Sou Fujimoto completes EARTH, a circular, green-roofed villa that seems to sink into the landscape of Okinawa’s remote Ishigaki Island, Japan, for NOT A HOTEL (find designboom’s previous coverage here). Now open and fully booked before construction even ended, the project, announced in 2022, is the largest yet in the hospitality brand’s network. Conceived as an extension of the earth, the 1,500-square-meter retreat is nestled into a 10,000-square-meter coastal site. Its curved white form is barely visible from above, disappearing under a living roof that blends with the surrounding terrain.

Fujimoto, who recently served as Site Design Producer for Expo 2025 Osaka-Kansai, designs EARTH with a focus on continuity between inside and out, architecture and landscape, sea and sky. The villa’s bowl-shaped structure draws visitors inward, while still opening outward to the ocean horizon. At the heart of the plan lies a courtyard garden by landscape designer Taichi Saito, featuring an oasis-like water basin and a children’s pool. From the firepit to the roof garden, and the way the sauna captures refracted sunlight from the pool above, guests move between elements of nature and shelter with ease.

images courtesy of NOT A HOTEL

‘earth’ accommodates up to ten occupants in its four bedrooms

The architecture of EARTH centers around a shared living-dining space that looks out directly onto an infinity pool blending into the ocean beyond. Japanese architect Sou Fujimoto designed this front-row view for watching sunsets, listening to waves, or enjoying a dinner prepared by a private chef. Adjacent to the open-plan space is a series of four bedrooms that sleep up to ten guests, each framed by full-height, bezel-less glazing. One room opens directly to a view of the sea, with a shallow water basin flowing between room and horizon.

Underneath, the first floor features a sauna where natural light filters through the water above to create a cavern-like atmosphere, mimicking the experience of being underwater. Guests can step directly from the sauna into an outdoor bath or continue into a fully equipped gym with a punching bag, Smith machine, and cardio equipment. The bathroom continues the horizontal design language of the villa, where the low-profile tub appears to merge into the seascape, following the villa’s architectural motif of vanishing edges.

Sou Fujimoto completes EARTH, a circular, green-roofed villa that seems to sink into the landscape

a private villa surrounded by nature

Originally announced in August 2022, NOT A HOTEL ISHIGAKI ‘EARTH’ was fully sold out via fractional ownership during the construction phase. 

While the villa itself feels like an escape from the world, guests are also encouraged to explore Ishigaki’s natural and cultural offerings. Activities include a traditional ‘sabani’ sailing cruise at sunset, private dinners accompanied by live sanshin music, and even custom brewing experiences of Awamori, Okinawa’s native spirit, made using copper pot distillation methods at the nearby Ikehara Brewery. For food lovers, the villa also offers a range of curated dining experiences centered around local ingredients, from premium BBQ to family-style Okinawan home cooking, always emphasizing minimal processing and deep connection to place. Located just 11 minutes from New Ishigaki Airport, EARTH situates high-end architecture within reach of nature. 

the 1,500-square-meter retreat is nestled into a 10,000-square-meter coastal site

the villa’s bowl-shaped structure draws visitors inward

a series of four bedrooms sleep up to ten guests

a sauna where natural light filters through the water above

EARTH’s architecture focuses on continuity between inside and out

guests move between elements of nature and shelter with ease

the gym is fully equipped with a punching bag, Smith machine, and cardio gear

project info:

name: NOT A HOTEL ISHIGAKI ‘EARTH’ | @notahotel_official

architect: Sou Fujimoto Architects | @sou_fujimoto

location: Miyara 120-92, Ishigaki City, Okinawa Prefecture, Japan

site area: 9,586 square meters

total built area: 1,489.13 square meters (including indoor space, terrace, pool, and water basin)

indoor area: 975.01 square meters

courtyard area: 2,066.07 square meters

construction: Maeda Toyo Construction Joint Venture

client / owner: NOT A HOTEL Co., Ltd.

operator: NOT A HOTEL MANAGEMENT Co., Ltd.

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The PURO Hotel quietly settles into the texture of Warsaw, Poland, occupying a site just steps from Plac Teatralny, near the National Opera and Saski Park. Discovered along Canaletta Street — named after the Venetian painter whose canvases helped reconstruct postwar Warsaw — the hotel invites guests into a softened dialogue between memory and modernity. With both its architecture and interiors crafted by Copenhagen-based design studio GamFratesi, the boutique hotel merges local context with a restrained Scandinavian sensibility.

The design team leans into the lightness of natural materials and subtle geometries. GamFratesi’s involvement from the outset enabled a rare unity between architecture, interiors, and atmosphere. The building feels carefully composed yet deeply accessible, composed with an understanding of human movement and spatial fluidity. Public areas on the ground floor shift gently between programs, centering around MUND, the culinary space where architecture and hospitality converge.

lobby, PURO Hotel | images © PION Studio

gamfratesi draws from Scandinavian quality and Craft

With its PURO Hotel in Warsaw, the architects at GamFratesi take design cues from Scandinavian traditions of quality and craft. Wooden floors by Dinesen stretch across interiors that feature custom furnishings, travertine finishes, and bespoke lighting. Every surface and element — whether a softly curved chair or a precisely paneled wall — was selected to age gracefully, and to contribute to the atmosphere rather than command it. The humble materials speak with intention and evoking a domestic calm.

The hotel contains 192 guest rooms, each designed with a similar architectural vocabulary. Their spatial arrangement privileges openness and natural light, while surfaces carry subtle references to the surrounding streetscape. Tonal variations across walls, floors, and textiles establish continuity without uniformity. In contrast to more decorative models of hospitality, the rooms lean toward utility, inviting occupants to settle in without distraction.

the hotel is located near Warsaw’s Plac Teatralny along Canaletta Street | MUND, PURO Hotel

A restaurant, A spa, And gallery-like interiors

The PURO Hotel’s MUND restaurant concept is a continuation of this subdued design logic. Part restaurant, part café, part bakery, the space brings a hybrid model of hospitality increasingly common in urban hotels. The interior maintains consistency with the rest of the project, avoiding thematic styling in favor of muted finishes and integrated furnishings. Menu development was shaped in part by baker Mateusz Ulman, whose work informed the structure of the kitchen and serving areas.

In addition to accommodation, the PURO hotel in Warsaw, Poland includes several ancillary spaces — a gym, a spa, and a conference area. These programs are incorporated without hierarchy, occupying their own corners of the building without disrupting the overall spatial rhythm. Their design reflects the same attention to materials and lighting seen elsewhere, continuing the project’s architectural logic rather than introducing a different aesthetic mode.

Interiors embed artworks that are part of the building’s structure rather than just its ornamentation. Works by Karolina Bielawska, Agata Bogacka, and Cyryl Polaczek share the walls with pieces by Swedish artist Ferdinand Evaldsson, whose relief adds a contemplative weight to the public spaces. These selections reinforce the hotel’s dialogue between Nordic design and Warsaw’s evolving cultural scene. Every piece was chosen for its material sensitivity and quiet resonance.

artworks throughout the hotel reflect local and Nordic sensibilities | MUND, PURO Hotel

baker Mateusz Ulman helped shape the MUND culinary concept | MUND, PURO Hotel

the MUND concept combines dining and bakery functions | MUND, PURO Hotel

natural materials and subdued finishes create a calm atmosphere | guest suite, PURO Hotel

guest rooms emphasize openness, light, and material restraint | guest suite, PURO Hotel

PURO Hotel is curated with an austere architectural presence | guest suite, PURO Hotel

GamFratesi designed the space with a unified architectural and interior vision | guest suite, PURO Hotel

project info:

name: PURO Hotel | @purohotels

architect: GamFratesi | @gamfratesi

location: Warsaw, Poland

photography: © PION Studio | @pionfotografia

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A boutique hotel that brings new life to an historic 1880s mansion, Urban Cowboy Denver settles into its new home with maximalism and reverence. Set in the heart of Capitol Hill, the George Schleier Mansion — once nearly lost to redevelopment — now stands firmly in the present, revived through a renovation project by founders Jersey Banks and Lyon Porter. The original sandstone structure was designed by architect Frank Edbrooke for German immigrant and silk-hat magnate George Schleier. Now it stands as a rare survivor of the city’s Victorian boom and a landmark of the Colorado city’s eclectic architectural past.

The original building’s carved Bavarian staircase, Lincrusta wall coverings, and elaborate plaster ceilings remain intact, bearing the fingerprints of Denver’s Gilded Age. ‘The building itself was kind of a masterpiece,’ Lyon Porter tells designboom during a visit to the hotel. ‘There are details you can’t recreate — hand-carving, original hardware, and coffered ceilings.’ For co-founder Jersey Banks, who grew up in the city, the project was also personal. ‘This was a dream come true,’ she notes. ‘To be able to bring Urban Cowboy out west is something we’ve thought about since the inception of the brand, and the opportunity to reimagine this historic mansion in my hometown.’

Urban Cowboy Denver is a boutique hotel set inside a restored 1880s mansion | image © Brandon Lopez

unique rooms curated with collected antiques

Urban Cowboy’s expansion west demonstrates a commitment to Denver’s built heritage. Without landmark status, the mansion was under threat of demolition. Working with GBX Group, a real estate firm that salvages historical properties, and Historic Denver, Cowboy Creative Founders Banks and Porter ensured its long-term preservation through an historic easement agreement. The approach highlights the value of adaptive reuse — choosing to restore rather than rebuild, and placing heritage at the center of contemporary hospitality in a show of true sustainability.

Each of the sixteen bedroom suites are distinct. Each reads like a spatial collage, assembled from road trips, antique fairs, and sourcing epiphanies. ‘I look at it like collage art,’ says Porter, who heads Cowboy Creative, the in-house design studio behind the hotel. ‘I never know where something will fit. Then a little magic happens.’ Every room features hand-hammered copper soaking tubs, maximalist wallpapers, and unexpected vignettes, from Swedish leather sofas to fur-and-horn couches.

the George Schleier Mansion was saved from demolition and adaptively reused | image © Ben Fitchett

navigating complex victorian architecture

Recalling the process of curating the Urban Cowboy Denver interiors, Porter and Banks emphasize that furnishing a Victorian mansion presents its own rhythm and rules. ‘These rooms are impossible to furnish,’ Porter laughs. ‘They’re all doors and windows — everything is asymmetrical. But we’ve kind of made that our thing.’ Through layered patterns and rich textures, symmetry is reimagined. Even the wallpaper, with each room’s print custom-designed for the Denver location, draws from a 1700s block print and Western motifs, balancing nostalgia and a frontier aesthetic.

In the former carriage house, the two-story Urban Cowboy Public House draws inspiration from Denver’s 1880s streets, once lined with saloons. Award-winning cocktails are mixed alongside wood-fired pizza and seasonal plates by Little Johnny B’s, a new concept from the team behind Denver local restaurants Dio Mio and Redeemer Pizza. This anchors the hotel as both a guesthouse and a neighborhood gathering place. Upstairs, the space hosts private events, echoing the mansion’s legacy of celebration and community.

The mansion’s original residents are never far from mind. Hanging in the parlor is a portrait of Rachel Schleier, the original owner’s wife and an avid hostess. Here, the founders say, her ghost still watches over the festivities. ‘We like to think she’s happy it’s full of people again,’ Porter says. In this sense, the mansion’s reincarnation is about continuity — an honoring of its roots as a social space.

Jersey Banks and Lyon Porter curated the interiors as a collage of found antique pieces | image © Ben Fitchett

The mansion joins a dwindling league of preserved Victorian structures in the city’s core. The city was once filled with unique, 1800s-built homes — including the Molly Brown House which now stands as a museum and beloved landmark. Many of these homes, however, have been replaced by corporate towers as the city grew with the 20th century. Most notably, the boutique hotel’s neighbors include modernist titans like I.M. Pei’s Mile High Center and Philip Johnson’s Wells Fargo Tower. As Denver’s skyline rises, buildings like the Schleier Mansion offer texture, and a reminder of the city’s mining-town origins, immigrant narratives, and evolving urban fabric.

Urban Cowboy Denver is a case study in preservation as progress. In an age of carbon-intensive construction, the decision to adapt rather than demolish is itself a form of sustainability. The project invites travelers to dwell among the creaks of history, the wallpapered nostalgia, and the future of Denver, carried forward one restored room at a time.

the hotel’s carriage house is home to a public bar and Little Johnny B’s wood-fired pizza | image © Brandon Lopez

each of the sixteen rooms features handpicked vintage pieces and soaking tubs | image © Ben Fitchett

custom wallpaper blends Victorian heritage with frontier western motifs | image © Ben Fitchett

the preservation effort honors Denver’s layered architectural and immigrant history | image © Ben Fitchett

adaptive reuse offers a sustainable alternative to new-build development | image © Ben Fitchett

project info:

name: Urban Cowboy Denver | @urbancowboyhotels

design: Cowboy Creative (Jersey Banks, Lyon Porter)

location: 1665 N Grant St. Denver, Colorado

opening: October 24th, 2024

photography: © Ben Fitchett, © Brandon Lopez

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NOT A HOTEL opens its Toji complex in Minakami, designed by Japanese studio Suppose Design Office. The boutique guest house rests at the summit of a mountain in Gunma Prefecture, where the ridgelines of Minakami open into uninterrupted sky. From this quiet vantage point, the new complex of five villas and a restaurant frames the passage of seasons in stillness — snow drapes the landscape in winter, cherry blossoms in spring, deep greens in summer, and ochre foliage in autumn. The project deepens the ongoing collaboration between the practice and NOT A HOTEL, bringing architectural clarity to a remote, water-rich site.

Wrapped in copper-plated facades, the lodges are defined by its sectional split across two levels, where private functions are grounded below, and communal gathering unfolds above. The bedrooms, bathrooms, and parking areas are held discreetly on the first floor, while the second opens outward — to the landscape and to the elements. A living room edged by water, a sauna lit by natural steam, and a dining space with panoramic glazing lend the feeling of being immersed in nature without surrendering to it. All five villas are designed to host up to eight guests in quiet retreat.

Toji NOT A HOTEL MINAKAMI is perched atop a mountain in Gunma Prefecture | images © Kenta Hasegawa

Copper-Clad Exteriors

Within the mountainous area of Minakami, NOT A HOTEL Toji reimagines the language of the Japanese mountain hut through contemporary detail. The roofs and exterior facades are finished in copper plating, giving each structure a subtle gleam that will darken and deepen with age. This material choice reinforces the idea of time as a design partner, an invitation to watch weather, oxidation, and season shape the project’s surface over years to come. The forms remain angular and understated, tapering into the surrounding forest without ornamental flourish.

The architects at Suppose Design Office organize the lodge‘s upper floor around water in its many forms: a fifteen-meter (fifty-foot) infinity pool, a natural onsen, a cold bath, and an adjacent sauna. This ring of elements encircles the living and dining space, dissolving boundaries between architecture and atmosphere. The flicker of light across the water, steam from the bath, and the play of firelight from the wood stove offer a textured sensory field. In the dining area, Noguchi’s Akari lamp and an eight-person table add sculptural presence without overpowering the quietude of the view.

Careful detailing blurs the edge between interior and exterior. Double-glazed glass doors slide open to welcome mountain air, while insulated materials and thermal zoning keep the pool, sauna, and baths distinct in temperature but unified in experience. The infinity pool’s 180-degree panorama offers guests an uninterrupted line of sight across the Minakami valley, deepening the feeling of openness throughout the villa.

Suppose Design Office frames the villas with copper facades that age over time

drawn from Minakami’s long-standing hot spring culture

NOT A HOTEL Toji draws on Minakami’s long-standing hot spring culture by embedding a natural onsen into the private bath area of each villa. Surrounded by black plaster walls and positioned to face the mountains, the bath provides a meditative pause in the daily cycle. A single door allows bathers to open the space to the outdoors or keep it enclosed, inviting flexibility with weather and mood.

The project includes a private sauna built to full scale, allowing for uninterrupted views of the adjacent cold bath and infinity pool. From the sauna, visual access to water and forest extends the atmosphere of relaxation. The space flows naturally into the living room, where guests can cool down or linger in the ambient warmth, continuing the experience beyond the expected rituals of bathing.

Bedrooms are located along the lower level, away from the more theatrical views, focusing instead on intimate scale and tactile quiet. The walls are finished in hand-applied plaster, with rectangular windows framing filtered light through the trees. Tatami flooring adds softness underfoot, and the two bedrooms accommodate up to eight people with minimal distraction. It’s a space for restoration, kept close to the ground.

a 15-meter infinity pool wraps around the living space with mountain reflections

the architecture blurs indoor and outdoor through sliding glass and panoramic views

hot spring baths and saunas are integrated into each villa with open access to nature

the dining area features Isamu Noguchi lighting and a view over the water’s edge

the site draws from Minakami’s rich water sources at the tone river headwaters

bedrooms are grounded in quiet textures with tatami floors and filtered forest light

project info:

name: NOT A HOTEL MINAKAMI | @notahotel_official

architect: Suppose Design Office | @supposedesignoffice

location: Minakami, Japan

photography: © Kenta Hasegawa | @kentahasegawa

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Villa Nagiso by studio OTAA unfolds in a corner of Japan‘s Nagano Prefecture where the forest presses close and the past is preserved with the wood. In Nagiso, a town scarcely known even among Japanese people, the terrain speaks louder than the built environment. Dense forests of Kiso hinoki — a prized cypress native to the region — have shaped the spirit of local craft, from woodworking to hinokasa hat-making. For OTAA, this landscape of memory and material offers a way to imagine architecture’s role in a shrinking, aging Japan.

The place is born from a decision not just to build, but to stay. As rural towns across Japan face decline, Nagiso stands as a mirror to the nation’s future. Rather than retreat from this reality, OTAA embraced it — purchasing land and existing structures, then methodically restoring them into a hotel for rent. This act of embedding into the local context reframed architecture as an ongoing negotiation with community, time, and place.

images © Takashi Uemura

Light, Framed in Wood

OTAA’s Villa Nagiso opens itself first to the landscape, prioritizing the tea fields and mountain ridges that roll beyond its walls. The original fixed sashes were replaced with new wooden frames, a gesture both practical and poetic. Within the former timber hut, a once dark atrium space was painted silver, shifting the atmosphere from rustic to elemental without erasing the memory of the building’s original form.

The architects ground the home’s interiors with a material that could only belong to this region. In collaboration with Katsuno Lumber, a local forestry company, OTAA developed a flooring board made from the bark of Kiso hinoki trees. Where traditional tatami mats once lay, this richly textured material now covers the floor — a luxurious reimagining of what is typically discarded, and a reaffirmation of the possibilities embedded within local resources.

contemporary sensitivity arrives to a remote town in Nagano Prefecture

otaa celebrates Craft as a Daily Ritual

With its Villa Nagiso, OTAA extends the act of building beyond what can be seen. During construction, the architects invited fragrance designer Megumi Fukatsu to work with students on distilling the scent of Kiso hinoki into an original aroma for the space. This sensory layer, ephemeral yet grounding, weaves fragrance into the architecture itself, reminding visitors that memory is built as much through atmosphere as through form.

Craftsmanship is carried into the smallest details. Even the cups used at the hotel were created using the Nagiso roroku technique, a local lacquer craft. Rather than outsourcing these elements, OTAA incorporated DIY methods and hands-on workshops, allowing architecture to emerge organically from a series of small, deliberate acts rather than a single overarching plan.

OTAA reclaims an aging structure to create a quietly transformative hotel

The project reflects an understanding that the future may not be sculpted by grand gestures, but by a cumulative layering of humble efforts. Each renovation choice, each handmade object, each collaborative workshop feeds into an ecosystem of place-specific creativity. In this way, the project becomes less a hotel and more a quiet proposal for how architecture might evolve in a world where permanence is no longer the norm.

OTAA does not attempt to escape the realities of rural decline, nor does it romanticize them. Instead, it suggests that in working carefully with what is already present — wood, fragrance, craft, memory — new forms of permanence can be made. Through its modest scale and deeply rooted approach, the project offers a reminder: sometimes architecture’s most enduring impact lies not in what it builds, but in how it chooses to belong.

the building opens onto the surrounding tea fields and mountain landscape

custom handmade cups are created with the Nagiso Roroku lacquer technique

traditional interiors are reimagined with Japanese cypress, or Kiso-Hinoki

the team incorporates original fragrance design crafted from local cypress

OTAA demonstrates how architecture can respond to rural decline with care

project info:

name: Villa Nagiso

architect: OTAA 

location: Nagiso, Nagano Prefecture, Japan

design team: Yutaro Ohta, Genya Nakayasu, Yuki Otsuka

area: 62 square meters

completion: 2025

photography: © Takashi Uemura | @takashiuemura_photography

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In Ubud, Bali’s cultural heart and one of the world’s most saturated hospitality markets, Archigods introduces Pistachio Villas, a sculptural boutique hotel. This new eco-modern retreat abandons conventional typologies in favor of an instantly recognizable identity, a circle of nine villas shaped like open pistachio shells. 

The masterplan reads like a blooming pistachio flower from above — a deliberate gesture of visual impact and narrative coherence. Biomorphic volumes crafted from bamboo, timber, and stone nestle into Ubud’s lush jungle landscape, sculpting soft, sweeping lines.

images courtesy of Archigods

tropical walkway connects Pistachio Villas

Each villa opens onto private gardens, while a central pool and tropical walkway connect the compound in a continuous journey. Unlike most resorts in the area, Pistachio Villas offers guests a distinct experience rooted in slowness and softness. The Bali-based team of Archigods fills the interiors with filtered light, natural textures, and a restrained palette that enhances the feeling of retreat. Every element — from the entrance gate to the beach pool — is curated for atmospheric resonance, forming a cohesive spatial story.

Pistachio Villas is a sculptural boutique hotel

this new eco-modern retreat abandons conventional typologies

a circle of nine villas shaped like open pistachio shells

biomorphic volumes crafted from bamboo, timber, and stone nestle into Ubud’s lush jungle

the masterplan reads like a blooming pistachio flower from above

each villa opens onto private gardens

project info:

name: Pistachio Villas
architects: Archigods | @archigods
location: Ubud, Bali, Indonesia

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

edited by: thomai tsimpou | designboom

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Casa Azzurra, a newly built architectural retreat in Joshua Tree, challenges traditional notions of the desert home, offering a spatial experience rooted in memory, place, and sensorial immersion. Designed by Mirtilla Alliata di Montereale — an Italian architect raised in Hawaii and trained at SCI-Arc — the project is deeply personal. It draws on her childhood summers in the Aeolian Islands, professional collaborations with Frank Gehry and Kulapat Yantrasast, and a reverence for the elemental landscapes of Joshua Tree. With a facade of soft blue, the project marks the first in a future hospitality brand and a framework for exploring architecture as lived narrative.

images © Katia Grozov

casa azzurra camouflages with the desert sky

Sprawling across ten desert acres in Joshua Tree, Casa Azzurra is organized around the idea of expansion, both spatially and sensorially. With the design of the retreat, Italian architect Mirtilla Alliata di Montereale does not attempt to compete with the desert. Instead, she leans into it, framing long views and working with elevation to create moments of subtle drama. Set on a rare slope with views toward the mountain range of Joshua Tree National Park, the building opens up through sliding glass walls and view corridors, allowing the interior to feel as though it’s breathing with the land. A palette of five tonal blues coats the cat-face stucco exterior, designed to shift with the sky. It’s a camouflage that also celebrates color in a landscape dominated by neutral tones.

Casa Azzurra is a desert retreat in Joshua Tree designed by architect Mirtilla Alliata di Montereale

the cobalt-wrapped courtyard

At the heart of Casa Azzurra, a vivid cobalt-blue courtyard sets the tone for the home’s spatial rhythm. Rather than following a minimalist desert typology typical of Joshua Tree, Alliata di Montereale leans into a richer, more theatrical approach — one that honors both vernacular Mediterranean sensibilities and the experimental lineage of Californian architecture. The courtyard acts as a hinge between public and private realms, a luminous anchor that infuses the surrounding rooms with saturated reflections and a sense of spatial choreography. This central space embodies the project’s core ambition: to make architecture feel both grounded and transportive.

the project draws inspiration from Aeolian summers, Frank Lloyd Wright, and the surrounding desert

The interior embraces texture and chromatic variety with deliberate precision. Jewel-toned bedrooms — each with its own palette drawn from the architect’s Italian heritage — punctuate the otherwise open and flowing floorplan. These rooms do not simply decorate but narrate: a dialogue between deep greens, ochres, lapis, and terracotta unfolds through linens, built-ins, and Murano glass accents. Tactile richness defines the atmosphere — linen, raw wood, and stone layer into spaces that are at once elevated and comfortable. Dali prints and skylit rain showers add surrealist touches and moments of intimacy with the natural world, inviting slow movement and contemplative pause.

the property spans ten acres and is positioned on a rare slope with views of Joshua Tree National Park

Extending outward from the main residence, Casa Azzurra continues through a series of architectural interventions. A minimalist guest retreat sits like a desert observatory, its wood-paneled interior framing the night sky. Landscape and architecture merge in Geoponika’s enclosed garden, a sanctuary within a sanctuary, where desert planting enhances the experience of enclosure and openness. A thirty-foot pool, bocce and pickleball courts, and an outdoor dining area are not amenities in the conventional sense — they are elements of a larger compositional field that encourages movement, gathering, and improvisation. Here, architecture serves life not as backdrop, but as collaborator.

the exterior is finished in five shades of blue, echoing the changing sky and desert light

a cobalt-blue courtyard anchors the home, creating a vivid contrast with the neutral desert tones

a guest retreat sits like a desert observatory

interiors feature jewel-toned bedrooms, Murano glass, and tactile materials like linen, wood, and stone

project info:

name: Casa Azzurra | @casaazzurra_jt

architect: Mirtilla Alliata di Montereale | @mirtilla_adm

location: Joshua Tree, California

property manager: Fieldtrip

photography: © Katia Grozov | @grozovskayaphoto 

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Vipp arrives in Tasmania, curating a a bold, tunnel-like structure for its latest guesthouse. Designed by Hobart-based Room11 Architects, this off-grid concrete tunnel rises dramatically from the bushlands of Bruny Island, showcasing a blend of art, design, and nature. Perched over a sloping hill, the Vipp Tunnel frames the raw beauty of the Tasmanian landscape with brutalist design principles.

The Danish brand has expanded its portfolio to the Southern Hemisphere with this innovative guesthouse, where Room11 Architects has created a unique blend of concrete brutalism and organic surroundings. The Vipp Tunnel sits cantilevered over the rugged terrain of Bruny Island, offering stunning views of the D’Entrecasteaux Channel. ‘The dramatically elongated proportions of the structure respond to the landscape by purposely framing the D’Entrecasteaux Channel with a broad expanse of frameless glass,’ says Thomas Bailey of Room11.

images © Adam Gibson

vipp brings its minimalist style to tasmania

This 160-square-meter Vipp Tunnel guesthouse brings design-minded interiors to the wilderness of Tasmania. The space took three years to complete, and stands as a demonstration of the attention to materiality and detail by the Danish brand along with the architects at Room11. The tunnel stretches thirty meters (98 feet), with floor-to-ceiling windows and recessed steel doors allowing uninterrupted views of the surrounding landscape. The main living area is separated from the master bedroom and bathroom by an atrium, creating a unique sense of space and light. A glass-framed terrace at the end of the tunnel further emphasizes the feeling of being at the edge of the world.

In this Tasmanian project, the design ethos of Vipp is evident in the sleek, minimalist interior. The centerpiece of the main space is Vipp’s all-aluminum V3 kitchen, featuring a stainless steel counter that echoes the materiality of the surrounding architecture. Vipp furniture, including Swivel chairs upholstered in Australian sheepskin, enhances the raw concrete aesthetic of the structure. ‘Room11 has created a truly breathtaking piece of architecture, a space for reflection and escape, that perfectly complements Vipp’s design ethos,’ says Kasper Egelund, CEO of Vipp.

Vipp Tunnel is an off-grid guesthouse in Tasmania designed by Room11 Architects

powered by an entire facade of solar panels

Vipp Tunnel’s design prioritizes sustainability, making it a model for modern off-grid living in Tasmania. The entire western facade of the building is made from solar panels, providing energy for the guesthouse. ‘As far as we are aware, this is the first building to feature an entire facade created by solar technology,’ says Thomas Bailey. Additionally, the structure is elevated to minimize its environmental footprint, and the concrete panel design provides natural thermal insulation. The building runs on rainwater and is fully self-sufficient, offering guests a truly off-the-grid experience.

Danish artist Lin Utzon contributes her iconic ‘Cosmic Dancers’ series to the Vipp Tunnel’s surroundings. These large-scale, black-and-white ceramic sculptures are scattered among the property’s red gum trees, creating a harmonious connection between art and the Tasmanian bushland. Lin, daughter of famed architect Jørn Utzon, echoes her father’s philosophy of blending art and architecture in her work, making this collaboration especially poignant.

the concrete structure is cantilevered over Bruny Island’s rugged terrain

the guesthouse offers panoramic views of the D’Entrecasteaux Channel and surrounding landscape

Room11 focuses on craftsmanship, materiality, and blending architecture with nature

the Vipp V3 kitchen is the centerpiece of the minimalist interior design

the guesthouse is powered by an entire facade of solar panels and runs off-grid

the structure is elevated to minimize environmental impact and uses sustainable materials

project info:

name: Vipp Tunnel

designer: Vipp | @vipp

architect: Room11 Architects | @room11__

location: Tasmania, Australia

photography: © Adam Gibson | @adam.gibson.photo 

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Kalbod Design Studio’s concept reimagines the Ernan Castle in Mehriz, Iran, reviving the historical structure as a contemporary boutique hotel. The Ernan Boutique Hotel reinterprets the conventional approach to boutique hotel design by integrating renovation as part of the architectural process rather than solely focusing on historical restoration. The existing castle structure has been preserved and selectively restored, while a distinct roof structure has been introduced above. These two independent elements—the historical castle and the new roof—define the spatial composition. The roof extends inward where the castle has deteriorated, while it recedes in areas where the structure remains intact, creating a contrast between past and present without merging them. This approach establishes a juxtaposition of positive and negative spaces, maintaining clear spatial boundaries.

all visuals by Ziba Baghban, courtesy of Kalbod Design Studio

curated sequence of spaces enhances sensory engagement

The architectural team at Kalbod Design Studio conceptualizes the hotel as a curated journey, structured around four thematic sections—Earth, Fire, Water, and Air—each offering distinct spatial and sensory experiences. These elements shape the visitor’s engagement with the environment, aligning architecture with an immersive experience that extends beyond traditional hospitality. The sequence of movement within the hotel is carefully orchestrated, guiding guests through varying atmospheres designed to enhance interaction with the surroundings.

Since their emergence in the 1980s, boutique hotels have been defined by their emphasis on unique experiences, transforming the accommodation into a destination itself. The Ernan Boutique Hotel builds on this principle by prioritizing spatial design as the core of the visitor experience. Rather than focusing solely on the recreation of historical elements, the project introduces contemporary architectural interventions that respond to the existing structure while maintaining its integrity.

a contemporary roof structure redefines the historic Ernan Castle

perforated roof creates shifting patterns of light and shadow

Significant structural damage to Ernan Castle, including the collapse of its roof and sections of its walls, required strategic reconstruction. The design process by Kalbod Design Studio explored alternatives to replicating the lost roof, instead proposing a new architectural element that complements the preserved structure. The design is based on two primary components: the castle, restored with minimal intervention, and the new roof, conceived as an autonomous structure.

The roof interacts with the castle dynamically—receding where the original structure remains and extending inward where deterioration has occurred. This spatial interplay generates a layered experience, reinforcing the distinction between historical and contemporary elements. The perforated lattice of the roof filters natural light, mitigating the intense desert sunlight and enabling functional use of the rooftop throughout the day. The rooftop, inspired by the traditional stepped rooftops of Yazd, is designed as an accessible terrace, with staircases integrated to enhance vertical circulation. Additionally, a series of red architectural interventions highlight the circulation pathways within the hotel. These elements introduce a contemporary layer that contrasts with the historic fabric, emphasizing the spatial sequence and enhancing wayfinding.

the perforated roof filters sunlight, creating shifting patterns of light and shadow

hotel’s architecture unfolds as an evolving spatial narrative

The hotel is structured as an experiential sequence where movement through the spaces forms part of the guest’s journey. The four thematic sections—Earth, Fire, Water, and Air—serve as sensory environments, engaging visitors through interactive programs such as meditation and workshops. Guests follow a rotational itinerary, beginning their stay in one section and progressing through the remaining spaces over two days. Each half-day is dedicated to a different element, ensuring a continuous flow of visitors while maintaining an individualized experience. The sequence concludes at a gallery space, providing a reflective endpoint to the journey.

The design prioritizes sensory engagement, encouraging visitors to interact with the materiality of the space—touching the textured walls, observing filtered light patterns, and navigating between levels. The spatial experience culminates with a panoramic view of the surrounding landscape, reinforcing the connection between architecture and the environment.

a juxtaposition of solid and void creates a striking spatial experience

red circulation pathways contrast with the historic fabric of the castle

the reimagined roof structure responds to the castle’s existing condition

carefully orchestrated movement guides guests through evolving atmospheres

spatial boundaries between old and new are deliberately maintained

the interplay of traditional and contemporary materials defines the design

project info:

name: Ernan Boutique Hotel

architect: Kalbod Design Studio | @kalbod.studio

location: Mehriz, Yazd Province, Iran

principal architect: Mohammad Rahimizadeh

lead architect: Shaqayeq Nemati

design team: Nastaran Shabanzadeh, Tannaz Ahmadinasab, Asha Atashband

visuals: Ziba Baghban

R&D: Pegah Samei

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

edited by: christina vergopoulou | designboom

The post kalbod reimagines ernan castle in iran as boutique hotel enclosed in red textured walls appeared first on designboom | architecture & design magazine.

TOURISTS Homes in Massachusetts, marks the latest expansion of the hospitality group TOURISTS Welcome. Known for its innovative approach to lodging, the group has created a retreat that blends contemporary design with the natural beauty of the Berkshires. The homes, which officially opened in July 2024, are located at 1388 and 1392 Mass Ave. in North Adams.

Architect Hank Scollard and interior designer Julie Pearson led the design efforts for TOURISTS Homes. The spaces takes shape with modern architectural elements and carefully selected furniture pieces, lending their warm and inviting interiors. The spaces were designed with both functionality and relaxation in mind, providing guests with a serene environment that encourages connection to nature.

1392 Mass Ave. | images © Chris Mottalini

Thoughtfully Renovated homes

Materiality is vital in the design narrative of the TOURISTS Homes in Massachusetts. Working with the team at TOURISTS Welcome, interior designer Julie Pearson and architect Hank Scollard make use of locally-sourced white oak cladding. This material is chosen at once for its visual warmth along with the significance of its regional identity and environmental consciousness. The wood’s natural weathering will enable the buildings to further camouflage into their forested backdrop over time, embracing the Japanese concept of wabi-sabi, which finds beauty in impermanence. Inside, custom cylindrical sinks and Dornbracht fixtures reflect a close attention to craftsmanship, transforming everyday routines into moments of understated luxury.

Particular recognition is due to studio Reed Hilderbrand’s landscape architecture, which skillfully unifies the property’s varied elements. The 220-foot suspension footbridge, crafted by Gerhard Komenda, serves as both a bridge and a gateway — it turns the journey across the site into an experience of transition between built space and nature.

1388 Mass Ave.

A History of Hospitality arrives in massachusetts

The TOURISTS Welcome group has a history rooted in reimagining hospitality experiences. The group’s name pays homage to America’s first scenic byway, where roadside establishments once catered to travelers with signs simply reading ‘tourists.’ Since opening their first hotel in 2018, TOURISTS Welcome has received widespread acclaim, including recognition in the Michelin Guide.

The dynamic team behind TOURISTS Welcome includes Ben Svenson of Boston-based Broder, John Stirratt of Wilco, Nina Zacek Konsa (formerly of Bunkhouse and The Standard), Eric Kerns (formerly of MASS MoCA), and Scott Stedman (founder of Brooklyn’s The L Magazine). Together, the trio is dedicated to creating distinctive travel experiences that marry classic hospitality with contemporary sensibilities.

1392 Mass Ave.

The TOURISTS Homes complement the nearby TOURISTS Homes, a cluster of 19th-century houses in the Blackinton Historic District. These homes, originally built in 1860, have been thoughtfully renovated to reflect the team’s modern aesthetic. Each includes full kitchens, entertainment areas, and bedrooms, making them an ideal place for a comfortable and design-minded retreat.

Guests staying at the TOURISTS Homes can enjoy a variety of nature-focused activities. A 220-foot suspension footbridge connects the properties to a network of walking trails, meadow vistas, and forest clearings. The Art & Adventure program, curated seasonally, offers experiences such as Appalachian Trail hikes, snow-shoeing, open-air yoga, and foraging walks.

Music and art are integral to the TOURISTS experience. The Airport Rooms, a restored 1813 farmhouse, serves as a venue for riverside cocktails and culinary pop-ups. The team also hosts Sing For Your Slumber, a music series where touring musicians exchange performances for lodging. Since its inception, the series has welcomed over 150 performers, creating a vibrant community for both artists and guests.

1392 Mass Ave.

1388 Mass Ave.

1392 Mass Ave.

1392 Mass Ave.

1388 and 1392 Mass Ave.

project info:

name: TOURISTS Homes | @touristswelcome

location: North Adams, Massachusetts

architect: Hank Scollard | @henryscollard

interior designer: Julie Pearson | @juliepearson_designs

founding partner: Ben Svenson

landscape architect: Reed Hilderbrand | @reedhilderbrand

photography: © Chris Mottalini | @chrismottalini

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