Two Bauhaus-era buildings on Nachmani Street in Tel Aviv's Lev HaIr — a neighbourhood whose layered 1930s fabric earned UNESCO World Heritage status in 2003 — were carefully knit together and restored to create The Norman, which opened in 2014 across 50 rooms and suites spread over five floors. The project, overseen by architect Eran Shitrit with interiors handled by two separate designers working in deliberate contrast, treats the Bauhaus inheritance as a living language rather than a period piece: the white rendered facades, horizontal ribbon windows, and flat roofline visible in the images are original fabric, preserved and backlit to emphasise their geometry against the Tel Aviv dusk. The interior approach splits the two buildings between Ron Arad, who took the original structure with its high-ceilinged rooms, dark-stained herringbone floors, and mid-century furnishings — chartreuse lounge chairs, geometric round rugs, warm walnut wardrobes — and Piero Lissoni, whose rooms carry a quieter sensibility: suede-panelled headboards with suspended pendant lights in smoked glass, parquet in a tighter chevron pattern, sheer linen curtains pooling Mediterranean afternoon light. On the roof, an infinity pool extends toward a teak-decked terrace with views across the White City to the sea. Below street level, a marble-countered omakase restaurant with walnut shelving and red leather counter stools completes a property that holds its contradictions — old and new, restrained and exuberant — with considerable confidence.

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