AMES • SOFITEL MUNICH • VDARA • LA MAMOUNIA • PALAZZINI GRASSI

A STEP BY
1.SHOW US YOUR ROUGH DESIGN CONCEPTS. 2.WE’LL PRESENT YOU WITH A RANGE
OF STUNNING OPTIONS.

4.FINALLY, WE’LL TURN YOUR THINKING INTO REALITY.

STEP GUI DE .
3. WE’LL SHOW YOU A FLOODED FLOOR When you come to Cambridge Weavers for your contract carpet, we take
PLAN AND SEAMING DIAGRAM.
care of everything from start to finish. So if you’re looking for service

and quality that’s second to none, why not sit back and let us weave the

magic. For more information, please call us on +44 (0) 207 604 5000.

70 Salusbury Road, London, NW6 6NU

Photography courtesy of InterContinental Dubai Festival City

P.O. Box 45777, Dubai, UAE. Tel: +971 4 701 1111
www.intercontinental.com/dubai

In conjunction with Interior Designer: Lim. Teo + Wilkes Design Works PTE LTD, Singapore 048580. Tel: +65 6227 2872. www.ltwdesignworks.com
Contractor: DEPA Dubai, Al Reem Tower, 16th Floor, P. O. Box: 56338, Dubai, UAE. Tel: +971 4 2285850. www.depa.com
INSPIRING
IDEAS FOR EXTERIORS
INTERIORS AND LIGHTING

Contemporary furnishing and

lighting solutions for prestigious
commercial and domestic
projects worldwide. PS Interiors
has been distributing exclusive
collections including Potocco,
Academia and laCividina for
over 25 years. Whatever your
project needs we’re here to help
call: 0161 926 9398
or email: sales@ps-interiors.co.uk

11 Cecil Road, Hale, Altrincham, Cheshire WA15 9NY.

t 0161 926 9398 f 0161 929 0363 e sales@ps-interiors.co.uk w www.ps-interiors.co.uk
FX INTERNATIONAL INTERIOR DESIGN AWARDS 2010
TUESDAY 30 NOVEMBER

TO ENTER: www.fxdesignawards.co.uk
Any queries contact Ros Blackmore on 07711739300 or ros@black-more.com

Deadline for entries: 20 July 2010

TO RESERVE YOUR TABLE OR SEATS:
Email fxawards@btinternet.com or contact Tony Thompson on 01622 630195 or www.fxdesignawards.co.uk
We invite you to win at the
design event of the year
www.fxdesignawards.co.uk

CATEGORIES
PROJECTS: Workspace Environment – Bar or Restaurant – Retail Space – Lighting Design – Public Space –
Public Sector – Hotel – Eco Project or Product – Leisure or Entertainment Venue – Museum or Exhibition Space

PRODUCTS: Workspace Systems Furniture – Surfaces – Lighting Product – 2010 Product of The Year –
Workplace Seating – Public, Leisure or Workspace Furniture

SPECIAL AWARDS: Breakthrough Talent of the Year – Product Designer of the Year –
Interior Design Practice of the Year – Outstanding Lifetime Contribution to Design

Nominations to tdowling@fxmagazine.co.uk. Shortlist is posted online for readers worldwide to cast their vote
to determine the winner. Check online for when voting starts www.fxdesignawards.co.uk Your vote counts!!
by EDC
77 Margaret Street
London W1W 8SY
Tel. +44 020 73233233
Fax +44 020 75804020
e-mail: sales@minotti.co.uk
 Minotti S.p.A.
20036 MEDA (MI) ITALIA
via Indipendenza, 152
Smith Lounge System Tel. +39 0362 343499
design: Rodolfo Dordoni www.minotti.com - info@minotti.it
 KAMA
COLLECTION
SALES OFFICE & SHOWROOM
SILVER STREET
STANSTED MOUNTFITCHET
ESSEX CM24 8HD
T 01279 816001
F 01279 816089
SALES@LEISUREPLAN.CO.UK
WWW.LEISUREPLAN.CO.UK
The Hotel Specialist

www.beckinteriors.com
 WELCOME 13

EDITORIAL:
Editor Theresa Dowling
020 7336 5221
tdowling@fxmagazine.co.uk
Editiorial team Sarah Brownlee,
Pamela Horne, Nicole Robinson
Art director Wes Mitchell
Editoria
Letter from the editor
There’s an art to being a good hotel, and there is art in good hotels, as our selection of
top design destinations here emphatically bears out.
From our cover photograph, showing the sensational Mirror Chandelier by Studio
PRODUCTION: Roso at Boston’s Ames Hotel ( interiors by the Rockwell Group), to the multicoloured
Production manager Clare Ovenell
020 8269 7753
collage New Shoes, made especially for the lobby of London’s The Arch ( interiors by
covenell@progressivemediagroup.com RDD), via Vancouver’s The Keefer and its original art by Douglas Coupland, art and
ADVERTISING: design are going hand in hand in some of the best individualistically designed hotels.
Group sales manager Joe Maughan
020 7936 6847
The Keefer actually stands out as the only hotel with ‘living’ art in one of its
jmaughan@progressivemediagroup.com penthouse suites. One of its ceilings is the clear acrylic bottom of the rooftop swimming
Sales manager Dean Cassar
020 7936 6838 pool, so guests have swimmers ploughing up and down over their heads!
dcassar@progressivemediagroup.com Of course art alone can’t make a poorly designed hotel any better, but we at X2 are
Products researcher Esther Ademosu
020 7936 3858 in the happy position to be able to show you some superb design work by some of the
eademosu@progressivemediagroup.com world’s best practices, which are at ease using contemporary and unique art to enhance
GENERAL: and enbolden their own already outstanding creations.
CEO Russell Milburn
Publishing director Mike Callison
We have the Palazzini Grassi in Venice, where the interiors of Philippe Stark work
Head of sales Jonathan Kilpatrick alongside glass art by Aristide Najean and paintings by Starck’s daughter Ara. Then there
The paper used in this magazine is obtained from
manufacturers who operate within internationally
is the Vdara in Las Vegas. That particular city is not perhaps the first place you would
recognised standards. The paper is made from
Elementary Chlorine Free (ECF) pulp, which is associate with art, but this hotel, with building design by Rafael Viñoly and interiors by
sourced from sustainable, properly managed
forestation. Printed in England by Stephen and Robert D Henry, Therese Virserius and Karim Rashid, features installations of stacked
George. All rights reserved: No part of X2 may be
reproduced or stored in a retrieval system or paper created by artist Peter Wegner, unique lighting pieces and artwork by Frank Stella.
transmitted in any form, electronic, mechanical, or
photocopying, without prior written permission of The question could be, where does design end and art begin? It’s quite clear there is
the editor. ©2010. ISSN 1756-3887
design in art, and much art in design...

FX supports the aims and objectives

of ACID (Anti Copying In Design)
Editor
tdowling@fxmagazine.co.uk
Cover: The Ames, Boston.
Lighting installation by
Studio Roso; architecture and
design by David Rockwell and
Rockwell Group, with Morgans
Design team
 CONTENTS 15

Contents INTRODUCTION 13
HOTELS SOFITEL MUNICH BAYERPOST Munich 16
AMES Boston 24
THE BLOOMSBURY HOTEL London 28
VDARA HOEL & SPA Las Vegas 32
THE ARCH London 39
LA MAMOUNIA Marrakech 43
THE KEEFER Vancouver 49
THE BOUNDARY London 53
PALAZZINI GRASSI Venice 56
THE LIGHT Manchester 63
KUBE ST TROPEZ St Tropez 66
FOUR SEASONS Beirut 71
MY FAVOURITE HOTEL La Gray, Beirut 82

PEOPLE SOPHIE NIELSON, ROLF KNUDSEN Studio Roso 26

JEREMY SCARLETT RDD 40
CHRIS WOODFORD Gair Williamson Architects 50
PIERRE-YVES ROCHON PYR 72
16 HOTEL REVIEW SOFITEL MUNICH BAYERPOST, MUNICH
SOFITEL MUNICH BAYERPOST, MUNICH HOTEL REVIEW 17

Sofitel
Munich
Bayerpost
Munich
TEN VERY DIFFERENTLY DESIGNED SUITES HAVE
BEEN ADDED TO THIS MUNICH LANDMARK HOTEL
WHICH ONCE HOUSED THE ROYAL POST OFFICE.
EVERYTHING FROM A WALK IN THE ALPS TO A TRIP
TO HOLLYWOOD IS WITHIN THE NEW SPACES
ARCHITECTURE AND DESIGN: HARALD KLEIN, KLEIN ASSOCIATES KG
18 HOTEL REVIEW SOFITEL MUNICH BAYERPOST, MUNICH
H
arald Klein’s 10 new suites for the Sofitel
Munich Bayerpost each tell a story. Whether
enchanted by the glamour of old
Hollywood or the cosy charm of an Alpine
chalet, the design team at Klein Associates
created a bold and contemporary design scheme
for each narrative.
Klein was originally commissioned to work on
the interiors and general design of the Sofitel
Munich Bayerpost in 2004. Housed in a listed
building, which was once home to the Royal
Bavarian Post Office, the hotel has more than 300
rooms in addition to the new suites.
Transporting guests through time and location,
the suites are truly diverse. Porcelain wellington
boots and wallpaper with a motif of oversized
blades of grass have been paired with wood, leather
and gold laminate in Les Alpes suite. For an ironic
take on traditional cottages in southern Germany
the design team used the furniture to create the
illusion of mountains, lakes and glaciers. It’s quite
a contrast to the Arabian Nights-inspired
Sheherazade suite, featuring red and gold
wallpaper, black mosaics and a circular bed.
While each design draws on a different
inspiration, many of the materials used are
similar. White leather, stone and gold mosaic
feature in the suites, but combined with different
colour palettes and furnishings go to enchance the
distinct nature of each scheme.
The grey and white Atelier suite draws upon the
simplicity of ‘an artist’s workshop’. Design
elements like its semi-transparent mini bar and
glazed ceramic tables in blue keep the space light
The Seventies live in the new
West Suites, above, decorated
in a retro palette of brown and
orange and red. The Imperial
Suite, right, uses white and gold
with deep-coloured carpeting
and cushions as a warm
contrast. Previous page shows
the Oyster Suite, where
dichroitic slats fixed to the
ceiling mimic the iridescence
of the oyster’s interior shell
SOFITEL MUNICH BAYERPOST, MUNICH HOTEL REVIEW 19
SOFITEL MUNICH BAYERPOST, MUNICH HOTEL REVIEW 21

The East suites, top and

below left, have a contemporary
flavour, with the same white
floors as the West suites but
with a lime green colour scheme
and white furniture offset by
violet-coloured carpeting and
a wallpaper that pretends
to be concrete

and airy. In contrast the entranceway is finished

in black lacquer to look like a blackboard, with
chalk supplied.
In the Oyster suite, a white and grey colour
palette is accented with violet and deep red.
Dichroitic slats were applied to the ceiling to
mimic the iridescent lining of the oyster’s shell.
In the white and grey Pearl suite, gold accents
are picked up in the carpets and lamps. The look
is completed with stills of Hollywood greats Grace
Kelly and Cary Grant from the legendary Alfred
Hitchcock film To Catch a Thief.
Far more dramatic, the Fleurs du Mal suite
is inspired by the work of French philosopher
and writer Charles Baudelaire. A colour scheme
of purple and black is contrasted with white
and orange design elements, such as the
22 HOTEL REVIEW SOFITEL MUNICH BAYERPOST, MUNICH

A mezzanine floor is where

the bed is to be found (pictured
left) in both the East and West
suites, with full-height windows
(above) connecting the sleeping
space with the living area below

laminate skirting boards. Wall panels, rugs and

bedding in a monochromatic floral motif, and
oversized decorative lighting by Moooi make
for a dark ambience.
Different again, the four East and West suites
offer split-level accommodation. Beds are up on
mezzanines and full-height windows connect the
two spaces. For the West suites, the design team
developed a Seventies’-inspired colour palette
of red, brown and orange. Grey wallpaper was
sourced to set off the white epoxy resin floor
and mini bar.
In the East suites, a more modern approach
features the same white floor but with a green
colour scheme, plus white furniture, violet-
coloured carpeting and wallpaper that pretends
to be concrete.
24 HOTEL REVIEW AMES BOSTON

Ames
Boston

The Mirror Chandelier by

Studio Roso is the centrepiece
of the Ames Boston lobby,
with thousands of mirrored discs
catching and reflecting the light
within the soaring ceiling height
of the listed building
 AMES BOSTON HOTEL REVIEW 25

WITHIN THE HISTORIC CITY OF

BOSTON THIS 19TH-CENTURY
BUILDING HAS RETAINED ORIGINAL
FEATURES WHILE CONTEMPORARY
DESIGN AND FURNISHINGS HAVE
GIVEN IT A CUTTING-EDGE TWIST
ARCHITECTURE AND DESIGN: DAVID ROCKWELL AND
ROCKWELL GROUP, WITH MORGANS DESIGN TEAM
LIGHTING INSTALLATION: STUDIO ROSO

G
iven its location in the heart of one of the
United States oldest cities, it’s no surprise to
encounter an original marble staircase and
mosaic tile work dating back 100 years at the
Ames. What’s more unexpected however, but
eminently effective, is the ‘modern-day dandy’ look
that design consultancy Rockwell Group with the
Morgans Hotels own design team has created up
for the hotel, a look that contrasts brilliantly with
while complementing its historical features.
The New York design and architecture team
brought in several artists to help give the 19th-
century building a fresh, modern and theatrical
update, taking advantage of the existing
architectural elements.
The result is a 14-storey hotel with 120 guest
rooms, a restaurant, lounge, private dining rooms
and a fitness centre – all full of delightful details.
For example there are etchings of an old doorknob
design on the lift doors, and when guests step out
on any floor they are greeted by a large, double-
sided mirror, in which is set a holographic image
of a crystal chandelier.
But the showstopper is the Mirror Chandelier,
by London-based design duo Studio Roso. This
dramatic installation hangs against the backdrop
of the lobby’s expansive, vaulted ceiling and its
original tiled mosaics. Suspended above the
entrance area, the Mirror Chandelier is made of
thousands of reflective discs attached to a branch-
like structure. These glitter in the sunlight flooding
through an equally large arched lobby window and
reflect light and colour across the space. The lobby
itself furnished with a black and white sofa-and-
chair arrangement accented with dark pink.
One side of the space leads into the reception
area, defined by a vibrant orange backdrop. Behind
the reception desk, Boston sculptor Draga Susanj
has applied layers of white hand-cast porcelain tiles
across the wall in a curvaceous sweep. The black,
26 HOTEL REVIEW AMES BOSTON
white and orange theme is continued with a glossy
white bespoke Federal-style desk with an orange
lamp and black chairs to the side, continuing the
happy mix of traditional and highly contemporary.
Guests also access the hotel’s two-storey
restaurant, with each floor having its own and
private dining area, from the lobby. Floor-to-
ceiling Victorian-looking shelving units showcase
agricultural objects, in reference to the origins of
Ames family fortune in the agricultural industry.
In another reference to the past, Rockwell Group
has created a display of 18th-century pipes, in
reference to the restaurant’s roots as a tavern of
the same period, inset into an Ian Ingersoll
walnut table with glass vitrine top.
The furnishings are largely modern and
bespoke, sourced by Rockwell Group to sit
alongside the original fireplaces and Romanesque
arched windows. Guest rooms were designed
within a “minimal and sleek” framework of clean
lines, grey and white colour palette and of which
had been selected to sit comfortably within the
traditional architecture of the building. Floating
platform beds upholstered in cream-coloured
leather, and marble walk-in bathrooms further
add to the sophisticated luxury.
Accommodation ranges from the 28 sq m
standard guest room, with its own contrasts of
history and modernity in a minimalist yet sleek
setting, to the sumptuous 93 sq m one-bed
apartment, featuring a chrome king-sized four-
poster bed, vintage chaise lounge, oversized Moroso
sofa, silk carpets and a feathered chandelier.
Sleek minimalism is evident
in the treatment of the reception
area, below, with a splash of
bright orange behind the
reception desk and side lamp,
with a bespoke Federal-style
desk in glossy white and period
style chairs. Bottom, guest
rooms continue the minimal
look with comfort, in a grey
and white colour palette and
pale-wood floors
Interview with Sophie Nielsen
and Rolf Knudsen
Founders Studio Roso
Roso is undoubtedly one of the most inspiring art and design
studios in London combining the talents of its Danish founders
Sophie Nielsen and Rolf Knudsen. Their career history spans the
disciplines of architecture, industrial design and product design, but
they also think of themselves as artists, establishing their own
company in 2008. They are best known to date for a sparkling
artwork they created for Clarks Shoes and they most recently
completed a fantastical mirrored installation (pictured) for the Ames
Hotel in Boston for the Morgans Hotel Group, working alongside Rockwell Group.
How did the installation of the artwork go?
It went smoothly. We had most components pre-assembled prior to going on site and the big
challenge was to fit the main structure in the space (the stem, so to speak). It is always a
challenge to install a one-off design piece, especially in another country where you ‘re not
being able to rely on your usual network of suppliers, so knowing what the variables were and
what options were available to adjust the piece to the building was key. It was invaluable to
have a client that was accommodating and aware of the workings of this specialised process.
How many people did it take to install and how long was the process?
The on-site work took three people just over two weeks. Pre-assembly took five people 10
days. We pre-assembled most of components, numbering tens of thousands components, in
England and shipped everything in a large box to the hotel site in Boston. The piece was then
assembled in the lobby space: first the wall fixings, then the main structure. When this was in
place we slowly worked our way through attaching and sculpting the 12,000 discs. This was
done by one person from our studio and two assistants from Boston.
What was the most exciting part of the project for you?
Two things stand out: first of all being involved in a project of this scale, with this many
clients/owners involved and quickly realising that your client is working with you as a team.
Second was seeing the main structure up and hanging. It was a milestone for us – we knew it
would be smooth sailing from there, having tested the remaining process thoroughly before
going on site. It is always exciting when you deliver to budget, on time and the clients are
super happy with the result and everyone compliments the piece. Installations of this size are
laborious and it all has to come together in very few days.
What did you learn about creating work for the hotel design sector?
It is a very professional sector. Morgans Hotel Group is a well-oiled machine which has tried
this process many times and therefore doesn't micro-manage. Exactly the same can be said
which has a very laid back, can-do attitude and will leave you to work. After having briefed us,
we merely kept them in the loop. It felt like the lobby space was a collaborative effort in that
Rockwell developed the initial design DNA for the space and we then went away and created
our response to it. Rockwell then developed its design on the basis of our piece to create a
space where all components and existing features (the listed, vaulted ceiling) became one
unified space. We would love to do more of this work and feel very in tune with the ethos of
giving people a unique experience. The artwork was used as a driver and is not treated as
mere decoration, and this gives us as artists an exciting role, in which the piece we create
becomes part of a space and an entire profile for the hotel.
Might you be working with Rockwell Group again in the future?
Yes, definitely. We had a fantastic, easy process working with the team and we know they are
keen to collaborate on future projects with us.
What do you feel that the Ames has in terms of aesthetic appeal that other
contemporary hotels may lack?
At the Ames hotel a lot of attention has been put into quirky and unique details, which gives
the hotel character, and as a guest one will discover new things at each visit. The people
behind Ames use original design as a driver and seek out original work, instead of relying on
the style currently in vogue. Using a 100-year-old listed building, bringing this back to life
while at the same time bringing it into the present by merging original design features with
new original features, creates a unique blend that makes Ames truly its own hotel.
What’s next for Studio Roso?
We are busy finalising some self-initiated furniture designs and are working on installations for
two different projects in Canada. We are also busy designing a number of chandeliers, based
on our large-scale installations for smaller settings.
Taps, showers and accessories. Beautifully handcrafted in Britain since 1820.
28 HOTEL REVIEW THE BLOOMSBURY HOTEL, LONDON

The
Bloomsbury
Hotel
London
IN A BUILDING FIRST DESIGNED BY
ONE OF THE LEADING LIGHTS OF
EARLY 20TH-CENTURY ARCHITECTURE,
BRIGHT ACCENTS ON A NEUTRAL
BACKGROUND COMBINE TO
CREATE A NEW MODERN CLASSIC
ARCHITECTURE AND DESIGN: DENIS LOOBY OF
SHEEHAN AND BARRY
 THE BLOOMSBURY HOTEL, LONDON
Chairs and footstools from
George Smith upholstered in a
bright red mohair add colour
and textural accents in a suite
with neutral-palette treatment
HOTEL REVIEW 29
I
n paying tribute to the building’s original
architect, Sir Edwin Landseer Lutyens, one of
the most celebrated architects of the 20th
century, interiors for The Bloomsbury Hotel draw
on Edwardian-era inspiration, coupled with
modern and (mostly) British furnishings.
It is part of the Doyle Collection of design-led
properties. While each has its own personality,
they share a common design ethos of simple,
understated luxury. This is the collection’s third
London location, following The Kensington Hotel
and The Marylebone Hotel, and its look is
distinctly British with a hint of yesteryear.
Lutyens designed the now Grade II-listed
3LHWUHGL)LUHQ]H
7KHVWXQQLQJQHZUDQJHRIGHVLJQHU
,WDOLDQVWRQHIURP6WUDWD7LOHV
7REHVHQWIUHHVDPSOHVRIWKLVEHDXWLIXOUDQJHRUWR
UHTXHVWDEURFKXUHSOHDVHFDOOXVRQ
TXRWLQJUHIHUHQFHSGI[RUE\YLVLWLQJ
ZZZVWUDWDWLOHVFRXNSGI

6KRZURRP
6WXGLR
&OHUNHQZHOO5G
/RQGRQ(&03;

+HDG2IILFH
6WUDWD7LOHV/WG
3RODU+RXVH
0LGOHWRQ,QGXVWULDO(VWDWH
*XLOGIRUG
6XUUH\*8;:

7HO
ZHEZZZVWUDWDWLOHVFRXN
 THE BLOOMSBURY HOTEL, LONDON HOTEL REVIEW 31

building as the YWCA headquarters a little over

100 years ago. Denis Looby of Sheehan and Barry
has both retained original architectural features
and introduced contemporary decor reminiscent
of Lutyens' style, with the Landseer bar, Landseer
British Kitchen restaurant and the Lutyens Lounge
named in his honour.
Stone steps lined with ornate iron railings greet
the arriving guests. In the simply furnished reception
area the original herringbone-pattern woodblock
floor couples with natural light flooding in through
the tall, Edwardian sash windows to create a warm
and welcoming ambience.
In the hotel’s lounge these same elements feature
with furniture sourced from George Smith, B&B
Italia, Porta Romana and PTT. The overall
appearance is that of colonial luxury – Lutyens’ did
spend time working in Delhi. The area is finished
with bespoke handmade rugs and chandeliers, while
brass luggage carts add some early 1900s’ charm.
Original features in the Grade II-listed library
room, old chapel and Queen Mary and George V
halls have been restored, with the rooms now used The original woodblock floor
for meetings and events. The hotel’s modern-meets- combined with the rich red of
traditional theme continues in these spaced, dressed the colonial-style upholstery
makes for a warm and
with Waterford chandeliers and period paintings. welcoming ambience in the
The 153 guest rooms and suites are lounge, top, while the same
contemporary in their styling. Decorated overall in floor continues into the recep-
tion (above), with its original
a neutral colour palette, brighter accent colours are Edwardian sash windows.
added in cushions, lamps and furniture. Looby Left, a guest room adds textures
sourced casegoods by PTT and fabrics from Fox with a carved headboard and
textiles from Fox Linton and
Linton and Osborne & Little. Osborne & Little
For the 12 studio suites he sourced mohair-
covered armchairs and footstools from George
Smith. Lamps by Porta Romana and fabrics by
GP&J Baker and Andrew Muirhead Leather
complete the look.
In the Landseer British Kitchen tables from
Quinton Cavendish and leather chairs by B&B
Italia sit alongside among mother-of-pearl mosaics
and Foscarini pendant lights.
32 HOTEL REVIEW VDARA HOTEL & SPA, LAS VEGAS
 VDARA HOTEL & SPA, LAS VEGAS
Bar Vdara is an exuberant
statement of colour, shape and
texture, with different areas
of bar, lounge and patio areas
defined by laser-cut bronze
screens and curved planters.
The marble-topped bar has
a purple front, echoed by the
purple leather upholstery
of the bar stools
HOTEL REVIEW 33
Vdara
Hotel
& Spa
Las Vegas
THIS HOTEL, DESIGNED BY RAFAEL
VINOLY, BRINGS A NEW GENERATION
OF ACCOMMODATION TO THE
BRASH AND LOUD THAT LAS VEGAS
IS FAMOUS FOR. BOLDLY SUBTLE,
IT ALSO HAS TOP ECO CREDENTIALS
ARCHITECTURE AND DESIGN: RV ARCHITECTURE
DESIGN: ROBERT D HENRY ARCHITECTS,
KARIM RASHID, THERESE VIRSERIUS DESIGN
C
lean living has arrived in the heart of the
original sin city of Las Vegas in the shape
of the new Vdara Hotel & Spa.
The 57-storey hotel, right on the once-infamous
Strip, has already earned LEED Gold certification
from the US Green Building Council, yet that’s
topped by the sophisticated luxury interiors,
masterminded by a heavyweight design team.
There are references to the desert in the colour
schemes and clever features, such as lighting that
mimics the appearance of dewdrops on cacti.
Rafael Viñoly of RV Architecture designed the
building itself – a striking set of three parallel arcs
in varying heights, forming part of the CityCenter
development – a 27ha city within the city and
designed on sustainable principles. Offering 1,485
suites in an array of sizes ranging from 47 sq m to
a two-storey penthouse, the building’s unique
34 HOTEL REVIEW VDARA HOTEL & SPA, LAS VEGAS
VDARA HOTEL & SPA, LAS VEGAS HOTEL REVIEW 35

Wood and stone figure all

through the hotel, not least in
the beauty treatment reception,
above. Left, the entrance to
Karim Rashid’s Silk Road
restaurant is through a portal in
the feature wall of orange and
yellow lines that undulate like a
sand dune. In the soaring space
of the Concierge Lobby, far left,
are gigantic wall installations of
stacked paper, created by
artist Peter Wegner

shape lends itself to six corner rooms on each floor

rather than the standard four found in more
conventional towers.
Suites are wide rather than long, and the
interior schemes make good use of their volume
and vast windows. The penthouses have bedrooms
overlooking the living space and glazed walls that
stretch up two storeys. Furnishings are a tasteful
mix of wood, stone and carpet – all carefully
sourced from eco-friendly suppliers in an effort
to win the much-sought-after LEED certification –
and the many windows are coated to reduce heat
transfer into the building.
Bespoke decorative lighting from BBGM and
a collection of fine art helps to make a quirky first
impression in the reception space. Inspired by
lilies, lightweight metal ‘petals’ finished in dark
amber colours hang in flower-shaped light
 susanne -kreuzer.com
LOUNGE CHAIR OTTO:
“I AM OPEN TO ALL DIRECTIONS
AND ALL CONNECTIONS.”
DESIGN CARLOS TISCAR

www.girsberger.com
Girsberger London, Invicta House, 108 -114 Golden Lane, London EC1Y OTG, Tel. +44 (0)20 7490 3223

The reception area features
bespoke decorative lighting
from BBGM and fine art,
including Frank Stella’s
Damascus Gate Variation I
mounted behind the reception
desk, for a sophisticated first
impression.
VDARA HOTEL & SPA, LAS VEGAS
arrangements. Artwork including Frank Stella’s
Damascus Gate Variation I hangs behind the
reception desk. And for the nearby concierge lobby
Californian artist Peter Wegner has created two
gigantic wall installations made of stacked coloured
paper, which he has accented with oversized
hanging lanterns.
A Karim Rashid-designed restaurant, Silk Road,
also boasts a bold design scheme. Guests enter the
space through a portal in a feature wall consisting
of orange and yellow layers that curve and slope
across the room like sand dunes. Banquette seating
is formed out of sculptural fiberglass that doubles
up as a room divider to separate the bistro-style
seating from the more intimate booths. Bespoke
pink (famously Rashid’s favourite colour) and
metallic gold wallpaper also feature along with
terrazzo flooring, bamboo and custom-printed
HOTEL REVIEW 37
tiles. Rashid also designed the fiberglass ‘blobject’
furniture for the lounge area near the entrance.
Bar Vdara by Therese Virserius Design is another
exercise in exuberant design across the
bar, lounge and upper and lower-level patios.
Virserius admits she was given a challenging space
to work with – narrow with no solid walls and 5m-
high ceilings. Laser-cut bronze screens, glass facades
and curved garden planters highlight the different
areas. An eye-catching marble counter tops the bar,
with upholstery in dark purple leather.
A mix of rich pinks, purples and green accent
more muted hues, such as champagne-coloured
sheer panels and grey sofas placed indoors and out.
On the patio this scheme is combined with
translucent resin tables and waterdrop-shaped
fibre-optic lighting above an infinity pool. An
ironic touch for a city that rarely sees rain.
STONE BATHTUBS, BASINS,
FLOORING & FIRE-SURROUNDS SALE
Wed 30th June – Sat 17th July

Warehouse and Showroom Sa l e o p e n i n g t i m e s

Arch 47, South Lambeth Road, London SW8 1SS Mon – Sat: 8.30am – 5.30pm
T: +44 (0) 20 7735 8555 Sun 11th July: 9.00am – 5.00pm
(Vauxhall Stations South Side exit)
E: info@limestonegallery.com
or visit www.limestonegallery.com

GENUINE STONE BARGAINS WITH MASSIVE DISCOUNTS ON FLOORING, BASINS,

BATHTUBS, FIRE-SURROUNDS, SECONDS, EX DISPLAY, END OF LINES AND OVERSTOCKS.
 THE ARCH, LONDON HOTEL REVIEW 39

The
Arch
London
A ROW OF GEORGIAN TOWNHOUSES
HAS BEEN TRANSFORMED IN TO
AN ULTRA-MODERN CITY-CENTRE
HOTEL THAT USES A MODERN
LONDON DESIGN TREATMENT AND
ELEGANT REFERENCES TO THE PAST
INTERIOR DESIGNER: RDD

A
listed Georgian frontage and an elegant
Portland stone portico belies the
individuality of the contemporary and
individual hotel that awaits.
Award-winning hotel design practice RDD has
combined the architectural heritage of the period
townhouses the hotel is sits in with contemporary
design influences to create a unique destination in
the capital city’s West End.
Beyond the portico, guests are offered
intriguing glimpses of the reception, lounge and
study through glazed dark wood screens and doors.
Bold and original artwork, sumptuous finishes
and elegantly modern and classic furniture from
Morgan Furniture is presented, beginning with the
signature collage New Shoes, a 2m-high
multicoloured homage to the Marylebone location.
A working stone fireplace, humorous artwork
and deep and comfy sofas and armchairs in the
lounge aim at providing a ‘coming-home-to’ feel
after a day in the city. The nearby reception
features a desk topped in Nero Portora marble Bespoke and carefully
and a front of deep-buttoned, upholstered leather selected artwork is key to the
design of The Arch London,
for a sophisticated efficiency. being chosen to be an integral
The space features an electric-blue wall element. Here, the multi-
sculpture and bench seating in crimson leather, coloured piece New Shoes pays
homage to the hotel’s location
while behind reception a projected real-time
artscape offers a constantly changing backdrop.!
40 HOTEL REVIEW THE ARCH, LONDON

The study offers yet another ambience, with The HUNter 486 bar,
which ame from the location’s
black and silver handprinted wall covering, old telephone dialling code from
bespoke red lacquered writing desk and a deep red the Fifties, features bar stools
and black sofa. by Philippe Starck. Right top,
each guest room features bold
Space is at a premium with the public spaces, wallpaper and luxurious textiles.
and the design team has delineated them by the Right below, the design team
considered use of detail, lighting and furniture liaised with Artefact to select
artwork that resonated with
pieces. A cocktail bar, restaurant and library flow the building
from one into the otherwhile remaining individual.
RDD worked with bar and restaurant branding
specialist Gorgeous Group to create these spaces
based on classic glamour and warm hospitality.
With contrasting lighting the space flows from
semi-circular floor-to-ceiling banquettes with
shimmering sheer curtain surrounds to a dark-gloss
brick wine dispenser for wine tasting, and a
bespoke, pewter-fronted cocktail bar.
In the open kitchen the flame from the stone
hearth oven can be seen from the furthest corner
of the space, while an open servery in polished
stainless steel provides the theatre of cooking.
With hanging pots and pans there is an intriguing
array of reflections. Also to be found here are
brushed-silver bar stools by Philippe Starck and
jewel-coloured armchairs by Tom Dixon.
The library is set apart from the other areas,
located along an elegant corridor that creates a
transition from the buzz of the bar and calm
of the library.
This space is perhaps the most reminiscent
of a private townhouse drawing room, with a
stone fire-surround, coffee-table books, small
paintings displayed on bookcase shelves and
clusters of vases and ornaments.
Each of the 82 guest rooms are individually
designed, incorporating modern technology
without disturbing the charm of the restored
architectural detail. High ceilings and original
casement windows are retained on the lower
floors, while bold wall coverings, luxurious
fabrics and original artworks create rooms with
flair and character.

Interview with Jeremy Scarlett

Director, RDD (Richard Daniels Design)
Jeremy Scarlett has worked at RDD for 20 years, where he is
responsible for the creative overview of schemes. Established in
1985, RDD is one of the industry's leading hotel and leisure design
practices, working on architecture and interior design solutions for
the sector. One of its most recent projects is the interior design of
The Arch, London.
What was your brief for The Arch?
It was to transform the existing seven Georgian Grade II townhouses and two mews houses
into a unique, glamorous and distinctive luxury five-star hotel destination in the city’s
Marylebone area. The property was to consist of approximately 80 plus guest rooms,
a destination restaurant and bar, public lounge on the ground floor, and a ‘state-of-the-art’
meeting room and a fitness gym at basement level. The internal architectural features
became a core component of our design concept and provided inspiration for the new-build
elements of the scheme.
The artwork appears to be a main feature of the hotel. Did you source it?
The artwork at The Arch is an integral element of the overall design and we liaised very closely
with artwork specialist, Artefact, in respect to the overall direction and final choice of artists.
We didn’t want the artwork to simply be a space filler; it had to resonate with the building and
breathe life and soul into the interiors we had so carefully created.
What kind of ambience were you trying to create at The Arch?
Our aim was to create a five-star luxury hotel environment that while being stylish and
glamorous would also be inviting with a comfortable, almost residential feel. We were inspired
by contemporary London design influences, and blended these with the architectural heritage
of the existing Georgian townhouses to create a collection of unique spaces with individual
appeal and interest.
What are your favourite items of furniture and what do they bring to the space?
One of our particular favourites in this area has to be the feature circular sofas. The deep-
buttoned, leather high backs almost reach the ceiling and there is something very appealing
about sipping champagne in these intimate surroundings. We enclosed them with a
shimmering sheer curtain that can drawn if desired to create your own little private space.
Very decadent!
Where were the distinctive wallpapers sourced from?
Each room incorporates a bold and inspiring wallpaper design, which forms the focal point
for the interior scheme. Some designs have accents in rich, striking gold tones, others
introduce bold, black-and-white motifs or gentle floral patterns. All are very distinctive and
were specified from a range of suppliers, including a bespoke hand-printed design by the
illustrator, Johanna Basford.
Did you work alongside lighting specialists to perfect the cosy glow that pervades
most of the communal areas?
We decided at a very early stage in the project that we wanted to be in direct control of the
lighting concept and so decided to keep this aspect of the design in-house. We didn’t want
to over-light the areas and cause the spaces to become flat and featureless; we created visual
interest with pools of light and shade by carefully combining overhead lighting with wall
fittings and table lamps. This creates a much softer residential effect and allowed us to draw

the eye to accents we wanted to highlight and bring out the warmth in the rich timber flooring.
What was it like working with the Gorgeous Group on HUNter 486?
Our collaboration with Gorgeous Group was a very positive experience. We were able to tap
into its wealth of branding expertise and use this as a springboard for the development of our
design concepts. The HUNter 486 name of The Arch’s bar, for instance, was actually the old
dialling code in the Fifties for the Marylebone area in a time when it was common to be
connected at the telephone exchange by an operator. The story that Gorgeous Group created
enabled us to envisage and design this remarkable collection of areas that revolve around
classic glamour and the timeless values of warm hospitality.
Where did you source some of the more exotic materials from?
To remain faithful to the heritage of the original townhouses and ensure that the timeless
quality of materials used in the Georgian era was not lost or diluted, we introduced various
features, such as fireplaces in English limestone from a quarry near Bath, and a fine, richly
figured black and gold Italian Nero Portoro marble for the main reception desk. In addition,
the new replica entrance portico was constructed from Portland stone and handmade by
stonemasons in the tradition of generations of craftsmen.
Each of the rooms has its own character. How did you achieve this?
There are 82 guest rooms and 10 individual room schemes in the hotel. Each scheme was
inspired by the bold wall coverings that feature in each room. We wanted to create a room
with wide appeal and levels of comfort that would encourage the guest to relax and feel totally
at ease. In the suites, we incorporated contemporary four-poster beds, custom furniture and
authentic, wide-planked timber flooring and luxurious handmade rugs individually designed
THE ARCH, LONDON HOTEL REVIEW 41
for each location. However, the reality of planning bedrooms in a series of old townhouses
meant that RDD had to individually design each room to incorporate modern technology
without impacting on the natural charm of the carefully restored architectural detail. For
instance, the ground and first-floor guest rooms retain the traditional high ceilings and original
elegant casement windows.
What are the stand-out rooms and suites in your opinion?
Each room has its own unique character and individual appeal. In particular, the ABBey 222
and SULlivan 785 suites both have their own private internal courtyards. Although small, these
areas offer the guest their very own outside retreat and are equipped with comfortable
furniture, mood lighting and infrared heaters to ensure that even on the chilliest of days the
guest can still be comfortable while they relax. In the CHAncery 242 suite we have created a
small study area with a feature bespoke rosewood writing desk. Shelves, filled with a selection
of titles that give a flavour of London past and present, invite the guest to while away a few
moments with a book of their choice in the adjoining lounge. Or, for something a little different,
they can watch a high-definition movie and try out the amazing surround-sound system?
How does The Arch London distinguish itself from other boutique hotels in the city?
The Arch is ideally situated in a quiet, mainly residential neighbourhood and yet is still close
enough to the hustle-and-bustle of Oxford Street to make it the perfect convenient, luxury
city-hotel choice.
It is a five-star luxury hotel that, while being stylish and glamorous, is also inviting and
comfortable. Contemporary London design influences are blended with the architectural
heritage of the existing Georgian townhouses to create unique spaces with individual appeal
and interest.
 AZORE COLLECTION · DESIGN POVL ESKILDSEN (DENMARK)

S U P E R B LY C R A F T E D T E A K , W O V E N A N D A L U M I N I U M O U T D O O R F U R N I T U R E

G LO S T E R , C O L L I N S D R I V E , S E V E R N B E A C H , B R I S T O L , B S 3 5 4 G G

T E L . + 4 4 ( 0 ) 1 4 5 4 6 3 1 9 5 0 · FA X . + 4 4 ( 0 ) 1 4 5 4 6 3 1 9 5 9

E - M A I L . I N F O @ G LO S T E R . C O . U K · W W W. G LO S T E R P R O . C O M
 LA MAMOUNIA, MARRAKECH HOTEL REVIEW 43

La Mamounia
Marrakech

THIS MOROCCAN HOTEL HAS WELCOMED CELEBRITY GUESTS THROUGH THE DECADES SINCE IT FIRST OPENED ITS
DOORS IN 1922. NOW ITS NEW AND LUXURIOUS EXTENSION IS SET TO WELCOME A NEW GENERATION OF STARS
INTERIOR DESIGN: JACQUES GARCIA
44 HOTEL REVIEW LA MAMOUNIA, MARRAKECH
 LA MAMOUNIA, MARRAKECH
Recreating ‘the luxurious
mood of the oriental palaces’
was the aim of interior designer
Jacques Garcia, with the sultry
and exotic look of L’Italien
restaurant (far left, top), the
spa pool (left, centre), pool
pavilion (far left, bottom), the
warm and inviting entrance to
Le Marocain restaurant (main
image), and a living room
in a guest suite (above).
The previous page shows a
bedroom in one of the three
of multi-room garden Riads
HOTEL REVIEW 45
Y
ou may have heard of La Mamounia, or at
least its star-studded relaunch party.
Gwyneth Paltrow, Jennifer Aniston, Salma
Hayek and Orlando Bloom were among the high-
profile guests who were given a sneak preview of
the new-look hotel with suitably exotic interiors
by French interior designer Jacques Garcia.
Dating back to 1922, La Mamounia, which
takes its name from the building’s surrounding
gardens, has a rich history. Its first incarnation
combined the latest arta-deco design with
traditional Moroccan architecture. Initially it
offered only 50 rooms, but by 1946 it had doubled
in size to accommodate more guests. Subsequent
refurbishments took place in 1950, 1953, 1986
and 2006 before this latest redesign.
The decor may have changed over the years,
but the clientele, or at least the quality of it,
hasn’t. Charlie Chaplin, Kirk Douglas, Catherine
Deneuve, Alain Delon, Omar Shariff and Winston
Churchill have all flounced through the doors
over the years, and that's without even touching
on the Royal guest list. Now boasting 210 keys,
there’s more room than ever for celebrity guests.
There’s certainly a good range of rooms, all
with their own distinctive style. It was a dream
project for Jacques Garcia – known for his love
of opulence and passion for antique objects, which
he collects and uses in his schemes, alongside his
own furniture, lamps and fabrics.
He says he specialises in rejuvenating ‘mythical
places’, and prior to La Mamounia this included
Le Fouquet's in Paris (James Joyce’s favourite
restaurant) and the world-famous Hotel des
Beaux-Arts.
His aim with La Mamounia was to ‘recreate the
luxurious mood of the oriental palaces’, and
Garcia’s trademark style blends happily with the
Moorish-style architecture. Strong use of light and
colour, combined with theatrical perspectives, adds
a touch of modernity and sets off the rich tapestry
 Stretch
your
space The
contem UK's leading
porary in
te
design e rior
vent

Earls C
23 - 26 ourt Lo
Septem ndon
ber 201
0

www.10 R
0percen egister Now
tdesign.
co.uk
 LA MAMOUNIA, MARRAKECH HOTEL REVIEW 47

of materials and furnishings, from marble and

wood through to sensuous fabrics.
The Traditional rooms, located between the
ground and first floors, are decorated with warm
tones which result in a calming ambience. They are
further enhanced by views over the city and on to
the internal garden. Overlooking the hotel’s main
entrance, the Superior rooms are just as exquisitely
finished with marble bathrooms and mood
lighting. And while the Deluxe rooms are
supposedly a notch up again, furnished with a
delicate combination of wood, leather, refined
fabrics, stucco and traditional moucharabieh
(wooden lattice decoration), the views over the
park of La Mamounia and the Atlas mountains
are hard to beat.
And there’s more: three variations of suite, six
types of Signature suite – the Churchill suite
among them, where elements of the gentleman’s
club mix with Moroccan design. Described as ‘one
of La Mamounia’s most passionate fans’ there’s
even an unfinished painting of his to ponder over.
Churchill loved to paint the gardens that the suite
overlooks, and the sense of history that pervades
the whole hotel could not be greater than in this
magnificent space.
For guests who need even more room to
manoeuvre and store their Manolos there are three
Riads to choose from, charmingly ensconced in the
heart of the gardens. Each is set over 700 sq m and
has three bedrooms, all with en-suites, dining
rooms, a private terrace and swimming pool.
Overall, this hotel offer is quite astounding
but the attention to detail is perhaps most awe-
inspiring. Much of the stone flooring and tilework
is original to the 1922 interior and where new
elements have been added they more than live
up to the original levels of craftsmanship. ‘La
Mamounia evokes a modern-day fairytale – a
haven sought after but rarely found,’ says Garcia.
And you can’t really argue with that.

Opulent rich red upholstered

banquette seating, grouped
armchairs with individual lamps
and low-hung pictures make for
an intimate ambience within the
palatial proportions of the public
seating area, top right. Right,
modern Moroccan-style lamps
feature around a darkly tiled
pool in the spa
Apicius Restaurant. Designer - Agence Cap Cod Dorchester Group.Wool Classics for Fox Linton Associates

The Peacock Hotel. Designer - India Mahdavi Hotel Elysees. Didier Benderli - Agence Kerylos

Carpet Library for Nicholas Haslam Yachts de Paris. Acte 111 Wool & Silk

LLONDON
ONDON PARIS
PARIS
Tel:
Te : 01242 677985
el: HAR
HARTLEY
RTLEY Tel:
Tel:: 0033153040686
0033153040
0686
sales@har
sales@hartleytissier.com
@hartleytissierr.com &TISSIER
T
&T ISSIER hartleycollection@club-internet.fr
har tleycollection@club-internet.fr
b-internet.fr
www.hartleytissier.com
www
w.hartleytissierr.com Made in
n England www.hartleys-of-paris.com
www.hartleys-of-paris.com
aris.com
 THE KEEFER, VANCOUVER HOTEL REVIEW 49

The
Keefer
Vancouver
TO DESCRIBE THE FOUR LONG-STAY HOTEL
APARTMENTS CREATED OUT OF THIS HISTORIC
BUILDING AS UNIQUE WOULDN’T BE AN
EXAGGERATION, WITH A ROOF-TOP POOL
ACTING AS A SKYLIGHT TO THE FLOOR BELOW
INTERIORS: RESIDENCES – GAIR WILLIAMSON ARCHITECTS & WENDY
WILLIAMS-WATT; BAR & RESTAURANT – BATTERSBYHOWAT

A
n increasing number of so-called ‘extended
stay’ hotels are opening up, but The Keefer
is a whole lot different, largely thanks to its
thoughtful design and architecture.
The location is tempting too, as the hotel
occupies a prime spot on the edge of Vancouver’s
Chinatown within an impressive heritage building,
constructed in 1910 for the Vancouver Gas
Company.
A substantial property, it was converted to three
full-floor 223 sq m lofts plus penthouse, topped
with a rooftop patio and glass-bottomed pool
which doubles up as a stunning skylight for the
hallway in the suite below.
There is, additionally, a bar and tapas restaurant
with interiors by Vancouver design firm
Battersbyhowat. The idea here was to mix Chinese
An acrylic-bottomed rooftop
motifs, in reference to the hotel’s location, with swimming pool acts as a skylight
futuristic styling. to the hallway of the penthouse
The residences, meanwhile, are sleek and apartment below, while original
art by Douglas Coupland adds
minimalist. Fully equipped kitchens by Bulthaup colour and interest to the
set the tone of pared-down luxury. There is muted tones of the interiors
50 HOTEL REVIEW THE KEEFER, VANCOUVER
original art by Douglas Coupland, which adds
colour to the muted tones of the interiors,
furnished by the hotel’s creative director Wendy
Williams-Watt.
But it’s the architecture that really does the
talking, however, with industrial elements such
as the double-hung windows, exposed brickwork
and wooden beams reinforce a sense of history.
Gair Williamson Architects was responsible
for what was turned out to be a significant
renovation project. There were the usual challenges
that come with overhauling a 100-year-old
warehouse building, and this was all achieved
while maintaining the integrity of the building’s
original features.
Chris Woodford of Gair Williamson Architects
says: ‘The existing beams and brick were so
important to the original spatial experience of
the building, we had to design a repair of the
building that did not discard or cover them up.’
Various strategies were employed to achieve
this. Pieces of rotten beams were removed while
the healthier pieces were reincorporated into the
scheme. Master masons were brought on site to
dismantle vast portions of the brick walls and
rebuild them elsewhere in the building, new
steel columns were installed to take some of
the new vertical load, and large sections of the
existing floor were replaced with concrete.
Potentially more of a challenge was the
building’s change in use part way through
construction. The client had originally intended
for it to be a straightforward residential
development but the decision was later made
to change it into a luxury hotel.
This of course happily means that more people
get to experience the architecture, which can be
no bad thing.
Interview with Chris Woodford
Architect, Gair Williamson Architects
Chris Woodford is part of the team at the Vancouver-based studio
Gair Williamson Architects, which specialises in the modernisation
of historical buildings as well as new-build schemes. Woodford
trained at Dalhousie University in the Canadian city of Halifax and
joined the practice in 2007. He worked on The Keefer, during which
time he completed his architecture studies in full.
What were the main challenges you faced with this project?
Physically the building was in incredibly rough shape. It had been effectively abandoned for
years and was showing major signs of rot and decay. In fact, if the owner Cam Watt had not
stepped in when he did the building would surely have become a candidate for condemnation
in the near future. The existing building was constructed of heavy timber and brick. The brick
had some major structural cracks running vertically and horizontally throughout the existing
party walls and since the existing roof and light well had been leaking heavily for years, some
of the original heavy timber beams and wood floor and rotted significantly. The basement
flooded constantly. A lot of repair work had to be done to the building before new
construction began.
How crucial was it to maintain the industrial character of the building?
The real unique quality of the finished building is in the interaction between the old rustic look
of the existing structure and the very modern insertions used to create the living spaces.
Without the existing building being maintained as close to its original condition as possible this
play of complementary contrasting elements would not exist. The final product would have
been completely different. We would have missed a real opportunity to reincorporate an
existing piece of Chinatown’s urban fabric back into the neighbourhood. From an official
heritage position, the City of Vancouver was very much concerned with how the existing
facade was treated. We were obligated to restore the street elevation back to its original
condition as closely as possible.
Is the surrounding area architecturally significant?
Yes, but Vancouver actually has a very poor track record with its heritage buildings. Most have
been knocked down over the years to make way for the glass and concrete towers that make
up most of urban Vancouver. Places like Chinatown and Gastown are still mostly made up of
the lower brick and timber buildings from Vancouver’s past, however. These are both relatively
small areas compared to the rest of downtown Vancouver and their character must be
 THE KEEFER, VANCOUVER HOTEL REVIEW 51
Four full-floor apartments
have been created out of the
1910 former offices of the
Vancouver Gas Company on
the edge of Chinatown. The
interiors are minimalist, with
stripped wooden floors, plain
but luxurious furnishings, and
the clever use of mirrors in
compact bedrooms

maintained as much as possible. This does not mean however that when designing new
structures in these areas that we attempt to copy the original heritage buildings. This sort of
practice only serves to muddle and confuse the bit of heritage that Vancouver has left.

How complicated was the construction of the clear-bottomed pool?

The pool was quite challenging for several reasons, but mostly due to fact that locally
something like this had not been done before, at least not with transparency occurring in two
different planes. The pool is the combined effort of many different consultants and specialists,
most of whom were operating outside of their comfort zone. Structurally, we had to
incorporate enough steel and concrete to handle the weight of a large body of water in such
a way that did not obscure the pool’s acrylic bottom or project in some odd manner into the
penthouse below. Also, you have to keep in mind that the pool is actually part of the roof,
meaning we purposefully designed a roof that would be partially flooded all of the time.

How would you describe your style of architecture?

I would not say we restrict ourselves to a certain specific type of architecture but we do find
ourselves for the most part working in a very particular portion of the city. If you look at our
website there is a small map showing the locations of our projects. Most are less than a 10-
minute walk from our office, which is in the centre of Gastown, Vancouver’s oldest district.
In addition to The Keefer we have projects in this neighbourhood that range from simple
renovations to new construction. The challenge of working in an already established, dense
urban area with a history like Gastown is incredibly rewarding.

What aspects of The Keefer are you most proud of?

There are many specific moments and instances in the building that turned out well but the
thing we are most proud of is everything coming together in such a cohesive form. When
attempting something like this there are so many people that have to be involved, from the
consultant team, to the contractors, clients, city, and so on. Things can end up incredibly
confused. You could very easily end up with a Frankenstein of a building. I think it’s a real
credit to anyone involved with this project that it turned out integrated as it did.

How would you describe the finished hotel?

Unique. I do not know where else you could find a hotel exactly like this because I can’t
think of a situation where you would find a similar set of circumstances to those that produced
the Keefer.
 PHILIPPE HUREL

LONDON PARIS HAMBOURG DUBLIN

+44 20 7373 1133 +33 1 53 00 95 00 +49 172 41 23 615 +353 1 66 00 600
phlondon@philippe-hurel.com contact@philippe-hurel.com mathiasschruender@ info@cavey.ie
methamorphose-variations.de

philippe hurel
 BOUNDARY ROOMS, LONDON HOTEL REVIEW 53

Boundary
London

`Sir Terence Conran designed

this suite himself, with a double-
height ceiling and bedroom
on the upper floor.The chair
is Karouselli by Yrjo Kukkapuro,
‘my favourite chair in the whole
world’ says Conran. The
bespoke sideboard was made
by Benchmark
54 HOTEL REVIEW BOUNDARY ROOMS, LONDON

TERENCE CONRAN AND GUESTS HAVE DESIGNED INDIVIDUAL ROOMS

DEDICATED IN STYLE AND FURNISHINGS TO DESIGN’S LEADING FIGURES
AND MOVEMENTS IN THIS FORMER VICTORIAN FACTORY
ARCHITECTURE AND DESIGN: TERENCE CONRAN WITH CONRAN & PARTNERS

L
ike its ever-changing Shoreditch location, the
origins of Terence Conran’s Boundary Rooms
have had a chameleon-like history, with the
building’s identity being transformed numerous
times during the past century. Conran and his
architecture and design studio has completed its
most recent incarnation: a 17-room hotel, along
with three restaurants, bakery and small food store.
The hotel is set in part of the Boundary Estate
that opened in 1900 as the world’s first social
housing scheme – after the area had earned its
reputation as The Friar’s Mount Slum and inspired
a ‘barely fictionalised’ book about a child’s slum
life. Subsequently the Grade II-listed building has
been home to a print works and an advertising
agency among other past lives.
Conran & Partners has altered the building’s
layout, adding two floors and a rooftop garden,
while retaining many of its notable original
features, including the large sash windows, with an
environmentally friendly focus guiding decisions
on the hotel’s construction and design, from
material selection through to suppliers.
Terence Conran has had a ‘personal
involvement’ with the Boundary Rooms on every
level, and in particualar with the guest rooms.
Each one is individually designed based on a
designer or design movement admired by Conran
himself. Guests can choose from several iconic
rooms including Eileen Gray, Mies van der Rohe
and Heath Robinson (the only inventor to inspire
a hotel room) to rooms named after design
movenments, including the Shaker, Scandinavian
and Young British Designer rooms.
Four duplex suites were designed in
collaboration with Conran’s wife, his sister
 BOUNDARY ROOMS, LONDON
Creative director of the
Conran Shop, of Polly Dickens,
created the Modern Dickensian
suite, far left and above, as a
modern reflection on the spirit
of her Victorian relative. She
chose burnt wood furniture by
Maarten Baas, classic black
leather Chesterfields from the
Conran Shop and an antique
Turkish rug. Left, the lobby
features Content by Conran
Glove chairs in black leather and
a bespoke desk by Benchmark.
The floor is of Italian Grigio
Carnico marble, used in 500mm
square tiles with a honed finish
HOTEL REVIEW 55
Priscilla, Polly Dickens, creative director of the
Conran Shop, and Sir David Tang, the Chinese
businessmanand socialite. Suite themes include
Modern Dickensian, Modern Italian and Coastal.
The individual schemes have unique details,
such as veneer marquetry and distinctive artwork.
Bespoke furniture for each room design was
manufactured by Benchmark In the Charles and
Ray Eames-inspired room, for example, wardrobes
were finished in walnut and sideboards were
topped with marble. Burnt oak and velvet were
chosen for the Dickensian suite, while ash fiugres
large in the Scandinavian room. Some bathrooms
were designed to match the rooms’ unique
schemes. Others have wet rooms or are more
classically styled with Czech & Speake fittings.
In the hotel’s public areas, Conran brought
in a broad range of modern-day artisans to
work their magic. Among them, Parisian graffiti
artist Blek le Rat created an eight-piece work
displayed throughout the building, and
illustrator Adam Simpson created quirky
interiors for the hotel’s lifts. On the main staircase,
an abstract mural by Javaid Alvi stretches from the
basement to the rooftop. Its blue-hued colour
scheme changes from light to dark from the top,
down the full seven storeys.
These commissions join other pieces on loan
from Conran’s own private art collection.
56 HOTEL REVIEW PALAZZINI GRASSI, VENICE

Palazzini PHILIPPE STARCK MAKES HIS DEBUT

IN VENICE WITH THIS STRIKING AND
OPULENT HOTEL IN A 16TH-

Grassi Venice
CENTURY GRAND CANAL HOUSE,
WHERE MIRRORS,GLASS LIGHT, AND
ACID COLOURS PLAY THEIR PART
INTERIOR DESIGNER: PHILIPPE STARCK WITH
EMANUELE GAROSCI (CONCEPT) AND
ARISTIDE NAJEAN (GLASS ART)
 PALAZZINI GRASSI, VENICE HOTEL REVIEW 57

Mirrors play a big part in the

interiors of the Palazzini Grassi,
presented with Philippe Starck’s
signature boldness in this guest
room, where a touch of historic
Venice is made with masks on
the side lamps. Left, modern
interpretations of Venetian
culture are made throughout
the hotel, were acid colours
become a striking backcloth

W
ith many acclaimed hotel designs already
to his name, Philippe Starck has made his
debut in Venice with the astonishing
Palazzini Grassi.
This luxurious and stylish destination, with
Starck’s design signature all over it, is also
something of a pioneer. In line with the wishes of
the owner and creator of Palazzini Grassi, the
entrepreneur Emanuele Garosci, who worked in
close collaboration with Starck and glass artist
Aristide Najean to achieve his goal of it being a
lived-in home full of life and charm, the hotel has
no exterior name plate nor any reception desk.
The presence of the hotel is indicated only by
two stylised bull heads created by Najean, while
check-in formalities are carried out onboard the
hotel’s private launch, which drops guests directly
at its private pier.
Located in a16th-century aristocratic house
overlooking the Grand Canal, the interiors distill
the essence of Venice, contrasting and harmonising
tradition and modernity, with every detail covered
by Starck’s design.
Mirrors, mahogany panelling, glass, terrazzo
and antique bricks are combined with innovative
contemporary design features in a sumptuous
creation. Pastel shades turn bright red and acid
almond green; original bricks are exposed on
corridor walls, lifts become time capsules, and
huge rugs with traditional patterns but now in
 Redloh House s 2 Michael Road s London SW6 2AD
Tel +44 (0)20 7371 9955 s Fax +44 (0)20 7371 8989
Email info@loomah.com s Web www.loomah.com

Twilight Ebony Knightley

Any size, any shape, any colour

Loomah has 20 years experience in the design and supply of custom handmade carpets and
rugs, in any size, shape or colour. We are happy to produce bespoke designs to suit individual
requirements. From loose laid rugs to fitted wall to wall carpet, whether for large commercial
projects or residential interiors our comprehensive service makes us a competitive and reliable
company to work with. Please visit our new website to view our extensive design portfolio, as
well as many beautiful installation photos. It’s a wonderful inspiration source to start the process
of creating the perfect bespoke design.
 PALAZZINI GRASSI, VENICE HOTEL REVIEW 59

Ancient Venice has its place

amid the hotel’s contemporary
design aesthetic, with garlands
hanging from lamps, above, a
ghostly figure in a painting
stalking an outside corridor,
right, and a sumptuously
ornate leather sofa placed the
intimately lit, mirror strewn bar

vivid colours envelope the entrance steps.

Inside, guests are greeted by two large mirrors
displaying glass art pieces by Najean. In the
restaurant and bar, an elliptical frame of 19th-
century columns opens up on to the dining hall
where two 7m-long tables are placed either side.
One is made of marble, the other of mirror, with
smaller tables placed between them for more
intimate dining.
A show kitchen and bar add an interactive
dimension and provides a modern reinterpretation
of the Venetian cicchetteria/osteria, places where
people gather to chat. Mahogany panelling and
soft lighting, playing on to the space like mist on
the lagoon, and a display of unique Venetian glass
pieces, antique books and vintage items complete
the space.
Two cosy rooms constitute the private G Club
for hotel clients and their guests. Here the decor
is of the interior of a luxury boat on the Grand
Canal, with more twists from Starck: a chemine
No ordinary Angel
Archangel opens July 2010

HOTEL, RESTAURANT & BAR

 ,JOH 4USFFU 'SPNF 4PNFSTFU t 5    t &NBJM IFMMP!BSDIBOHFMGSPNFDPN

" 3$)" /(& -'30. & $ 0.

PALAZZINI GRASSI, VENICE HOTEL REVIEW 61

Traditional patterns get

a modern treatment in brightly
coloured rugs, above. Left,
steel case goods work with huge
mirror-framed mirrors to fill a
neutral room with light

bar is covered with bright red, acid yellow and

silver Murano glass tiles, walls feature paintings by
Starck’s artist daughter Ara, tables create visual
effects, and a fire god sculpture by Najean is
featured.
Passion and wellbeing are bywords for the 16
guest rooms and six suites. Corridors to them are
in red, mauve and acid yellow, while the rooms
feature large backlit mirrors made precious by
reinterpretations of classical Venetian patterns,
warm lighting, floors in Venetian terrazzo or
wood, and bespoke furniture.
In the suites, beds are in the middle of the
space, surrounded by glass wardrobes, ‘jewel’
coffee tables in steel and moonstone onyx, large
sofas and soft rugs.
Every element, material and colour, from the
linen sheets to the pastel shades of walls and rugs,
mirrors and natural stone in the bathrooms,
encapsulate sophisticated Venetian tradition, as
translated by the creativity of Philippe Starck.
 THE LIGHT, MANCHESTER
The
Light
Manchester
O
n entering such bright and airy
accommodation, there can be no doubt as
to why the 45 apartments and penthouses
that make up this new boutique aparthotel have
been named The Light.
Daylight floods the rooms through floor-to-
ceiling windows, and a carefully selected colour
palette for each individually designed apartments
HOTEL REVIEW 63
A HIGHLY CONTEMPORARY
APARTHOTEL COMPLEX HAS BEEN
CREATED OUT OF A DERELICT
BUILDING IN THE MANCHESTER
HEARTLAND, PROVIDING GUESTS
WITH ALL THE COMFORTS OF THEIR
OWN APARTMENT BUT IN A HOTEL
ARCHITECTURE AND DESIGN: CONRAN & PARTNERS
takes full advantage of the natural lighting.
The Light is just one part of a new building
fashioned out of derelict properties in a neglected
part of Manchester. Designed by Conran and
Partners, this 20-storey, stainless steel-tiled tower
also includes residential apartments.
Marketed as an aparthotel, it combines the
space and facilities that you would expect to find
64 HOTEL REVIEW THE LIGHT, MANCHESTER
Accommodation at The Light
retains the character of the
original building, while a neutral
colour palette allows pattern
and texture to be added
through wallpapers and textiles
in an apartment with all the services associated
with a hotel, including a 24-hour reception, bar
and restaurant. All 45 apartments and penthouses
offer one or two bedrooms and include a fully
equipped living area and kitchen. Guests can book
accommodation for any amount of time, including
a single night.
The design brief called for a “boutique-hotel
style” that was relevant to the development’s
surroundings in the city – a look that let guests
know they are in Manchester. The concept draws
inspiration from the city’s eclectic and vibrant
Northern Quarter, and as much of the furnishings
and furniture as possible was sourced from local
companies, situated in the North West.
Sweeping views over the city’s skyline from the
full-height windows and private terraces ensure
that guests soak in as much of the Mancunian vibe
as possible, whether that be from watching the
nightlife below or simply admiring the
surrounding architecture – old and new.
During the conversion, the design team worked
hard to maintain the character of the original
building. As such, exposed brick mingles with
stainless steel and black, high-gloss surfaces, while
contemporary aluminium tables sit alongside
vintage-style velvet chairs.
A relatively unassuming colour palette of
various tones of grey and neutrals allows sleek,
monochromatic kitchen fixtures and case goods to
blend seamlessly into the room.
Others boast feature walls in bold colours and
are accented with details such as bespoke armchairs
in a pinstripe pattern or large wall mirrors.
Though each penthouse and apartment has
its own design and colour scheme, there is a
common thread: bright, striking colour, often
presented in wallpapers and fabrics, paired with
dark wood or carpeted flooring. Each bedroom
within the development has a uniquely styled
headboard and bathrooms have been sourced
from Italy.
66 HOTEL REVIEW THE KUBE, ST TROPEZ

The Kube Hotel

St Tropez
A SECOND KUBE HOTEL TRAVELS TO THE MED, WHERE WHITE MEETS BLUE MEETS GREEN IN GARDEN ROOMS
DESIGNED TO PROVIDE MAXIMUM RELAXATION IN ULTRA CONTEMPORARY SURROUNDINGS, AND WHERE DRINKS
ALWAYS ARE SERVED ON ICE...
INTERIOR DESIGNER: CHRISTIANE DERORY ARCHITECT: FRANCOIS VIELLECROZE

T
his hotel, along with its sister Kube in Paris,
is a member of Design Hotels, a global
lifestyle brand synonymous with distinctive
architecture balanced with functionality and
exceptional service.
Kube St Tropez immediately lives up to the
criteria of being unique. Even before entering the
building it is asserting its unique personality with
an outdoor installation, a 3m-wide, backlit steel
cube structure of the Kube logo as originally
designed by Philippe Di Meo.
Another cube greets guests as they enter the
hotel. The reception and entrance lobby is located
in a 5m glass cube, while bubble chairs by Earo
Arnio inside and around the main pool have
become synonymous with the Kube Hotels.
Another signature addition is the bar, Ice Kube by
Grey Goose, made entirely of ice.
Distinctive lines of colour separate the bright
white of the four buildings that make up the St
Tropez hotel complex from the blues of the
Mediterranean and swimming pools and greens of
the surrounding gardens, while the rectangular
forms and straight edges counterpoint the curves
of the surrounding mountains.
The interiors are designed to create an intimate
yet joyful atmosphere. The decor promotes
THE KUBE, ST TROPEZ HOTEL REVIEW 67
a refined style, along with precise and thoughtful The Kube logo, originally
designed by Philippe Di Meo,
lighting, custom furnishings in greys and whites has been recreated as a 3m-
and high-quality materials. In the hotel’s public steel backlit cube and used as
areas marble, oak panelling, steel and Corian an outdoor installation in the
new St tropez setting (above).
are featured. Another cube set at the front of
Its 41 guest rooms and suites are arranged the hotel acts as the entrance
in the four buildings along the perimeter of the lobby and reception, above left
gardens and the two pools – a 24m seaside pool and
an heated 8m pool in the garden’s wellness area –
with all rooms fitted with comparable equipment
and levels of luxury. The only differentiation is
their size, so a new system of categorising the
rooms has been introduced: S-XXL.
The rooms are furnished with lacquered white
oak floors, handmade beds, dimmable LED
lighting, contemporary decor and custom-designed
furniture by LigneRoset and La Cox. Flat-screen
TVs and Illy coffee machines are to be found
in every room.
Bathrooms have oversized square enamel sinks
and rainwater showerheads with side jets. Some
suites have steamroom-style showers, while others
have Technogym fitness equipment on their
terraces. Many of the guest rooms have a private
garden, balcony or terrace, while all are designed
with elegant furnishings and easy colour schemes
to promote the feeling of relaxed luxury.
 Armour Hotel introduces the Systemline Media Interface
Single, Flexible and Simple Connection Panel for Every Hotel Guest’s Devices – can be Customised to Hotel’s Individual Styles, Room Shades and Logos

The growing expectation guests

Armour Hotel has announced the
introduction of the Systemline
Media Interface, which offers hotel
guests a unique and innovative
‘home from home’ experience.
have is to simply charge and connect
These days’ hotel guests tend to
these devices to the hotel television,
travel with a multitude of personal
enabling access to their own music
electronic devices such as laptops,
content, movies and games. The
iPods, portable games machines and
Systemline Media Interface does just
mobile phones.
that – and offers an effortless ‘plug
and play’ solution.

Armour Home Stortford Hall Industrial Park, Dunmow Road, Bishops Stortford, Herts, CM23 5GZ www.armourhome.co.uk | info@armourhome.co.uk

NEW! ARCHITECTURAL PORTFOLIO AVAILABLE NOW

e a r c h it e c t + d
March 2010

inno
vative tili s for th esig
March

n
2010

ng solutio ner CEMENTI

Designer
SERIE
100
Porcelain
+ LU
Des MIN
igne AR + Marc

JEW
h 2010

r P
or cela
in EL
CAS
AC
Co OM
-o rdin BIN
a te ATIO
Wa
ll + NS
Flo
or
2
Cementi

Serie
100

Lumin
www swedecor ar
com

Jewe
l
Ne
utra

Be
www lgiqu
swe
dec
e
or com

Cu
oio

ww
w sw
ede
cor
com

architectural tile + mosaic

t. 01482 329691 f. 01482 212988

w. www.swedecor.com
 THE KUBE, ST TROPEZ HOTEL REVIEW 69
Guest rooms are equipped
with comparable fittings and
levels of luxury (right and below
right), including white oak
floors, changeable lighting, and
bespoke furniture by LigneRoset
and La Cox, so that their sole
difference is size. In the Ice
Kube by Grey Goose, 20 tonnes
on ice have been used to create
the bar, which is backlit by
mulitcoloured LEDs, sculptures
and lounge area (bottom right)

The hotel’s Kubeskybar features mattress seating

facing a panoramic view of the Mediterranean and
customised tables with integrated music speakers.
Elsewhere, the interior bar, which features a 7m-
long steel counter and modular sofas, is impressive
while remaining discreet, due to stylish and
unobtrusive colour-changeable LED lighting.
In the Ice Kube by Grey Goose bar is to be
found 20 tonnes of ice backlit by multicoloured
LEDS housing a bar, lounge and numerous
sculptures, themselves carved from ice. The hotel
happily provides down jackets, gloves and fur hats
to guests wishing to have their drinks literally iced.
In Kube’s main restaurant most of the seating
is on a terrace overlooking the main pool and the
Mediterranean beyond, and wine is provided from
the wine cave, holding 10,000 bottles set around a
private table for up to eight diners. There is also a
chef ’s table in the kitchen, a large slab on oak
which also seats eight. Around the pool are
furnishings designed and signed by deluxe outdoor
furniture manufacturer Ego Paris.
As part of the hotel’s eco consciousness, its
lighting design and concepts include LED lighting
throughout, with the design team working with
Philips to install innovative LED lighting
technology, in which long life and high efficiency
figure large.
In addition, a ground-based heat exchange
system enables the kitchens to be heated and
cooled naturally and even the hotel’s transport fleet
is made up of petrol/electric hybrid vehicles.
Mirrored Pelmet upholstered in Nobilis Brio fabric

T: 0 2 3 9 2 2 5 2 5 2 5

W: w w w . t i l l y s c r y s t a l . c o m
FOUR SEASONS BEIRUT, BEIRUT HOTEL REVIEW 71

Four
Seasons
Beirut
THE LAVISH AND LUXURIOUS
TREATMENTS AT ONE OF BEIRUT’S
LATEST HOTELS IS HELPING THE
CITY REESTABLISH ITSELF AS A
SOPHISTICATED DESTINATION
INTERIOR DESIGN: PYR

Traditional screens sit

comfortably with contemporary
seating upholstered in rich red
and black drinks tables in the
bar area
72 HOTEL REVIEW FOUR SEASONS BEIRUT, BEIRUT

I
n a city that has spent decades rebuilding,
consider this latest Four Seasons Beirut a
metaphor for the contrast of the traditional
Beirut of old and the shiny new Beirut of the 21st
century. Inside the 25-storey contemporary glass
and steel tower is a store of historical and cultural
influences. This is modern luxury, with a sensitive
nod to the past.
Drawing on the city’s long-standing trade
connection with France, the hotel is located on
the waterfront boulevard, Corniche, just by Paris
and General de Gaulle Avenues. From the outside
alone it’s a stunning sight, but inside too there
is much to admire, with interiors by the
internationally acclaimed designer Pierre-Yves
Rochon. His concept has elements of ‘classic
style’ at its core while Lebanese culture and arts
has provided much of the inspiration.
Offering a bar, lounge, restaurant with terrace
and private dining, spa, gym, hair salon and
rooftop pool, it ticks all the boxes for amenities. In
addition there are suites with lavish extras like
walk-in closets, entertainment consoles with DVD
players and dining tables to seat six.
But the Four Seasons does not start and end
with mod cons. Carved wooden screens and
calligraphic imagery on panels and furniture in the
lobby make reference to authentic craftwork by
artisans, and antique brass pieces sourced locally
are used to serve pastries in the nearby tea lounge.
Indeed, ornate and intricate patterns are used
extensively throughout Four Seasons Beirut. In
the hotel’s bar, red and gold chandeliers hang
from an exotic marquetry ceiling. In the 800 sq m
ballroom, motifs in the bespoke carpet hint at the
patterns featured in the ceilings and walls, while
gold mosaic adds glamour to the white marble
found in the spa.
With the exception of the rooftop pool, the
public spaces and the 170 guest rooms and 60
suites share the same colour palette. Rochon
developed the gold, yellow and black combination
to create a warm, residential and almost regal
atmosphere that extends from the grand staircase
to the guest bathrooms. This is complemented
with quality surface materials including maple
wood, marble and gilded brass.
Rooms and suites are finished in bronze
wallpaper, with suede headboards, and lamps in
the chinoiserie style. The furniture, particularly the
elliptical-shaped desks, add a modern element and
full-height windows allow in lots natural light as
well as providing an airy and open ambience.
Bathrooms are resplendent in beige marble and
granite, complete with soaking tubs and oversized
vanity units. Each room has its own terrace with
views out to sea or overlooking the city.

Interview with Pierre-Yves Rochon

Founder, PYR
An old-school interior designer of the highest order, Pierre-Yves
Rochon is known throughout the hotel design world for his
luxurious style. He set up his own company in 1979 making a name
for himself creating high-class hospitality concepts, although he also
works on private residences, spas, restaurants and product design.
His design for Four Seasons Beirut follows numerous schemes for
the brand. Other prestigious commissions include those for Ritz
Carlton Hotels & Resorts, Sofitel Hotels & Resorts, InterContinental
Hotels, Fairmont Hotels & Resorts and Peninsula Hotels.
What is it about Lebanese culture that you find most inspiring?
The mix of cultures, traditions and people in one country is inspiring to me. I have always been
fascinated by diversity and the mixing of traditional and modern elements in every aspect of
my life. I travel to so many countries, each with its own culture. It is important to me to always
be curious, and open-minded to the unknown and new. For me, this is the only way to
blossom and have an enriching life and career.
What were you asked to do with the interiors?
The original concept was adjusted to be a more authentic, regional style to reflect the
surrounding city. The evolution of the design happened during one of the most important
phases in the Lebanese political life, and the growing recognition of Beirut as a destination.
How do the colour schemes reflect the atmosphere of Beirut?
I used a gold, yellow and black palette primarily in the guest rooms and public areas, reflecting
the colours and materials of traditional art and architecture in Beirut.
Where was furniture sourced from?
The major furnishings were imported from Europe, but a lot of elements were created by
local craftsmen, giving the furniture a distinct regional feel, which was part of the design intent.
Specific elements include a dropped wood ceiling in the bar with gold painting, mother-of-
pearl inlay walnut furniture, brass engraved elements, walnut panels, and engraved glass with
Arabic calligraphy in gold leaf. These elements were highlighted in every single area and were
done by hand in Lebanon.

Would you say you have managed to capture the essence of Beirut in the interiors
for the Four Seasons?
In all of my projects, I strive to enhance every aspect of the guest experience while reflecting
the building’s setting, as well as the city’s culture, history and geography. I incorporated local
elements by using both historic and contemporary Lebanese artworks and crafts in all the
public areas, which included Oriental decorative screens and calligraphy panels.
What have you enjoyed most about working in Beirut?
The city has been called ‘the Paris of the Middle East’ for many years. As such, I enjoyed
creating a design solution to bring more glamour and a touch of French style and elegance to
the city. And to be a part of rebuilding a city with such rich history and charm is wonderful.
The building itself is very modern but the interiors are full of sophisticated,
traditional details. Was this deliberate?
Yes, I wanted the interiors to be more residential and warm in their feel. I want to create guest
rooms and interiors that are retreats for the busy traveller. The guest needs to feel like they are
somewhere that feels like home but is a special indulgence as well.
How important was it to use quality materials?
I feel that luxury is not made of products or objects but is a combination of sophisticated
details. Everything must be considered in order to achieve the full mood. So I study the interior
architecture of course, but also the furniture, the artwork – each individual element down to
the flowers – and how they work together.
Do you expect to be designing more hotels in Beirut?
My experience in Beirut on this project and with this client has been enlightening and quite
wonderful, so I look forward to the opportunity to work in the city again.
Which aspects of the project did you find the most pleasurable?
I enjoyed creating the designs for the more intimate public spaces – the tea lounge and
the bar, in particular. The tea lounge has low seating, and an elegant tea and viennoiseries
station, all in the same black and gold colours of the lobby. Antique brass containers,
locally sourced, for the biscuits and cookies were a special regional touch. The bar is
reminiscent of a library, with wooden marquetry ceilings offsetting the dark red and
gold chandeliers.
74 PRODUCTS
!Lano
The design flexibility and
production power of Lano
Flooring Solutions has seen
bespoke and standard
carpets installed at one of
the most talked about
luxury hotels of late, the
Arch Hotel in London. Just a
stone’s throw from Marble
Arch the luxury lifestyle
hotel has received rave
reviews for its stunning mix
of contemporary and
traditional interior flavours,
which have been captured
in exquisite bespoke "Morgan
Axminster carpets from Morgan designs and creates furniture collections with a distinctive harmony of form and function
Lano Flooring Solutions. that represents the utmost commitment to originality, quality and value. The 755 chairs shown
here are part of the Seville collection. All designs are exclusive to Morgan and are made with
care in their own factory in Hampshire by a team of craftsmen.
00800 5266 5266 01243 371111
www.lano.com www.morganfurniture.co.uk

!Brintons
Brintons, an expert in the
design and manufacture of
woven Axminster carpet,
has launched a brand-new
stock range that has been
inspired by designs from its
world-renowned custom
collections and will be
suitable for use in a variety
of interior spaces. The new
Urban Style range has been
carefully researched and
designed by Brintons’
global design team over a
"iGuzzini six-month period to ensure
A range of multilamp recessed luminaires designed to give a flexible answer to many lighting the nine colour ways in the
requirements. Characterised by simple and clean design, available in two shapes – round and range are perfectly in
square – and three sizes for each shape, Deep Laser offers an endless variety of solutions and keeping with the design
possibilities. Available in versions with or without rim, it integrates with discretion in different and colour trends of today
settings, in full respect with existing architecture. and tomorrow.
01562 635665
01483 468000 www.brintons.net/
www.iguzzini.co.uk commercial

#Junckers
Over 550m of Junckers
prestigious European Oak
floors have been installed in
the new look Scandic Hotel
Copenhagen. Junckers’ lively
Oak Variation forms a major
part of a complete
refurbishment of the hotel,
located in the centre of the
Danish capital. The Oak floors
were specifically chosen for
their beautiful, honey coloured
look that adds both grandeur
and warmth to a large, open "Milliken Contract
space. Factory-finished in Milliken Contract provides carpet tiles that achieve a balance of performance, sustainability and
Junckers Ultra Matt lacquer, design for a broad scope of commercial and public environments, as testified in a recent
the floors are durable enough installation at Cambridge Judge Business School. Working with Milliken Contract’s in-house
even for high traffic areas such design team, Cambridge University specified three different carpet styles for the building, each
as the hotel reception and the to be located in either a lecture theatre, the IT centre or personal study area, but all sharing the
dining, café and bar area. requisite of performance and style.
01376 534700 01942 612888
www.junckers.co.uk www.millikencontract.co.uk
 PRODUCTS 75
!Hamilton
Litestat
One of London’s newest
luxury hotels is home to
bespoke key card switches
that perfectly complement
its other electrical wiring
accessories after Hamilton
Litestat was commissioned
to design and manufacture
a special adaption from its
Sheer CFX range of switch
plates, sockets and lighting
controls. Decorative
"Axminster Carpets electrical wiring accessories
Specifiers and contractors alike can now witness some of the most striking carpet creations to manufacturer, Hamilton
adorn an array of contract locations across the globe thanks to a new commercial carpet Litestat, supplied its Sheer
brochure from Axminster Carpets. Capturing the stunning variety of work carried out by the UK CFX range of switch plates
manufacturer in locations ranging from luxury apartments and hotels to sports venues, retail and sockets throughout all
stores and ancestral homes, the brochure also details the history of Axminster Carpets, its drive of the hotel’s 400+ rooms.
towards sustainability and the different products and services on offer.
01297 630630 01747 860088
www.axminster-contractcarpets.co.uk www.hamilton-litestat.com

!Paviom
The latest innovation from
Paviom is the highly
sculptured and visually
striking Strobilus pendant.
Designed by Jonathan
Coles, the Strobilus takes
inspiration from the open
pine cone and utilises 100
leaves made from 100%
recycled paper pulp
mounted on a recyclable
body. The overall effect is a
soft and organic shape that
creates a warm and pleasing
ambience. Drawn from "Allermuir
nature, the instantly eye Classic proportions, clean lines and sophisticated design, Stirling’s presence is emphasised by
catching Strobilus pendant the robust yet elegant floating leg frame. Internal ingredients are equally as important as the
has a strong organic and clean cut exterior figure; the construction is highly engineered and considered to provide an
textured feel. inviting sit with excellent ergonomics. A combination of a pocket sprung base with our tailored
multi-density seat cushions and rhomboid cut foam back cushions provides a versatile superior
sit. The range comprises of an armchair, sofas, ottomans and a range of complementary tables.
01293 804688 01254 682421
www.paviom.com www.allermuir.com

!Hansgrohe
The PuraVida collection from
Hansgrohe has soft flowing
lines and a striking dual-colour
finish combining pure white
with classic chrome. Wash
basin mixers have a lightness
of design with softly curved
edges and the spray direction
can be tilted backwards and
forwards to minimise splash
back on the basin. The
rectangular overhead shower
with curved corners is
"Antron® Carpet Fibre ergonomically designed to fit
Invista’s Antron carpet fibre has been used in the Starck by Fletco carpet tile collection. the human form delivering a
Danish carpet manufacturer, Fletco, approached French star designer Philippe Starck and asked shoulder-shaped cone of
him to create a carpet tile concept that combines high-end and visionary international design water that hits the body and
with the growing demand for flexibility, individuality and sustainability. The result is a compre- creates less splashing.
hensive, elegant and innovative range of carpet tiles that provide endless combinations of
patterns and colours to match any interior design scheme.
0845 4506434 01372 465655
enquires@antronfibres.co.uk www.hansgrohe.co.uk
76 PRODUCTS
!Kährs
Kährs has launched its new
Oak Elegance Collection –
the second collection of
wood floors from its
exclusive Supreme Range.
Combining a traditional look
and modern styling, the
new collection includes six
patterned wood floors, in a
choice of intricate Tapis or
Croix patterns. The
introduction follows the
earlier launch of Kährs
one-strip Supreme Grande
collection, with the final "Joro Originals
collection – Supreme Joro Originals are a unique, wall art / lighting concept using a patent pending technique to create
Avenue – to follow. incredibly striking, personalised metal wall sculptures from almost any photograph, be it a family
Elegance floors feature a portrait, cherished possession, sporting or action image, building or landscape. They are
patterned design across available in a wide choice of finishes, colours and metals and also have the option of LED
their entire surface. backlighting to become a stunning, original and environmentally friendly, light source.
023 9245 3045 020 8387 0200.
www.kahrs.co.uk www.jorooriginals.com

!Deva
Deva, one of the UK’s
leading suppliers of taps,
showers and accessories,
boasts an extensive
collection of chic, award
winning products for the
luxury hotel market. The
stylish, water and energy
saving Satinjet™ Kiri
showerheads and the
stunning Satinjet™ Tahi make
perfect, performance-packed
"Hypnos Beds hotel showers, while the
Hypnos has an illustrious pedigree for creating some of the hotel industry’s most memorable contemporary Enviro-Klick™
sleep experiences. A Royal Warrant from Her Majesty Queen Elizabeth II reinforces Hypnos’s low flow taps offer further
reputation for service excellence and the very best of British quality. From The Rocco Forte savings on energy and water
Collection, JW Marriott’s Grosvenor House and St.James’s Hotel and Club to Skibo Castle, usage. Deva’s vast, high
St Moritz Hotel and Gordon Ramsay’s York and Albany, Hypnos has helped to create some of quality ranges also include
the UK’s most beautiful and most comfortable hotel bedrooms. From design service, TMV approved products and
manufacturing and dedicated installation teams to bed recycling, Hypnos offers a full service compact designs for small
project management solution. bathrooms.
01844 348200 0870 848 8400
www.hypnosbeds.com www.deva.org.uk

#Santa & Cole #HiB

Serie Moaré is a range of HiB, the leading bathroom
lamps designed by Antoni mirror specialists, have
Arola for Spanish lighting introduced two new designs
and furniture manufacturer featuring modern styling
Santa & Cole. The Serie combined with technical
Moaré range uses two enhancements to make them
superimposed cylindrical or even more attractive to the
rectangular shades around a consumer. Both feature
cylindrical diffuser in HiB’s new steam free mirror
acrylsatiné plastic to create an surfaces. The Petra can be
optical effect known as moiré. used in either landscape or
The shades, made of Soltis portrait format and features
fabric with an aluminium an attractive metallic chrome
structure are available in frame, back-lit with a unique
various colours including uniform light diffusion.
white, blue, red, grey and Dimensions are 80cm x
black, and can be used in any 60cm x 4cm. These new
combination. mirrors are IP44 rated and
The range includes table, are illustrated in HiB’s latest
floor, ceiling and wall brochure.
versions. 020 8441 0352
www.santacole.com www.hib.co.uk
 PRODUCTS 77
#Simon Keen
Lighting
Luminaires designed and
manufactured by Simon
Keen Lighting are being used
to improve the ambience in
the STSP (Subtropical
Swimming Paradise) at
Center Parcs in Sherwood
Forest, Nottinghamshire.
Twelve triple head lamp
posts with 36 Luxeon high
powered, colour changing,
low energy LEDs on each
fitting have been trialled with !Leisure Plan
a view to replacing all By simply re-configuring the seat and back cushions, Kama can be transformed into seating to
luminaires in the STSP. suit individual arrangements. The Kama collection of modular low seating has now been
Varying ambience can be further advanced by the introduction of the Duo and Quattro tables, each with the facility to
achieved with the colour use as occasional and/or more formal dining. Conviviality is a cornerstone of the EGO Paris
changing LED’s to create philosophy supported by attention to detail, haute - couture finishes with an unrivalled choice
different atmospheres. of colourways.
01252 629353 01279 816001
www.skl-lighting.co.uk www.leisureplan.co.uk

"Junckers
Solid Oak is Junckers’ best selling
product. Its classic good looks and
durability add warmth and natural
beauty to any interior and works
equally well in a contemporary
and more traditional setting. Five-
star Hotel Sankt Petri in
Copenhagen specified Junckers
Oak Classic, both for their
exclusive bedrooms and high
traffic areas such as the bar. Made
from 100% solid hardwood, the
timber is BREEM A+rated and
comes from sustainable sources.
With a virtually limitless lifespan,
Junckers hardwood floors are !Interbar
guaranteed for 25 years, making Long established as the UK’s leading commercial bar design and construction company, Interbar
them a smart investment. They works with many of the finest hotels and leisure operators. Through design, consultation, project
are also very easy to maintain management, and construction of bars and bar areas, they mix expert technical skills with
and suitable for use over aesthetic excellence to create functional, beautiful bars for their worldwide client base. When
underfloor heating. only the best will do, call Interbar for a private consultation.
01376 534 700 0845 271 3216
www.junckers.co.uk www.interbar.co.uk

"Designworks
New from Designworks – a
striking collection of large format
animal print tiles, guaranteed to
bring out your wild side. These
stylish ceramics have an authentic
animal fur appearance, and are
available in eye-catching tiger,
cow, zebra and leopard print,
together with fabulous gold,
bronze, black and cream field tiles
to complete this distinctive range.
Designworks – the dedicated
contracts team from Original
Style, is one of the UK's leading
manufacturers and suppliers of
!Hästens tiles, mosaics, glass and natural
What makes a hotel stand out? The décor? The service? But what will make a lasting impression stone for all commercial projects,
on your guests, ensuring they return time after time? Waking after a night of quality, restorative whether refurbishment or new
sleep on the world’s most luxurious and comfortable beds is a priceless experience they will build, hotels, housing or
never forget. Hästens beds are what guests' dreams are made of. swimming pools.
020 7723 2925 01392 473039
www.hastenswestend.com www.designworkstiles.com
78 PRODUCTS
!Jotun Paints
Jotun Paints (Europe) Ltd is
leading the way in paint
technology with the launch
of SENS - a revolutionary
new, ‘beneficial to health’
paint range. Sens is the only
paint that fulfils the strict
requirements of the
Norwegian Asthma and
Allergies Association
(NAAF) as well as meeting
the stringent environmental
standards set by the Swan
and Euro Flower labels. Safe "Axminster Carpets
to use by everyone, Axminster Carpets has launched another major development in its impressive range of
including those suffering commercial carpet services with Graphics Concepts. Ideal for specifiers looking for bespoke
respiratory conditions, tufted carpet that can meet explicit design and performance demands, Graphics Concepts allows
SENS has the lowest rate of the creation of not only custom colours, but also patterns and texture. With the ability to select
VOC emissions of any paint from different carpet weights and qualities, Graphics Concepts is suitable for many commercial
on the market. interiors, whether hotel, office or leisure locations.
0191 265 4381 01297 630630
www.jotun.com www.axminster-contractcarpets.co.uk

!Lano
Lano Flooring Solutions has
delivered over 1000m2 of
stunning bespoke carpet at
Meldrum House Country
Hotel & Golf Course,
reflecting the interior
palette and national
significance of the building.
Delivering performance in
all public areas, Lano
Flooring Solutions
recommended a bespoke
Axminster 9 Row
construction for durability
and appearance retention,
"Morgan with a bespoke tufted
The Hampton, designed by Katerina Zachariades, is a sofa range with a classic profile and carpet for guestrooms in
contemporary detailing. The Hampton sets a mood which feels familiar and calming, but at the order to maximise value.
same time prestigious and in tune with the modern world. Elegant and with a compact footprint,
Hampton is designed to suit all contract applications from boutique hotels to reception areas
through to office interiors.
01243 371 111 00800 5266 5266
www.morganfurniture.co.uk www.lano.com

#Veritas #Krag/Boom
Veritas is a highly versatile, Belgian manufacturer ‘Boom’
decorative resin panel launch their range of high
which offers designers and specification external luminaires
architects total creative in the UK. Designed for
freedom. The five key commercial and residential
elements which go to make applications and manufactured
up this material are a from cast bronze, stainless steel
textured or plain front and raw copper. The copper is
panel, a decorative inlay left untreated resulting in a
that can be taken from any beautiful patina over time. Cast
digital image, a choice of bronze and stainless steel
colour and a backing sheet construction ensures strength.
all encapsulated to the The contemporary range covers
thickness required. . More mounting options for wall and
durable than acrylic, Veritas ceiling, canopy bulkheads, pillar
can be used successfully for and pole-top lights, as well as
curves, backlit panels and bollards and suspended
canopies and provides lanterns. Available exclusively
limitless possibilities for throughout the UK from Krag
hotels projects. Interiors.
0113 201 2240 01323 833 991
www.veritas-uk.net www.kraginteriors.com
 PRODUCTS 79
!Atoll Marbled
Glass
The ancient and beautiful process of
marbling has come of age. Atoll Marbled
Glass is an innovative sheet glass
product, made in the UK by a small
independent glassworks. Its concept is
design-led, aimed at those who desire
exclusivity. Each piece is hand made, to
suit individual specifications. Effortlessly
transforming the mundane into the
sensational, Atoll Marbled Glass offers an
individual consultation service, ensuring
clients get a truly bespoke product. The
"Forbo Flooring Systems resulting Atoll Marbled Glass is suitable
Flotex from Forbo Flooring Systems goes from strength to strength with a new sheet collection for any surface cladding, from walls to
offering exciting designs and more than 100 new colourways in line with current interior trends. furniture. It is tough, durable and can be
Already in a league of its own as the only flooring that combines the properties of both textile cut to any shape. This innovation takes
and resilient flooring, the latest enhancements to the sheet collection will see Flotex firmly the concept of back-painted glass into
established as both a practical and design minded choice for many projects. another realm. Classic style redefined.

0800 0935 258 01227 275354

www.forbo-flooring.co.uk www.atollmarbledglass.co.uk

!Bisque
Passepartout is one of the
innovative new wooden
electric radiators from Bisque,
the company that pioneered
designer radiators over thirty
years ago. The semi-circular,
understated, design of
Passepartout has a
Scandinavian style simplicity
and integrity that lends itself
to all interior styles. Clean,
contemporary, lines are offset
by the detail of traditional
wood grain. Made from
lightweight, laminated wood, "Novellini
Passepartout has an electric Novellini UK Limited, Europe’s leading manufacturer of shower enclosures and wet rooms,
heating circuit embedded steam cabins has unveiled the final lineup of the new Kuadra range e and at the sametime
between the layers so that the increased UK stock holding to 100 different varients of the design. The Kuadra collection
heated wooden surface comprises a comprehensive range of glass panels and doors all of which are produced at a zero-
provides an even and emissions factory using tempered and toughened 8mm glass. Crystal Clear glass treatment is
comfortable heat distribution. also applied to make the glass easy to clean, resistant to bacteria and lime scale deposits.
01225 478500 01707 299348
www.bisque.co.uk www.novellini.com

!Interior
Supply
Contardi has 30 years
experience as a producer of
decorative lighting fixtures.
Characterised by an
unmistakable but discreet
style, and suitable to every
occasion and environment.
Contardi has also specialized in
producing custom lights for
contract applications such as
the B&B Italia and Giorgio
Armani retail stores, along with
"CaesarStone renowned hotel chains such as
CaesarStone quartz surfaces were the ideal choice for 3G All Weather Football Ltd located in Halkin Hotel London and La
Lancashire, for a stunning, and contemporary finish in its restaurant and sports bar facilities. The Manga Club at Hyatt Regency
luxurious Locker Room Restaurant and Boots Barred Sports Bar required a hard wearing surface Spain. A preferred and reliable
for the bar areas, that would compliment the modern and contemporary feel of the rooms, whilst source for architects, designers
fulfill the practical requirements of these busy bar areas. The solution was the beautiful and lighting engineers around
CaesarStone ‘Blizzard White’ and ‘Mosaic Carbone’ surfaces in a 50mm and 30mm thickness. the world.
01706 863 600 020 7352 0502
www.caesarstone.uk.com www.interior-supply.co.uk
 LOUIS F RASER

bronze & pewter door hardware

Bedcovers, runners,
www.louisfraser.co.uk valances & headboards
free brochure 0845 003 7522 Make up services: 0844 873 1949
sales@outliners.co.uk www.outliners.co.uk

T: 01638 500338 F: 05603 419105 W: WWW.ARCHITECTURALTEXTILES.CO.UK

ARCHITECTURAL TEXTILES LTD

Architectural Textiles Ltd, Shardelows Farm House, New England Lane, Cowlinge, Suffolk CB8 9HP

Imagine your walls dripping with high gloss lacquer with a vertical texture! New from
PHILLIP JEFFRIES this LACQUERED STRIÉ wallcovering is embossed with a vertical strié
pattern that is virtually seamless. Too luxurious not to fall in love with, the LACQUERED
STRIÉ is conveniently matched with coordinating solids.
 Atlantis AV Solutions Ltd
AUDIO VISUAL ADVICE
& INSTALLATION

home cinema
multi-room audio and television
telephone data and networking systems
video door entry and CCTV systems
lighting control systems
metamorphic picture frames to disguise televisions

Rimadesio Velaria sliding panels. Areas can be sub-divided, clothes storage

areas defined and accompanied by complementary storage systems.
Casement doors to match the sliding panels in standard or custom sizes.
Clothes storage illustrated is the new Abacus Cabina system by Rimadesio.
Catalogues that detail the complete Rimadesio range can be downloaded
from our website.
Atlantis AV Solutions Ltd
01666 829080
enquiries@atlantisavsolutions.com
www.atlantisavsolutions.com!
Tel 01403 784846 Fax 01403 784849
mail@domainfurniture.info www.domainfurniture.info

The Circle Bookcase: Available in bleached or ebonised oak with clear glass or aged mirror
Queen Anna Mirror: A stunning water gilded mirror available in traditional pink, blue and black with Antique mirror
Studio S, The Old Imperial Laundry, 71 Warriner Gardens, London SW11 4XW
sales@julianchichester.com Tel: 020 7622 2928 Fax: 020 7627 2939
82 HOTEL REVIEW LE GRAY, BEIRUT
MY FAVOURITE HOTEL
Kate
Burnett
M
y visit to Le Gray, Gordon Campbell Gray’s
new hotel in Beirut, was a first on two
fronts. My first visit to Beirut and the
Lebanon, of which I had heard many exotic stories
from my grandfather, who had visited the city many
times with the Navy, and my first stay in a Fox
Linton-designed hotel.
Both firsts lived up to their reputations, I am
pleased to say. The hotel design and architecture was
a great balance between discreet elegance and
Le Gray
London
ONE OF BEIRUT’S LATEST HOTELS, LE GRAY IS GUARANTEED
TO ENHANCE THE LEBANON CITY’S REPUTATION AS THE
PLEASURE CAPITAL OF THE MIDDLE EAST
eyecatching details to interest the sophisticated
Le Gray guests who are probably well-used to
five-star luxury.
From the moment my BMI flight (direct from
Heathrow) touched down, I received great service
both in and out of the hotel. There is much work
being done to revive the city in design terms, with
many big-name architects – Hadid, Nouvel, Moneo
– adding contemporary flair to new and existing
districts. Le Gray is an oasis amid all this hustle and
bustle, with its chic cafes and restaurants looking
directly over this exotic city.
In the guest rooms a colour palate of sorbets,
including mauves and greens, makes the most of
the Mediterranean light. Cedar, the symbol of the
Lebanon, is used throughout the hotel, both as a
surface material (the reeded walls of the spa are good
to both look at and smell) and even in the hotel’s art
(a strong and eclectic mix typical of Campbell Gray).
At the top floor bar, a backlit drilled panel by
award-winning Drew Whitmore, depicts a cedar tree
and creates a dramatic entrance to an even more
striking space, where 360-degree windows look out
towards the city’s beautifully lit central mosque.
Beirut’s reputation as the pleasure capital of the
Middle East is jealously defended, and Le Gray is
sure be a new addition to every hedonist’s list.
www.legray.com; www.drillworks.co.uk;www.bmibaby.com
• Kate Burnett is the editor of idFX magazine
• Have you had a fantastic hotel experience? We’d love to
hear from you. Send approximately 500 words with
images on why you thought the interior design made for
a great hotel experience to tdowling@fxmagazine.co.uk