s and ’70s," explains Jeremy Price, principal at Price Erickson Interior Design. "We borrowed a lot from these eras: Sweeping curves, the wallpaper, the brass, the pastel colors, the ground aggregate concrete floors, and the light fixtures." 

Willmott’s Ghost deftly contrasts its exterior—a modern, geometric dome—by creating a space that appeals to all the senses. 

"We aspired to design a restaurant that would bring a touch of nature, handicraft, and patina—a warmth and softness — to a downtown corporate campus setting where these things are not always in abundance," explains Price, who cites the late-’70s, early ’80s dance pop genre Italo Disco as one source of inspiration. 

Two small doors lead guests into the  1,900-square-foot space, a feat which project contractors Dovetail General Contractors comically referred to as building a ship in a bottle. 

As a contrast to the Spheres’ glass, steel, and concrete interior, Willmott’s Ghost features a palette of natural and handmade materials—such as un-lacquered brass oak, leather, hand-formed clay tiles, and ground concrete—to soften the space. 

With a soothing color palette of blues, whites, and light pinks, the restaurant boasts impressive design moments in every corner. Some of Price’s favorite features include the brass sink and mirror in the bathroom as well as Klaas Haapaniemi’s cheery wallpaper in the hallway that joins the outdoor patio and dining room. 

Open to the public, guests might visit Willmott’s Ghost for its scallop crudo or Palazzo Pio (a libation made with olive oil-washed vodka)—and they’ll certainly stay for its warm, welcoming atmosphere. 

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Find menus or make a reservation at Willmott’s Ghost.

Related Reading: Meet Downtown Seattle's Newest Landmark: The Amazon Spheres, Here Are the Modern Prefab Designs That Amazon’s Investing In

Project Credits:

Architect of Record: Heliotrope Architects / @heliotropearchitects

Builder/General Contractor: Dovetail General Contractors 

Interior Design: Price Erickson Interior Design 

Photography: Aaron Leitz (Exterior), Kevin Scott (Interior)   

Nestled on a crescent-shaped surf beach on South Island’s Banks Peninsula sits a deceptively simple beach house. Scrubby Bay is a rustic retreat flush with modern luxuries and breathtaking scenery at every turn.

The getaway’s farmhouse-inspired appearance is a nod to Annandale, the 4,000-acre sheep and cattle farm to which the property belongs. Kiwi businessman Mark Palmer purchased the coastal property and, inspired by his childhood years on a farm, tapped architect Andrew Patterson of Auckland–based firm Patterson Associates to update Annandale with four luxury villas—Scrubby Bay being the largest and most remote of them all.

"Design spurs from the symmetry of the bay," Patterson explains, having placed the Scrubby Bay house in the center of the bay’s long arc. "The structure remains long and low, not needing to compete with its breathtaking surroundings; instead it remains appurtenant, belonging to the land. The balance of the bay complements the form of the barn, as do the sun-soaked crops that blend in with the natural cedar wood exterior."

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The cedar-clad villa comprises two gabled forms spanning approximately 4,800 square feet. It includes three ocean-front bedroom suites, a bunk room that sleeps eight, a lofty great room with a central hearth built of locally quarried stone, a sun-soaked patio looking towards the ocean, and a large pool in the rear.

Taking inspiration from a "slowly aging piece of farm driftwood," the architects wrapped Scrubby Bay’s roof and facade with untreated cedar that will naturally weather over time. The interior is fully lined in locally sourced macrocarpa juxtaposed with black steel fittings. Custom-designed fittings are used throughout—from door hardware to furniture, lighting, oak grills, and handles.

"The bay was rural and peaceful and rugged," Patterson notes. "I labored very hard about whether to do a completely abstracted form on that site, and I didn’t want to do that because that bay is eternal, and one thing that you do know is it’s likely to be a farm for a long time.

"If you pick a contemporary form, you fight the timeless nature of the bay. But the building is reasonably abstracted in a material sense – everything about it is still very contemporary, but unmistakably rural New Zealand. It’s not excessive in any way. It has classic proportions and natural forms. The drama of that house is its centeredness in the amphitheater of the bay."

Scrubby Bay is available for booking via Annandale's website.

Related Reading: You Won't Want to Leave This Cozy Cabin in New Zealand 

Project Credits:

Architect of Record: Patterson Associates  / @pattersonassociates

Builder/General Contractor: Hoogervorst Architectural Builders

Structural Engineer/Civil Engineer: Tyndall & Associates

Landscape Design Company: Rob Watson

If you’re looking for a new place to call home, have the option to work remotely, want to seek out new opportunities—or all of the above, you may be interested in checking out these places that offer some compelling incentives to move. Below, you’ll find 10 cities and states that will pay you to live there.

1. Tulsa, Oklahoma

The Tulsa Remote Program pays remote workers $10,000 to move to Tulsa, Oklahoma, for one year. As part of a series of efforts to attract new talent, the program hopes to bring diverse and talented individuals to the city for community building and collaboration. A co-working membership, up to three months of discounted rent in Tulsa’s renowned Arts District, plus plenty of networking events, are all part of the perks. 

2. Candela, Italy

This small Italian town is paying people $2,350 (2,000 euro) to move there. To help recover the town's population loss, the city’s mayor is offering up money to encourage people to relocate there and regain the town's reputation as "Little Naples." What was once filled with booming streets of tourists, merchants, and vendors, has diminished to just 2,700 residents. Baroque buildings, winding alleys, and picturesque terraces await new Candela residents.

3. Baltimore, Maryland

Baltimore, Maryland, is hoping to get rid of its dilapidated neighborhoods and vacant lots. The historic port city is offering up to $10,000 for individuals to buy a vacant lot and develop it through Live Baltimore. Additional incentive programs, such as loans for home upgrades and rehabs of historic properties, hope to encourage and increase homeownership. All you have to do is attend a Trolley Tour to become eligible. 

4. New Richland, Minnesota

Looking for free land to build the home of your dreams? The small town of New Richland, Minnesota—with a population of just 1,200—may be the perfect new stomping grounds. Just off 1-35 and near Minnesota’s major cities, lakes, golf courses, and trails lies the opportunity to acquire an 86-foot by 133-foot lot. Build a new home within a year after the property is deeded to you, and the land is free. 

5. Wellington, New Zealand

Known as "Silicon Welly," Wellington, New Zealand. is looking to recruit 100 talented technology candidates across the globe with a focus on U.S. citizens. A program known as LookSee Wellington hopes to connect individuals with leading technology companies, creative people, and a great lifestyle. It is a place where people can make a positive impact, and a chance to connect with prospective employers. 

6. St. Louis, Missouri

For just $1, you can purchase city-owned property in St. Louis, Missouri. As part of an effort to reduce the number of vacant lots and in hopes of revitalizing fading neighborhoods, the St. Louis Dollar House Program has been implemented as a 1-year pilot program to sell single-family residential properties. With 18 months to renovate the property and 551 eligible properties, a dollar goes a long way here. 

7. Pipestone, Manitoba

The rural municipality of Pipestone in Southwestern Manitoba, Canada, will pay you a grant of up to $32,000 to transform your ideas into a business. Or, if building a home is more your speed, you can get a grant to help you build or buy a residence within the municipality. Pay a deposit of $1,000, and you can buy a lot for just $10. These are just two of the many initiatives designed to build a stronger, healthier community by encouraging residential and commercial development in this picturesque region along the Saskatchewan border.

8. Vermont

Governor Phil Scott of Vermont has approved a piece of legislation that will pay 100 people up to $10,000 to move to Vermont with the new Remote Worker Grant Program. Aimed at remote working, the campaign hopes to attract new residents in a world of ever growing co-working capabilities. 

9. Marquette, Kansas

If a small town is more your scene, the forward-thinking community of Marquette, Kansas is a great option to live and raise a family, right in the heart of America. Surrounded by wide-open rolling hills, expansive vistas, and just over 600 residents, the town has plenty of free land waiting to be built upon.

Related Reading: Now You Can Buy a Historic Home in Italy For Just €1   

The Woodhouse Lodge, which was recently renovated by New York–based interior designer Megan Pflug, is a "modern meets rural" lodge in Greenville, New York. Pflug, who studied fine art at RISD and now runs a design firm, relocated from Brooklyn to Greenville to open the lodge. She wanted to make the move upstate, and she found the perfect opportunity with this lodge.

The 10-room hotel is a combination of midcentury modern with a classic, historic feel. Pflug describes her decorating style as mixing modern items with antiques to create a space that feels natural rather than overly decorated.

The first floor of the A-frame lodge is a common space with an open kitchen and lounge area with a fireplace. Pflug considers the kitchen to be the centerpiece of the hotel and she spent much of her time working on modernizing the space. 

Pflug decorated the lodge with a variety of vintage pieces. She wanted to honor the midcentury modern style while mixing it up.

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You can book The Woodhouse Lodge directly through their website.

Related Reading: The 7 Best Houses You Can Rent in the Catskills

Thanks to the design expertise of Studio Robert McKinley and two years of extensive renovations, what was once a dilapidated roadside motel known as The Motor Inn in Laguna Beach, California, is now the sophisticated, 22-room Hotel Joaquin. The newest property in hotel group Auric Road, the boutique hotel blends old world sophistication with laid-back beach vibes.

Inspired by the Mexican land grant of Rancho San Joaquin, Hotel Joaquin echoes the Spanish heritage of its Orange County setting. Layered decor blends classic Spanish influences with California beach culture. Sweeping views, a tranquil pool, and resort-style service make this Laguna Beach hotel a worthy destination. 

Whether it be mountain, garden, or ocean views, the beauty of Laguna Beach permeates each of the guest suites, which are outfitted with vintage pieces, customized furniture, and curated artwork. Chic and soulful, the layered decor facilitates an easy, unplugged atmosphere. 

The resort offers an all-access pass to the Adventure Garage. Complete with surfboards, hiking gear, diving equipment, and bicycles, it comes with all the equipment guests need to immerse themselves in the coastal, California lifestyle. At the end of the day, guests can refresh themselves with a cocktail from The Bar before indulging at the hotel’s sea-influenced restaurant Saline.  

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Related Reading: Do Malibu in Style With the Native Hotel, a Rejuvenated Hollywood Favorite

Project Credits:

Architect of Record: Lance Brown, Enter-Arc

Builder / General Contractor: Northstar Construction

Structural Engineer: Craig Stanger and Rick Stanger

Civil Engineering: Toal Engineering

Landscape Design Company: Mickael Wilkes Landscape

Interior Design: Studio Robert McKinley

Sound Engineer: Digital Interiors

Cabinetry Design / Installation: Wood World Custom Design

Kitchen / Bar: Trimark

MEP: H2S Engineers

With an elegant, instagrammable aesthetic and rumors of having the fastest Internet in town, Casa Pueblo Tulum is the picture-perfect retreat for creative global nomads.

Its millennial spirit is no surprise, given that the property is the work of Derek Klein, a seasoned world traveler and one of Tulum’s original tastemakers. Klein co-founded the design hotel alongside entrepreneur Omar Rodriguez.

The founders collaborated with NYC-based interior designer Mike Moser and local architect Jaime Aramburu of Beast Estudio Creativo to transform a nondescript gray building into a unique destination that weaves references to Yucatan haciendas with tropical bohemian vibes and refined urban minimalism.

"When we design, we look at the area we are developing in," Derek explains. "The concept of Casa Pueblo Tulum (our first property) was designed around a more tropical urban landscape. The design was inspired by the urbanization that has been taking place over the last decade in Tulum, and the rich colonial architecture found in Mexico—with a tropical minimalism approach."

Centered around a leafy, light-filled atrium, Casa Pueblo features a restrained material palette of white plaster, Caribbean ipe wood, anthracite, and polished concrete. The design approach focuses attention on the locally crafted and handmade details, from the banquette upholstery to the Yucatan patterned tile.

Along with its 16 rooms, the boutique hotel offers an outdoor saltwater pool, an in-house restaurant, a cafe, and a rooftop bar. Envisioned as a new creative hub for Tulum, Casa Pueblo also hosts community events with live music and wellness-focused classes.

Book your stay at Casa Pueblo Tulum

Related Reading: A New Modern Hotel Brings Midcentury Miami to Tulum, 7 Modern Hotels in Mexico You Have to Visit 

Last Friday, the revamped Palms Casino Resort in Las Vegas unveiled the Empathy Suite, a two-story Sky Villa designed by Damien Hirst and firm Bentel & Bentel. The controversial artist designed six standalone artworks for the suite, while the rest of the design grew out of close collaboration with the award-winning firm. 

"They have allowed me to create a suite in the hotel and design everything and completely fill it with my art," says Hirst. For decades, the artist has cultivated a bold, unapologetic personal brand—and the Empathy Suite is entirely on-brand. 

For $200,000 for a two-night stay, blue chip guests can enjoy the two-bedroom, two-and-a-half bathroom suite—undoubtedly a peak experience for Las Vegas high rollers. Each bedroom offers a California-king size bed, palatial closets, and en-suite bathrooms. The Empathy Suite also boasts a gym, a massage room, a salt therapy room, and a cantilevered jacuzzi overlooking The Strip.

The hefty price tag includes 24-hour butler service, a chauffeured car, a private tour of the casino’s art collection, $10,000 worth of resort credit, and exclusive access to Palms’ myriad offerings. "The Empathy Suite designed by Damien Hirst is the pinnacle of luxury combining museum-worthy art and a truly legendary hospitality experience...for a once-in-a-lifetime Las Vegas stay," explains Jon Gray, General Manager of Palms Casino Resort.  

Nearly every centimeter of the space demonstrates Hirst’s flair for the provocative. Two bull sharks suspended in formaldehyde greet guests as they enter. A diamond-filled pill cabinet runs the length of the game room, while an expansive, 13-seat bar displays medical waste. The artist’s signature butterfly and pharmacy motifs extend to the floors where inlaid mosaic pills and butterflies accent the gray marble. 

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Peter Bentel of Bentel & Bentel Architects describes the suite as an exploration of play with a dose of "Why not?"—an approach that seems apt for Hirst’s divisive body of work. The artist is no stranger to controversy, and the Empathy Suite—even in name—is another way the artist continues to welcome it. 

Project Credits:

Designers: Damien Hirst and Bentel & Bentel Architects 

Architect of Record: Klai Juba Wald Architects

Fishtown Lokal is a newly launched six-room hotel in Philadelphia's hip and popular Fishtown neighborhood. It's the second outpost of the design-driven mini-chain founded by Chad and Courtney Ludeman.

The husband-and-wife team launched their first location, Lokal Hotel, in the heart of Philadelphia's historic Old City, and then followed up with a popular A-frame rental just outside the city in New Jersey.

Their latest lodging, Fishtown Lokal, is a cross between an Airbnb and a boutique hotel, and it embraces what the owners call "invisible service." There is no front desk or on-site staff; instead an online check-in service provides a code for the building and its rooms.

Fishtown Lokal wholeheartedly lives up to its name—starting with the design team, which is made up of local businesses. KJO Architecture led the architectural design, while True Hand Society (Fishtown locals who specialize in both tattoos and design) took on the hotel's branding and interior design. Ferox Studio provided landscape architecture services for the rear courtyard.

The hotel's furnishings are the work of over 20 local Philly makers. Fishtown Lokal even provides a curated guide of local insider's neighborhood tips in each room. "We wanted to build something new and energy-efficient and a bit more modern than our first project in Old City," explains Ludeman. "Fishtown is gritty and raw and modern and full of makers. We wanted to take our involvement with local makers and the local economy to the next level," he says. 

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You can book Fishtown Lokal directly through their website. Studios start at $215/night with the bi-level rooms starting at $325/night.

Related Reading: Lokal: A Classic Hotel with a Modern Invisible Service

Project Credits:

Architect of Record: KJO Architecture / @kjoarchllc

General Contractor: E-built

Interior Design: True Hand Society, Mike Ski / @truehandsociety

Landscape Architecture: Ferox Studio, Aimee Kirby / @ferox_studio

Structural Engineer: Larsen & Landis, Brad Landis

Civil Engineer: Ruggiero Plante, David Plante

Cabinetry Design/Installation: Summus Studio, Chris Smith

Interior Prop Stylist: Kristi Hunter

Tucked inside an 18th-century building in Copenhagen’s hip  Christianshavn district is The Apartment Accommodation, a holiday rental that's an extension of The Apartment – a designer furniture gallery and store by Tina Seidenfaden Busck. A platform for showcasing exceptional art and design, the 1,938-square-foot holiday apartment is furnished with limited editions, one-off commissions by both emerging and established designers, and handpicked, vintage items.

Seidenfaden Busck, who previously worked for Sotheby’s in London and Copenhagen, spent the last decade collecting furniture and objects for this project. As a result, The Apartment Accommodation  is a carefully curated space with a continuously changing selection of art and design objects from the 20th century. 

Significant pieces from previous design concepts have showcased works by Ilse Crawford, Jessica Ogden, Märta Måås-Fjetterström, and Muller van Severen. 

The space has two generously sized bedrooms with queen-sized beds fitted with crisp, Egyptian cotton bedding and a spacious bathroom of green, Swedish marble with a bathtub. The large central room can double as a dining or workspace, and a cozy drawing room offers a thoughtfully stocked library. Finally, an extended kitchenette allows guests to whip up simple meals.

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"I find that each object and piece of furniture become much more interesting when they do not fit into a few categories—I enjoy creating harmony in such a jumble," says Seidenfaden Busck. "To me, this is where a unique and personal story and universe derives, which is in the end of the day what I find interesting to create."

Much of her inspiration comes from the art world, and her background with companies such as Sotheby’s and Andersen’s Contemporary—one of Copenhagen’s leading art galleries. The Apartment Accommodation is also where she displays her artworks by Tómas Saraceno, Nathalie du Pasquier, and Francois Halard from her private collection.

Folk art objects from Japan, Africa, and Mexico are also showcased within the space. Even the wallpapers from British wallpaper designer Marthe Armitage and Helene Blanche of Danish brand Tapet Café are works of art, providing spirited backdrops to the hybrid living space. 

This unique vacation rental invites you to spend time with and around the many objects, and also presents the opportunity to bring something special home from The Apartment’s inventory. 

"In this way, I get the opportunity to really show what I believe The Apartment has to offer—creating universes that are full of life, color, and joy, but at the same time giving guests the opportunity to sense all the input in a calm and intimate way," says Seidenfaden Busck. "It is a place where I myself would like to sit down and read a book, have dinner with friends, or get a really good night's sleep." 

Related Reading: A Venice Beach Abode Becomes a Chic Co-Living Space Where Everything's For Sale

Project Credits: 

Interior Design: The Apartment, Tina Seidenfaden Busck / @theapartmentdk

I never thought I’d ever practice cartwheels on an airport tarmac, much less rollerblade down one. Yet somehow, I found myself jubilantly doing both during my last day in Berlin. Getting here wasn’t easy. Not knowing how to read or speak German, I spent a good chunk of time wandering aimlessly around the city’s south-central borough trying to find this place; clutching my dead iPhone as if Google Maps might miraculously appear through the black screen. Then, finally, I stumbled upon the 4,000-foot-long Nazi-era terminal building and knew I’d arrived.

As expected, visiting Tempelhof Airport was an incredibly moving experience. Home to the famed Berlin Airlift from 1948 to 1949, this enormous, monumental airfield ceased operation in 2008, and reopened its doors when residents rallied together to transform the abandoned 877-acre site into a public park for all to enjoy—hence the rollerblading.

Sitting on the runway, tightening my skates while trying to catch my breath, I marveled at the astounding resilience this landmark recreation center now embodies, not to mention the city itself. To think how in the last century alone, this corner of Germany has survived defeat in World War I, the rise and fall of the Nazi party, 40 years as a divided city, and the demolition of the Berlin Wall to become one of the most vibrant metropolitan areas on earth is overwhelmingly inspiring.

As I sat in awe, reflecting on its past and observing its present, I could sense the magnetic pull Berlin has on longtime locals and newcomers alike; a charismatic wave of energy, similar to the one that cloaked me the day before as I meandered through the city's design district. Maybe it was the rush of adrenaline from rolling on shoes with wheels. Maybe it was the alluring mix of old-meets-new architecture. Or maybe it was the fact that I was exploring an official UNESCO City of Design. Who knows—but at that moment, I interpreted it as yet another reason to extend my stay. 

If you’re planning your own trip, check out a few can’t-miss destinations below:

The Reichstag Building: Sited north of the Brandenburg Gate, this iconic building houses the German Parliament, with the roof terrace and dome open to visitors. While admission is free, advance registration is required.

The Brandenburg Gate: This 18th-century neoclassical monument is one of the most iconic sights in Berlin. Formerly signaling Berlin’s Cold War division into East and West, the gate now represents a reunified Germany. 

East-Side Gallery: Another one of the city’s most popular sights, the East Side Gallery is a section of the Berlin Wall featuring over 100 unique paintings from artists around the world.

Bauhaus Museum: Housed in a Gropius-designed building, the Bauhaus Museum offers visitors a unique chance to marvel at all the design ideas fostered through the beloved Bauhaus School of Design, which was founded in Berlin in 1919.

Berliner Unterwelten: Go beneath Berlin’s surface at this subterranean museum, which allows visitors to walk through the legion of formerly secret subway stations, air-raid shelters, and bunkers used during WWII.

Sammlung Boros: Located in a former bunker, this eclectic art gallery features a stunning collection of contemporary and modern art, including international artists’ work from the 1990s onward.

Do you read me?: If you’re seeking somewhere off the beaten path, consider this small shop completely dedicated to printed matter. Housing a well-curated selection of books and magazines on art, architecture, interiors, and design, this cozy reading corner has it all.

More Journey by Design: Amsterdam; Mexico City; Marfa, Texas; Austin, Texas

In 2016, Charlie Rosier and Fabienne O’Neil founded Cuckooz—a design-focused serviced apartment brand that has properties in some of the most vibrant locations in London. Each Cuckooz project has interiors that are beautifully designed by an independent, up-and-coming industry talent.

In 2018, they collaborated with UK–based ergonomic mattress brand Simba to create three apartments in Spitalfields, a lively area near Liverpool Street Station with plenty of trendy bars, eateries, and shops.

The idea behind each Zed Room was to create a home away from home to help jet-lagged travelers overcome the "first night effect"—wherein international air travel and adjusting to a new environment often results in a poor night’s rest. 

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"As the majority of our guests are either suffering from jet lag or in town on business, it’s imperative that they wake up in our homes feeling well-rested and adjusted to their environment, ready to take on the next day," says Rosier. 

The three rooms were designed by Iska Lupton and Gemma Stansfield of London–based Studio Stilton. All rooms include Simba hybrid mattresses (which combine the support of 2,500 pocket springs with the comfort of memory foam), temperature-regulating pillows, and duvets for a healthy night's sleep.

Studio Stilton curated every design element in the apartments to encourage restfulness and sleep. Two of the apartments have two bedrooms, and the third is a one-bedroom penthouse.

The two-bedroom units contain two different sleeping areas—the Woom and Loom rooms. Designed to echo the snug security of a mother’s womb, the Woom features an intricate cocoon-like bed constructed by the team at EJ Ryder. 

The furnishings in the living areas have rounded edges and softened corners, and there are even rocking chairs to lull guests into a state of serenity. 

"The prints on the walls have also been chosen to be inspirational dream fodder, and the penthouse terrace comes complete with yoga mats, meditation sessions via the iPad’s Calm app, and naked light bulbs to create a sense of simplicity," says Lupton.

"The lamps filter out blue light, which is known for keeping us awake. The Lumie alarm clocks in each bedroom mimic the light and color of a real sunrise, so when you open your eyes, you feel awake and refreshed. This helps to regulate your sleep-wake cycle and has even been shown to boost mood, energy, and productivity levels for the rest of the day," says Rosier. 

"With The Zed Rooms, we’ve created a kind of urban haven—a place of respite for traveling insomniacs in a city that never sleeps," adds O’Neil. 

Related Reading: 5 Design Tips For a Better Night’s Sleep, Casper’s New $89 Lamp Promises to Help You Get a Better Night's Sleep

Project Credits:

Interior Design: Studio Stilton / @studiostilton

Woom Cocoon Bedframe: EJ Ryder

Mattresses: Simba

An abandoned airport terminal at New York’s John F. Kennedy International Airport has been reborn as the TWA Hotel, a stylish stay channeling the jet age. While the once-groundbreaking Trans World Airlines ceased operations in 2001, and the terminal closed in October of that year, the luxe hotel pays homage to the original architecture of the 1962 building designed by architect Eero Saarinen. 

The hotel, which begins accepting reservations on February 14, has been reimagined by New York–based design firms Lubrano Ciavarra, INC., Beyer Blinder Belle, and Stonehill Taylor.

The project calls to mind the romance of flying when the transportation method was still a novelty. Some original waiting area seating remains in the lobby and the business and events center.

Vintage tunes drift through the hotel in a curated soundtrack featuring Frank Sinatra, The Beatles, The 5th Dimension, Dusty Springfield, Rosemary Clooney, and Dean Martin. Airline beverage carts with snacks and carbonated sips are speckled throughout the grounds, while a champagne fridge filled with Moet & Chandon, TAB, and miniature bottles sits at the ready in the lobby for a boozy fix. 

To access the guest rooms, patrons enter through space-age flight tubes—which you may remember from the film Catch Me If You Can. Clean lines meet a touch of glam in the rooms, which feature leather upholstery; a pop of primary color; Hollywood-style vanities; and custom walnut, brass, and glass details. Guests can make free unlimited local and international calls from a rewired vintage rotary phone, while taking in views of the runway. 

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No need to worry about jet engine noise, as the floor-to-ceiling windows are built with Fabbrica glass—and they're the second-thickest windows in the world, following those of the U.S. Embassy in London. A fully stocked, in-room wet bar holds Moët & Chandon Imperial Brut Champagne, Hennessy V.S.O.P Privilège Cognac, and ingredients for making the official 007 Belvedere martini for when you get thirsty.

Common area amenities include 50,000 square feet of event space for up to 1,600 people, a 10,000-square-foot fitness center offering yoga and spin classes, eight bars, and six restaurants including acclaimed chef Jean-Georges Vongerichten’s Paris Café, Lisbon Lounge, and the revived Ambassador’s Club. 

The eateries will serve travel-inspired fare from a multitude of destinations, like French marchand de vin braised beef, pasta from Italy, and barbecue chicken from the U.S. There are also high-end retail outlets, an Intelligentsia coffee bar and carts, and a cocktail lounge housed within a Lockheed Constellation L-1649A airplane. 

A hotel museum dedicated to TWA chronicles the midcentury modern design movement and the rise of the Jet Age. Various artifacts will be on display, including midcentury furniture, David Klein destination posters, vintage luggage tags, TWA uniforms (including the "jungle green" suit worn by air hostesses circa 1968 to 1971), and a TWA toiletries kit—which is also available in each of the guest rooms. 

"Restoring the TWA Hotel is a labor of love for our entire team," says Tyler Morse, CEO of MCR and MORSE Development. "We are counting down the days until the landmark building, dark since 2001, is filled with life again." 

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Come May 15th, the hotel will welcome travelers for long- or short-term stays—even just for a quick place to shower, catch up on emails, get in a bit of exercise, and nosh on gourmet eats before heading to the next stop. Reservations for the TWA Hotel open at noon EST on February 14, with room rates starting at $249.

Related Reading: An Introduction to Airport Design, Eero Saarinen's Giant 1957 Masterpiece in New Jersey Restored and Reimagined

Project Credits:

Architect of Record: Eero Saarinen

Guest Room Interior Design: Stonehill Taylor

Developer and Lead Investor: MCR

Building Contractor: Turner Construction

Historic Restoration: Beyer Blinder Belle 

New Architecture: Lubrano Ciavarra

Event Space Design: INC Architecture & Design

"Now, make sure one of you keeps a hand on this lever so you don’t suddenly smack into any speeding tour boats," the energetic staff member advised me and my husband as we climbed aboard the small, silver watercraft we’d rented. "Most people don’t have accidents, but you never know," he joked, pushing us away from the creaky, wooden dock. Eager, and (thanks to that last comment) a bit anxious, Derek and I locked eyes and laughed, wondering what we were getting ourselves into. 

We hadn’t been in Amsterdam but a mere 24 hours, and yet we were already hypnotized. The feeling had hit as soon as we arrived at the bustling railway hub of Central Station, navigating past the rumble of buses, bikers, and fellow tourists, and laid eyes on the quaint streets that straddle the celebrated canal zone. Despite our overly stuffed backpacks, the sight of the medieval, gabled houses lining the narrow brick lanes seemed to act as a balm. 

Once we arrived at our lodging—a lovely, historic abode sandwiched between two similarly charming residences—our host briefly explained his method of navigating the steep, tapering stairs to the little room he referred to as "The Toaster," where we’d be sleeping. Graciously, he offered many local recommendations while feeding us handfuls of thin, gooey, caramel-filled stroopwafel cookies—a common (and delicious) Dutch snack. 

Fueled by our sugar rush, we embarked on a busy afternoon. After stopping to smell the roses (and tulips, of course) at Boerenmarkt, the organic market on Noordermarkt; chowing down on both traditional and around-the-world cuisines at the impressive Foodhallen; and popping in and out of the design-centric shops peppered throughout the trendy, quirky corners of Jordaan and the Nine Streets, we finally treated our feet to a break by ordering a flight of beers at Brouwerij 't IJ, a small modern brewery nestled under the De Gooyer windmill. 

The recent whirlwind of experiences came alive again as we found ourselves leisurely cruising down the canals, waving back to the local residents sitting atop their bobbing houseboats. 

With Derek steering from the rear of the boat, we discussed the contemporary art we’d seen that morning at the Stedelijk Museum, as well as made plans to visit the Van Gogh Museum later that day. Tall, tilting, toy-like houses lined the canal. 

The further we sailed, the quieter we became, captivated by some of the most renowned, 17th-century architecture in the world. We had somehow been transported back to the Dutch Golden Age—and all we had to do was glide along. 

More to Eat & Drink

Vinnies Deli: This delightful cafe and deli not only offers a tasty menu full of vegetarian-friendly cuisine, but all the modern designer furniture is also for sale. 

CT Coffee & Coconuts: Formerly home to a popular cinema in the 1920s, the historic building of CT Coffee & Coconuts now houses cool, casual vibes and serves craft coffee, fresh coconut juice, and an abundance of healthy food options. 

The Pancake Bakery: Located in a converted, two-story warehouse, here you can devour both sweet and savory pancakes with beautiful canal views. 

More Shops 

Waterlooplein Market: Serving as the oldest flea market in Amsterdam, this market houses new and old treasures throughout its 300 stalls and is open six days a week. 

Sukha Amsterdam: Thanks to its calm, neutral color palette and flowy fabrics hanging throughout, this dreamy, design-forward store offers unique fair-trade finds. 

Store Without a Home: A hotspot for modern home decor and lighting, prepare to carve out plenty of time to meander around this oasis of eclectic homeware. 

More to See & Do 

The Architecture Centre of Amsterdam (ARCAM): Designed by René van Zuuk, this compact, sculptural building is conveniently located in center-city and offers remarkable tours and lectures on the history and future of Amsterdam architecture. 

The Anne Frank House: Dedicated to Jewish wartime diarist Anne Frank, this biographical museum allows visitors the intimate experience of walking the writer’s house. 

The Rijksmuseum: Located at the Museum Square—close to the Van Gogh Museum and the Stedelijk Museum—the Rijksmuseum is a Dutch national museum focused on the arts and history in Amsterdam.

Where to Stay

More Journey by Design: Mexico City; Marfa, Texas; Austin, Texas

The site for Gold Diggers has a storied past. The main building was originally built as an "Inn Above a Tavern" in 1924, on Santa Monica Boulevard—aka Route 66. In the 1950s, a 6000-square-foot annex behind the bar served as director Ed Wood’s soundstage, in which he filmed Plan 9 from Outer Space. The ensuing years saw it as a rehearsal destination for all types of bands, including an early incarnation of Guns N' Roses. 

Inspired by this history, owner Dave Neupert deemed the site the perfect spot to fulfill his dream of creating a hybrid hotel and music campus. "People have told me that the Doors and Jimi Hendrix practiced here, but there are a lot of people with legends about this place I can’t verify," Neupert told the Los Angeles Times. "I can’t wait to find out more about its legacy as a music space. L.A. forgets its past so easily and we really wanted to shine a light on this building."

Led by architect David Wick of Wick Architecture & Design and Tiffany Howell of Night Palm Studio, the renovations finished in 2018, taking music as the main inspiration. Let’s take a tour of the rock-inflected spaces. 

The Hotel

The Bar

The Recording Complex

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Find Gold-Diggers at 5632 Santa Monica Boulevard, Los Angeles, CA 90038. Room rates start at just under $200.

Project Credits:

Architecture: Wick Architecture & Design 

Interior Design: Night Palm (@nightpalm)

Photography: Pablo Enriquez (@pablo.enriquez)