Le Corbusier

Have you ever dreamed about staying at a 15th-century monastery? While that wish may be reserved for prospective nuns and monks, a beautifully renovated monastery is another story altogether — especially one filled with incredible modern designs. With the intention of serving as a museum of contemporary 20th century design, Holland's Kruisherenhotel-Maastricht, consisting of the monastery as well as a Gothic church, features designs from Marcel Wanders, Philippe Starck, Piet-Hein Eek, and Le Corbusier, to name only a few of the famous designers on display here. Architect Henk Vos converted the open monastery space into several different levels and installed a glass elevator to connect the church with the monastery. Each of the 60 rooms, as well as the community spaces, has been uniquely decorated with designer pieces. Perhaps my favorite touch is the glowing entrance tunnel that guests must pass through to reach the hotel. Other hotel facilities include a library, coffee bar, restaurant, conference rooms, boutique, and gorgeous hotel gardens. Keep reading to take a complete tour!

When we're talking about a design icon like the Le Corbusier LC2 Armchair, I hate to use the phrase "Out with the old, in with the new." But after seeing the LC in its hot new color options, I can't imagine ever going back to basic black and white. The revived palette, ranging from orange to olive, is just the boost the ubiquitous classic needed, and with new fabric options like durable canvas, the chair is not only more affordable, but also more user-friendly. Better yet, the manufacturer Cassina has also introduced seven stylish colors for the chair's metal frame, including matte and gloss black, and gloss gray, light blue, green, bordeaux, and ochre.

While I give much applause to Cassina for giving the LC a fresh face, I can't help but be reminded that the manufacturer wasn't the first to dare to go there. Several years ago, San Francisco-based interior designer Martha Angus reupholstered a pair of Le Corbusier chairs in absorbent, blue terrycloth for a residence she designed in Portola Valley, CA. Back then, I was struggling with the idea, but in retrospect, I really love it. As much as I think that an iconic design like this one — which is in the collection of the Museum of Modern Art — doesn't need to be altered, I also appreciate the irreverence of Angus and the bold spin she put on a classic. Of course, if a designer were to make it over in busy, floral, eyelet fabric, I might be singing a different tune.