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Travel + Leisure
3 days ago
- Business
- Travel + Leisure
This 1907 Warehouse in Seattle Was Just Transformed Into a Luxury Hotel—and T+L Was the First to Stay
Populus Seattle The adaptive reuse design preserves the 1907 warehouse's original Douglas fir beams and brickwork while slashing the building's carbon footprint. Rooms feel like a cocoon, wrapped in original brick, deeply saturated walls, and art that filters into the private spaces from the hotel at large through framed prints and even pour-over coffee packets. The fire-and-ice concept of the food and drink program spans from the signature restaurant Salt Harvest's oak and almond wood hearth to the rooftop cocktail bar Firn, where glacier-inspired cocktails are made with crushed, shaved, and faceted ice. All the artwork is for sale, turning the hotel into a working gallery and a stop on Pioneer Square's First Thursdays, the longest-running art walk in the country. The hotel anchors RailSpur, a placemaking project that's adding fuel to Pioneer Square's evolution by transforming former service alleys into pedestrian corridors lined with public art, shops, and cocktail bars. Opened in late May after two years of construction, Populus Seattle is already making an impression with its regenerative design, expansive art program, and deep ties to the neighborhood. Housed in the 1907 Westland Building, a former steam supply warehouse, the hotel anchors RailSpur, a placemaking initiative that connects three historic structures in Pioneer Square through alleys that draw in the public with the promise of art and cocktails. The front desk and hotel reception. Ric Stovall/Populus Seattle 'We wanted to create a hotel that becomes part of the cultural and physical infrastructure of the area,' says Jon Buerge, president of the Colorado-based Urban Villages, which developed both RailSpur and Populus. It's a fitting ambition for a hotel set amid cobblestone streets and Romanesque facades, just blocks from Seattle's working waterfront and flanked by Lumen Field and T-Mobile Park. But Populus Seattle isn't just another design-forward newcomer among edgy art galleries and expertly curated indie boutiques. (It is the second outpost of the Populus brand, following its flagship Denver location, which opened last October to much fanfare.) 'You're stepping into an experience that was designed to connect people to the city, to the past, to what's next,' says hotel general manager Rod Lapasin. I thought about that a lot as I explored the hotel's thoughtful design, neighborhood ties, layered storytelling built into its bones, and a mission that extends beyond aesthetics. Below is my full review of Populus Seattle. The Rooms Interior of the Douglas Fir Studio King. Ric Stovall/Populus Seattle It was surprisingly sunny in Seattle on the day I arrived, but I must confess I didn't take advantage of the fair weather. Upon entering my corner Douglas Fir Studio, a junior suite with two different street views, a window seat, and a generously sized bathroom decked out in plenty of luxe marble and industrial steel-framed glass, I decide to forgo the mile-long saunter to the Overlook Walk, a new elevated park space at the waterfront. Instead, I steeped in the deep soaking tub to unwind from the bustle of SeaTac Airport before swaddling into a bathrobe with a cup of hojicha tea. Given the adaptive reuse of a 1907 warehouse, all 120 rooms at Populus Seattle, from the standard Lupine room (comfortable, though quite cozy) to the Summit Suite (this space reads more like a luxe pied-à-terre, complete with private cityview terrace), are steeped in the warmth and sentiment of time passed. Thick Douglas fir beams, original to the structure, lend a distinctly woodsy, Pacific Northwest touch to the otherwise contemporary rooms. The accommodations feature brass lighting, velvet seating, and commissioned art framed in salvaged timber that once lined the warehouse floors. These pieces hang against richly hued walls, while exposed-brick facades add industrial character. The occasional siren or celebratory whoop was just a streetwise soundtrack that rooted me in a dynamic neighborhood where the art scene, stadium buzz, and working waterfront converge. If you're the kind of traveler who judges a hotel by its room amenities, then you'll be happy to find plush Matouk robes and towels, bath products by Aesop, Fellow electric kettles, and sustainable, direct-trade java from Monorail Espresso, Seattle's first coffee cart. As an example of the design team's attention to detail, the packaging for the single-serve pour-over depicts "Cats Cradle No. 2," a painting by local artist Becca Fuhrman, whose work is on view throughout the hotel. 'Our connectedness to the community is a many-layered thing,' Lapasin says. 'It all comes together from the past and the present to become the story of Populus Seattle." Food & Drink Around happy hour, a particularly welcoming phenomenon draws folks milling about the hotel's airy lobby deeper into the building: the convivial clamor emanating from Salt Harvest, its signature restaurant, located on the second floor. Buerge explained that this sonic seduction was by design. 'We placed the bar at the top of the lobby staircase for this exact reason." I tried the non-alcoholic Impostore, a bittersweet drink made with Wilderton non-alcoholic aperitivo, and the Bleeding Heart, a floral, bubbly mix of vodka, aloe, strawberry, and cherry blossom that nods to the springtime blooms across Seattle's University of Washington Quad and city parks. I enjoyed both, but ordered a second round of the Impostore. At the rooftop cocktail bar Firn (pronounced feern, the German word for the uppermost layer of a glacier), drinks revolve around ice in various forms: crushed (as in the soju-based Green Acres, flavored with apple and shiso), shaved (Get Schwifty is like a vodka-spiked, melony kakigori), or gem-faceted (the Diamond Sea is a smoky, floral milk punch). Also telling: each afternoon, upon returning from a day of exploring Seattle's latest cultural offerings (like this floating sauna and this fairly new museum, designed like a fjord), the Populus doormen would greet me with, 'Welcome. Heading to Firn?'—a sign of just how quickly the rooftop bar has become a favorite with locals and hotel guests alike. Panoramic views from the Firn rooftop deck. Ric Stovall/Populus Seattle While ice sets the chill upstairs, down in Salt Harvest, flames crackle. 'The restaurant explores fire through Pacific Northwest ingredients from land and sea,' says executive chef Conny Andersson, who hails from Gothenburg, Sweden. (Seattle's robust Scandinavian population is owed to trades like fishing and boat building, kindred between the two cultures.) 'There's a natural overlap in how both regions approach food—minimalist, ingredient-driven, and rooted in seasonality. It's how I cook, and it's how I grew up.' Nearly every dish on the dinner menu is touched by flame. The Neah Bay salmon is just kissed by the oak-and-almond wood fire, yielding buttery tenderness. The free-range pork chop from Washington's Pure Country Farm gets more char but remains unctuous, a rarity for such a lean cut. Wild mushroom spätzle is rich and comforting thanks to Beecher's Flagship cheddar and a ratio of handmade noodles to foraged mushrooms that, to my eye, heavily favors the forest floor. Salmon gravlax, a nod to Andersson's homeland, is cured with Op Anderson aquavit, evoking the classic curing herbs of caraway and dill, then brushed with an umami-rich espresso honey mustard. For dessert, I opted for the Eton Mess, a cloudlike confection of baked meringue, fresh local berries, and Chantilly cream. Activities and Amenities The private dining meeting area. Ric Stovall/Populus Seattle The hotel's features feel more like immersive touchpoints, designed to invite interaction, spark curiosity, and reflect the city's creative spirit. Populus Seattle's commitment to sustainability and art comes together at the entrance, where salvaged tree trunks recall a ghost forest—once-living trees left standing by rising waters and now seen as symbols of regeneration. Just inside, mounted above a living fray of lush foliage, vibrant large-scale paintings reflect a range of visual styles, from psychedelic glitchery ("Garden Sequence 070624" by Przemysław Blejzyk) to folksy surrealism ("We Walked to the Top of the Holy Mountain" by Andrea Heimer) to mystic landscapes ("Night Forest" by Kimberly Trowbridge). Dom Nieri, founder of local art consultancy ARTXIV, curated a collection of 46 original artworks— including a site-specific installation of moss and rope that will cascade through the hotel's lightwell later this year—and 295 limited-edition prints by 35 local, regional, and international artists. Each piece was sparked by a single source of inspiration—the Pacific Northwest—and produced during a summer residency at the neighboring RailSpur Manufacturing Building. 'We'd take groups of artists out for plein air painting, riding ferries, going to the beach, and they'd come back to our 10,000-square-foot studio and respond to the experience,' Nieri says. 'We brought back the original intent of the building as a working production space.' All the art is for sale, making the hotel a working gallery that explores themes of place, persistence, and becoming. I imagine which wall in my tiny San Francisco apartment "Holy Mountain" would look best on, and which imaginary bank account I would draw from to purchase it. Populus also participates in Pioneer Square's First Thursdays—the longest-running art walk in the country—and plans to host guest-exclusive artist talks in the Nature Library and live performances in the Art Room. 'We're not doing things for the neighborhood—we're doing things with it,' adds Nieri. 'That means bringing people in, making space for their voices, and letting the work grow from there.' Family-Friendly Offerings While Populus Seattle doesn't have dedicated kids' programming, it's far from inhospitable to families. During dinner at Salt Harvest, the family seated next to me ordered off-menu pasta with Parmesan cheese for their three kids, though they ended up stealing bites of dad's pork chop anyway. The hotel's walkable Pioneer Square location also makes it easy to explore nearby kid-friendly spots, such as the Seattle Aquarium and the waterfront Great Wheel. Rooms like the Douglas Fir Studio or the Summit Suite offer more breathing room for families. Accessibility and Sustainability As a journalist who's been on the design beat for over two decades, I've read enough sustainability claims to be skeptical, but here, I was pleasantly surprised by the specificity. Converting a 1907 brick-and-timber warehouse into a modern boutique hotel drastically cuts carbon emissions by an average of 78 percent compared to new builds, according to industry studies, giving Populus Seattle a significant head start on its goal of being climate regenerative. 'The adaptive reuse approach was key,' says Buerge. 'It let us preserve character while cutting down on carbon. That's a big win in both directions.' Such an ambitious retrofit also meant striking a balance between design ambition and practical considerations. While the dramatic central staircase serves as an architectural centerpiece, spacious elevators and ADA-compliant rooms ensure that access isn't compromised. But living the net-positive life isn't just about renewable power (Populus has committed to sourcing 100 percent of its energy from off-site solar and wind farms), or planting trees (one for every night you stay, through the aptly named One Night, One Tree program), or diligent composting (food waste will be diverted from landfill by onsite BioGreen360 digesters). Even the cafe's to-go cups are low-impact, made from durable clay, not single-use plastic or paper. Ultimately, it's about leaving the neighborhood better than you found it. 'We're not just looking at net zero,' adds Buerge. 'Carbon positive means going beyond—regenerating ecosystems and reinvesting in communities.' Location The lounge at The Café at Salt Harvest. Ric Stovall/Populus Seattle RailSpur, a placemaking project by Urban Villages, has transformed the area's back-of-house service corridors into walkable public spaces. Today, they feature art, patio seating, and independent businesses like Marigold and Mint Botanicals, plus a forthcoming outpost of the national cocktail bar Death & Co. 'And Populus is the beating heart of it all,' says Buerge. Given the buzz around the hotel, it may well become the pulse of historic Pioneer Square. As Seattle's oldest neighborhood, the area has seen its share of boom-and-bust cycles—from the Great Seattle Fire of 1889, which leveled the place, to the Klondike Gold Rush of the late 1890s, when some 70,000 prospectors passed through Seattle en route to the Yukon, turning Pioneer Square into a hub for supplies, lodging, and entertainment. Despite—or perhaps because of—its gritty reputation, modern-day Pioneer Square holds serious cultural cred, thanks to standout galleries like Greg Kucera, spotlighting contemporary work by emerging Pacific Northwest artists, and Foster/White, long associated with renowned Seattle glass artist Dale Chihuly, as well as indie shops like Flora and Henri, a concept lifestyle boutique next door to the artisanal doughnut cafe General Porpoise. I took great delight in discovering Peter Miller Books + Supplies, a tucked-away gem for architecture and design lovers, where I purchased several Japanese notebooks and Miller's housekeeping homage, "How to Wash the Dishes." It seems the legacy neighborhood is undergoing yet another transformation, with Populus being part of the change. Book Now Populus Seattle doesn't participate in any hotel or credit card loyalty programs, but before booking your stay, check out the hotel's website for its latest offers and discounts. Nightly rates at Populus Seattle start at $359 per night. Every T+L hotel review is written by an editor or reporter who has stayed at the property, and each hotel selected aligns with our core values.
Yahoo
21-06-2025
- Business
- Yahoo
Forget Tearing Down the House. Regenerative Design Is on the Rise.
While home renovation isn't a novel concept—people have been tweaking and refining their spaces for centuries—the physical act of remodeling is growing increasingly more nuanced. Climate change and its attendant natural disasters, coupled with the rising cost of construction materials (intensified by President Trump's heavy tariffs), are leading design professionals to reassess their approaches to projects and give greater consideration to their decisions' impact on the future. For many years, 'new' was a status symbol, and homeowners rushed to demolish existing rooms or entire structures they deemed outdated, often replacing them with trending styles. Architects clamored to provide clients with bigger and better houses, and in the 1990s and early 2000s, a class of starchitects such as Frank Gehry, Norman Foster, and the late Zaha Hadid cemented their fame by designing flashy museums and skyscrapers, each one seemingly more experimental and outlandish than the next. More from Robb Report Once Considered Passé, Hybrids Roar Back to Offer a Best-of-Both-Worlds Powerhouse Inside Hume Cloister, a $7.5 Million California Estate Inspired by a French Monastery This $11 Million Phoenix Mansion Will Help You Level Up Your Putting Game In a more recent industry-paradigm shift, firms are prioritizing the ecological consequences of their work, the history of a place, and the visual effect that renovating a structure will have on an area. As a result, the tear-it-all-down approach has started to lose its allure and what is known as regenerative design is on the rise—especially among young and emerging studios that are concerned about the future of the planet. This methodology goes beyond 'prettying up' a space, requiring architects to weigh their plans in relationship to the neighborhood and the natural world. It emphasizes using locally sourced materials—and fewer of them—and making decisions that don't just lower environmental impact but in fact reverse it. Strategies can range from restoring a historic home's original architectural details (but updating plumbing and HVAC to meet or even exceed industry standards) to repurposing existing materials during a renovation. Elements such as green walls or systems that collect, purify, and reuse rainwater can actually improve the environment. Unfortunately, these protocols can make a project more expensive and take longer to complete. But for a growing number of firms around the globe, including heavy hitters such as MASS Design Group, Christoph Hesse Architects, SANAA, and i29—not to mention their clients—the extra time and cash are worth it in order to design buildings that, quite literally, make the world a better place. Best of Robb Report The 10 Priciest Neighborhoods in America (And How They Got to Be That Way) In Pictures: Most Expensive Properties Click here to read the full article.
ABC News
11-06-2025
- Business
- ABC News
Australian designers tackle fast fashion with eco-creations
Regional clothing designers are stitching a place in the fashion world by turning their isolation into eco-friendly opportunities. But they say more needs to be done to keep them and other small designers sewing. From vintage Indian silk saris and high-end fashion fabric offcuts to op shop curtains and linen, regional designers are thrifty in sourcing materials because of the distance to city suppliers. The recycling focus is also better for the environment in a market flooded with fast fashion, against which smaller designers struggle to compete. According to the South Australian government, Australia is one of the world's largest consumers of textiles, purchasing an average of 53 clothing items per person a year. More than half of the nation's unwanted clothing — about 222,000 tonnes — is sent to landfill each year. It causes resource wastage, increased greenhouse emissions, and significant financial costs for local councils. Horricks Vale Collections designer Nikki Atkinson, who was named South Australia's AgriFutures Rural Women's Award winner in 2024, is passionate about addressing clothing waste and champions natural fibres. She watches her fabric growing on the lambs outside her window. The farm's wool is manufactured into a soft fibre for high-end wedding dresses. Her rural location, while isolated from a large customer base, gives her a marketing edge. "Living on the land and seeing what my husband and his family do every single day and just having that deep connection to the land is where the whole story's come from," she says. However, she says it is difficult to find skilled workers because there is no longer an Australian manufacturing industry. "[When tariffs were lifted 30 years ago] it was cheaper for us to make things overseas, so that's when the skill level dropped," Ms Atkinson says. "People do want Australian Made and they do want quality, but we've got nobody that can make it." There is optimism about more people embracing slow fashion. Former Vogue magazine contributor, writer and stylist, Joanne Gambale, runs a fashion consultancy and education business that aims to reduce fashion wastage and help independent designers. She says regional designers are unique, but it is hard to compete on price with fast fashion. "You're competing with crazy margins that are being achieved because of offshoring the whole process, the making as well," Ms Gambale says. "That will always, if it is cheap prices, involve unethical practices, like below poverty wages. Her company focuses on op shop stylist advice and sewing lessons and camps for tweens, mentoring them in upcycling pre-loved clothes that would otherwise end up in landfill. She says the previous generation of consumers bought less clothing and saved up for major, higher-quality purchases. "[Now] no-one wants to pay because they've been kind of brainwashed into thinking fashion should be cheap," she says. To the Power of You, started by Anastasia Gazis in Perth, aims to establish shared community-based fashion spaces called Slow Fashion Hubs with equipment and a digital online presence to reduce costs. Ms Gazis says there is no point trying to tackle "Goliath" fast fashion, but rather develop a national network of micro producers to share knowledge, education and a digital presence. "So many of us are working in pockets doing brilliant, community-based work, but we lack shared infrastructure, shared systems, and a way to amplify each other's efforts," Ms Gazis says. "Together we're a lot stronger, we would have a national reach. "The plan is to offer communities access to equipment like sewing machines and drafting tables where it doesn't exist, and foster a co-working environment for designers, fibre artists, menders [and] educators where they can share knowledge, reduce isolation and grow their impact." Port Lincoln designer Sue Catt worked part-time to support her dressmaking up until 18 months ago when she went full-time, balancing sewing alterations, dressmaking and creating her own fashion label garments. She taught dressmaking classes and encouraged students to not just buy retail fabrics, but to explore op shops and household linens. She says most regional designers work in their own spaces, but there is merit in coming together occasionally for sharing ideas, techniques, materials and support. Ms Catt says slow fashion is important for saving the environment, cultural histories and general skills and education. Based in Whyalla, FreetheRip designer and maker, Emily Parker, uses vintage fabrics from op shops for her clothing. She says a lack of access to customers and trying to compete with fast fashion means she can only pursue her fashion dreams part time. "My aim is to get more people interested in sustainable fashion and to just think about what they're purchasing," Ms Parker says. The university graduate started her own business two years ago and says it is a tough gig. "I work on the weekends [at another job] and then through the week I focus my energy on my designs and sewing," Ms Parker says. Port Lincoln Raff-A-Ella designer Raffael Veldhuyzen uses vintage silk saris from India. She says she first sourced them when she studied yoga there 10 years ago, as well as remnant pieces that might otherwise end up in landfill. "Some plain silk I get from a bridal designer in Melbourne, and they're her offcuts essentially, so it's really sustainable, dead-stock fabric, and then I plant dye it," Ms Veldhuyzen says.
CBS News
06-06-2025
- General
- CBS News
Architect Eugene Tssui draws inspiration from nature to revolutionize sustainable design
For architect and environmental activist Eugene Tssui, the future of sustainable design starts with a return to nature and a radical shift in mindset. "The environment is our home, and our home is dying," Tssui said. "We need to address that in a way where all of us need to change the way we think, and live, and behave." Known for his unconventional, biomimicry-inspired designs, Tssui has completed multiple residential projects across the Bay Area, each emphasizing ecological harmony and renewable energy. One of his latest efforts, The Sky Park Arch, will be Emeryville's first zero-energy building — a milestone in his ongoing mission to fuse architecture with nature's principles. "Architecture accounts for at least 45 percent of the world's toxic pollution," Tssui said. "And it's a shame that architects aren't a voice for letting that be known." Tssui, recently named Emeryville's 2025 Architect/Artist in Residence, sees architecture not just as a profession but as a platform for change. His design philosophy draws heavily from the natural world, where he believes the answers to many environmental challenges already exist. "The electric eel can create 600 volts of energy instantaneously just through its musculature, just through the electro nerve system inside of its body," he said. "I'm thinking now, if we knew how to biologically create electricity, it would revolutionize the world. We could have electricity that doesn't pollute at all." He argues that modern architecture still relies too heavily on outdated, industrial-age methods, failing to consider the innovations inherent in biology. "All of these miracles and secrets actually occur in nature that we are not even investigating," Tssui said. "And they could just revolutionize the way we think about energy." Tssui's work continues to challenge the conventional boundaries of design, pushing toward a vision of architecture that not only serves humanity but heals the planet. Because for Tssui, conserving energy isn't just a goal. It's the fuel behind his life's work.
BBC News
02-06-2025
- Entertainment
- BBC News
'Artful sanctuary' is 2025 Scottish Home of the Year
A contemporary conversion described as "an artful sanctuary" has scooped the 2025 title of Scottish Home of the House near Pitmedden in Aberdeenshire has been revealed as the winner of the grand finale of the popular BBC Scotland house was built on the natural footprint of the surrounding farm steading and is home to Jessica Zanoni and husband Chris Labrooy, who live there with son Chase, 18, and dogs Enzo and couple said it felt fantastic to see their effort and passion recognised. Hilltop House brings together mid-century and Californian cool style that reflects their own taste and by Jessica and Chris, the home is filled with colourful statement pieces from bright yellow sofas to a pastel pink bathroom. The couple - who run their own art business - were inspired by nature and led by sustainable design principles, filling their home with items which will last for told BBC Scotland News what her first impressions were of the plot that would become their new home."I came up here first without Chris. It was just a dilapidated farm steading. But as soon as I saw it and saw the view I knew I had to get Chris up here." She said the living room was her favourite part of the house."The gable faces east and you see the sunrise very morning," she said."I also enjoy the differences between the aesthetic of the outside and the inside. I think it makes the interior even more surprising."Also, the view. It was the reason we bought the plot and we have really used it almost as a piece of art. It definitely adds to the interior and it changes every day."Chris agreed: "I feel the home's location and east-facing gable give it a special character. I love the sunrises here – so much so that I'm up before 06:00 every morning just to take them in."I work from home so I really appreciate the quality of light throughout the day. It's a very easy going home to live in." The SHOTY judges – interior designers Anna Campbell-Jones, Banjo Beale and architect Danny Campbell - chose Hilltop House from a shortlist of six finalists from across Scotland. Campbell Jones said: "This home managed to feel perfect in every way whilst still feeling like a place where real people live. I particularly loved the way their art was reflected in their choices of colour and furniture managing to create the perfect balance between playfulness and sophistication."Mull-based Beale agreed: "It's an artful sanctuary - every corner tells a story, and it's quiet and charismatic all at once."Campbell added: "This was a home that manages to be both deeply personal and architecturally ambitious. Every corner feels considered, every material honest, every space deliberate and thought through. "It felt like the building was completely in tune with the people who lived there, which is especially impressive for a conversion." The big reveal took place at Glasgow's House for an Art Lover - designed by Charles Rennie six finalists came face-to-face, meeting the judges for the first time as well as getting a chance to cast their eyes over each other's Jessica, meeting the other finalists was a highlight: "We met all of the finalists and had such a great day talking to them. "We have a WhatsApp group now that we keep in touch through. It's easy to get on with people that are like minded and have put their heart and souls into the design of their homes. "So, everything from building and designing and filming SHOTY were all shared experiences for us. It was so interesting to see all their ideas." The 2025 series of Scotland's Home of the Year visited 18 exceptional properties across other finalists were Sandstone Bungalow in Giffnock, Wee City Nook in Edinburgh, The Tree House in Broughty Ferry, An Cala Cottage in Skye and Craigmount near Danny Campbell said: "This year's line-up was outrageously good. From bold conversions to quirky self-builds, every home had its own personality and inspirational touches. "It felt like homeowners across Scotland have taken things up a level. Not just in terms of design but in how fearlessly they made their homes truly their own. It was a joy - and a nightmare - to judge."The eighth series of the property show will begin filming in locations around Scotland later this month.
