SPACE Magazine - May/Jun 2026

I N T E R N AT I O N A L H OT E L D E S I G N

May/June 2026

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EDITOR’S SP

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S JESS MILES Editor j.miles@forumevents.co.uk

4(.&1 Q @HotelSpaceMag C Hotel SPACE magazine spacedesignmagazine.net

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Jess I N T E R N AT I O N A L H OT E L D E S I G N

May/June 2026

Jess Miles, Editor Front cover: (LVMWXMER 5IPPM^^EVMƶW EǺVSR .VMHEGII [EPP PEQT SR WLS[ EX 3MPYJEV ,VERH -SXIP 2MPER )IWMKR ;IIO 5LSXSKVETLIV +MPMTTS 5MRGSPMRM 7IEH XLI WXSV] JVSQ TEKI

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CONTENTS

THE BRIEF

H E A D S PA C E | L E A D E R S LSVXW SR XLI TISTPI QSQIRXW ERH MHIEW WLETMRK QSHIVR LSWTMXEPMX]

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IN SP

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OBJECTS OF DESIRE

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THE BRIEF

THE BRIEF SHORTS ON THE PEOPLE, MOMENTS AND IDEAS SHAPING MODERN HOSPITALITY

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THE BRIEF

DESIGN

Modernity Meets Heritage in Ukraine Under the Reed Roof Guesthouses by YOD Group reinterpret the traditional Ukrainian hata-mazanka through a contemporary architectural lens. Set within a private estate, the project draws on vernacular elements – whitewashed walls, thatched roofs and a deep connection to landscape – while translating them into a modern language of transparency, light and form. A HIǻRMRK JIEXYVI MW XLI SZIVWM^IH WGYPTXYVEP roof, evoking both a traditional silhouette and a mushroom-like canopy rising from the terrain. Beneath it, fully glazed façades dissolve the boundary between interior and exterior, allowing nature to become integral to the spatial experience. Inside, a central concrete core anchors the layout, ǼEROIH F] PMZMRK ERH WPIITMRK EVIEW 8LI interiors follow an eco-minimalist approach, with natural materials, muted tones and pieces by Ukrainian designers.

Wooden tiles line the roof dome, referencing historic shingles, while integrated engineering ensures comfort without disrupting the architecture’s clean, immersive aesthetic.

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TREND

Make Yourself at Home 8LI [SVPH W QSWX VIGSKRMWIH LSXIP KVSYTW EVI RS PSRKIV NYWX WIPPMRK RMKLXW Ƴ XLI] VI WIPPMRK E [E] SJ PMZMRK 'VERHIH VIWMHIRGIW EVI SRI SJ LSWTMXEPMX] W JEWXIWX KVS[MRK WIGXSVW EW IWXEFPMWLIH REQIW PIZIVEKI XLIMV reputation for service, design and experience into permanent homes. For FY]IVW MX W XLI TVSQMWI SJ LSXIP PMJIWX]PI [MXLSYX XLI GLIGOSYX 8LI 5IRMRWYPE 7IWMHIRGIW 1SRHSR LEW YRZIMPIH MXW ǻREP GSPPIGXMSR SJ LSQIW MRGPYHMRK MXW ǻVWX XYVROI] VIWMHIRGIW EX XLI TVIWXMKMSYW EHHVIWW &QSRK them is a newly completed 3,200 sq ft private apartment by interior and EVGLMXIGXYVEP HIWMKR TVEGXMGI 7/5 8LI 'IPKVEZME VIWMHIRGI MW HIǻRIH F] E carefully layered design approach, where materials and craftsmanship XEOI GIRXVI WXEKI 'EWOIX [IEZI TEVUYIX ǼSSVMRK MW WSJXIRIH F] 8EM 5MRK rugs, while natural stone features prominently throughout, including Honeycomb Onyx Marble in the bathroom, Baran Grey Marble to the reception room joinery and travertine to the dining table. In the kitchen, GEFMRIXV] MW ǻRMWLIH MR FYVRMWLIH GSTTIV GSQTPIQIRXIH F] E FIWTSOI GSǺII XEFPI GVEJXIH MR 8EFY (EVZEPLS 2SVI XLER TIVGIRX SJ XLI furniture has been custom designed, alongside original artworks commissioned from international artists. In the principal bedroom, a sweeping 5.5-metre headboard in metal and leather anchors the space.

8LVSYKLSYX XI\XYVI QEXIVMEPMX] ERH ǻRIP] HIXEMPIH ǻRMWLIW GVIEXI E VIǻRIH XEGXMPI ERH HIITP] GSRWMHIVIH MRXIVMSV

I N N O VAT I O N

From the Ground Up 8YGOI] )IWMKR XYHMS LEW GSQTPIXIH 7EQQIH *EVXL House, a striking new residence on the site of a former brickworks in rural Wiltshire, championing one of the world’s oldest construction methods. Built using rammed earth – a compacted mixture of clay, sand and aggregate – the project repositions the material as a viable, sustainable option for contemporary housing. Drawing directly from the site’s clay-rich soil and demolition waste from existing buildings, the house was constructed using largely on-site materials, significantly reducing transport ERH IRZMVSRQIRXEP MQTEGX 8LI VIWYPX MW E QSRSPMXLMG structure with walls up to one metre thick, offering durability, thermal efficiency and a distinctive textural quality. Developed with input from Austrian rammed-earth specialist Martin Rauch, the project avoids cement stabilisers, embracing a more circular approach. Interiors feature carved niches, built-in seating and natural finishes including limestone, oak and clay plaster.Set within a protected landscape, the house is carefully integrated into its surroundings, offering a contemporary yet KVSYRHIH MRXIVTVIXEXMSR SJ XLI *RKPMWL GSYRXV] LSQI

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CREATIVE LUXURY LIGHTING FROM

DOWNLOAD THE QUINTIESSE CATALOGUES enquiries@quintiesse.com | quintiesse.com Quintiesse is part of the Elstead Lighting Group Scan for PDF Catalogue

THE BRIEF

DESIGN

Tristan Auer to Reimagine a Dubai Icon BUSINESS

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Jumeirah, a global leader in luxury hospitality and a member of Dubai Holding, has announced that the iconic Jumeirah Burj Al Arab will undergo a carefully phased restoration programme, designed to safeguard its legacy for generations to come. Following more than 25 years of continuous operation, the project will focus on conserving the architectural masterpiece while enhancing its distinctive interiors with the same precision as restoring a [SVO SJ EVX MRGI STIRMRK MR /YQIMVEL 'YVN &P &VEF LEW WXSSH EW E HIǻRMRK W]QFSP SJ QSHIVR PY\YV] .XW dhow sail-inspired silhouette has shaped Dubai’s skyline, while its pioneering approach to personalised service – QSWX RSXEFP] MXW FYXPIV SǺIVMRK Ƴ VIHIǻRIH KPSFEP LSWTMXEPMX] WXERHEVHW 8LI VIWXSVEXMSR I\TIGXIH XS WTER approximately 18 months, will be led by acclaimed MRXIVMSV EVGLMXIGX 8VMWXER &YIV &TTSMRXIH JSPPS[MRK E VMKSVSYW WIPIGXMSR TVSGIWW &YIV [MPP FVMRK LMW VIǻRIH heritage-led approach to the project, ensuring a sensitive balance between preservation and contemporary relevance. Founder of his Paris-based studio in 2002, Auer developed his distinctive perspective working EPSRKWMHI 5LMPMTTI XEVGO ERH (LVMWXMER 1MEMKVI -MW portfolio spans some of the world’s most prestigious EHHVIWWIW MRGPYHMRK -¿XIP HI (VMPPSR MR 5EVMW ERH 1IW Bains Douches. Renowned for elevating craftsmanship through a contemporary lens, his work has earned international recognition, including Designer of the Year and multiple hospitality design awards.

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THE BRIEF

C U LT U R E

Hotel Hi-Fi: Listening Bars are Here to Stay 8LI 2MHHPI *EWXƶW JMVWX /ETERIWI MRWTMVIH PMWXIRMRK FEV promises a full sensory experience for guests, thanks to the [SVO SJ &ZVS04 MR GSPPEFSVEXMSR [MXL 3YPX] & 8 ,VSYT Interiors, and Mubadala. Located within the Four Seasons Hotel Abu Dhabi at Al Maryah Island it is centred around a hi-fi lounge and listening experience – a concept that’s been dominating the boutique hospitality scene, but still a new GSRGITX JSV LSXIPW EMOMRHğƶW ZMWYEP MHIRXMX] QEOIW E WXVSRK first impression at the entrance, where the lighting reinforces the brand motifs and builds a sense of anticipation. From here, guests move into the Atelier Zone, a curated retail WTEGI WLS[GEWMRK 'ğWğ^SOY MRWTMVIH JEWLMSR ERH LERH GVEJXIH TMIGIW F] /ETERIWI EVXMWERW 8LI LIEVX SJ EMOMRHğ MW the Hi-Fi Bar, a space crafted entirely around the music. At

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the centre of the room – a showpiece bar incorporating a DJ station and traditional wooden speakers – is animated by a theatrical backlit ceiling, which frames the turntables and bathes the bar in warm, golden light to amplify the energy of the space. Designed to resemble the interior of a wooden WTIEOIV XLI 0ľOER 7SSQ MW ER MRXMQEXI WTEGI [LIVI KYIWXW can control the sound and the lighting to customise their experience. Light fittings concealed within the modular timber architecture set the ambience while keeping the focus on the bold prints and dark wood veneers. Meanwhile, in the Robata Room, which seats up to eighteen guests around an open robata grill, the lighting is directed toward the kitchen to hero the chefs at work. It looks to be a great example of sound and lighting working in harmony.

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C U LT U R E

The Art of Hospitality -SXIPW LEZI PSRK LYRK EVX SR XLIMV [EPPW 8LI more progressive ones are now handing over the keys entirely. Artist residencies and creative GSPPEFSVEXMSRW EVI VIHIǻRMRK [LEX LSWTMXEPMX] spaces can be – transforming rooms, lobbies and suites into living, breathing cultural platforms. Where art was once decorative, it is increasingly integral, blurring the line between KEPPIV] WXYHMS ERH KYIWX I\TIVMIRGI (EWE Monti has welcomed artist Michael McGregor to reimagine one of the 36-key hotel’s suites, transforming it into his namesake Art Suite for a six-month residency running until October.

Known for blending impressionism with fauvism, McGregor’s practice has been shaped

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by a nomadic lifestyle. Since 2016, he has drawn on hotel stationery – a spontaneous KIWXYVI XLEX IZSPZIH MRXS E HIǻRMRK QSXMJ *RKEKMRK [MXL XLI GSRXVEWX FIX[IIR JSVQEP logotypes and pastel-pencil marks, his work explores a poetic dialogue between place, QIQSV] ERH MQTIVQERIRGI &X (EWE 2SRXM this visual language unfolds as a fully liveable artwork, blurring the boundaries between contemporary art, design and hospitality.

Drawings and paintings extend across both paper and textiles, woven into the fabric of the WYMXI (YWXSQ [EPP TERIPW ERGLSV XLI MRXIVMSVW while bespoke patterns are applied to upholstery and decorative elements, creating a

cohesive and immersive environment. A specially designed backgammon set featuring 2G,VIKSVƶW WMKREXYVI QSXMJW SǺIVW E TPE]JYP point of interaction, while sketches, art books and personal objects are thoughtfully placed throughout, reinforcing the sense of entering the artist’s private world. Also debuting in the suite is ROMA AMOR, a collection of works GVIEXIH HYVMRK LMW WXE] VIǼIGXMRK LMW IZSPZMRK VIPEXMSRWLMT [MXL 7SQI 8LI VIWMHIRG] IQFSHMIW (EWE 2SRXMƶW ZMWMSR SJ LSWTMXEPMX] EW E cultural platform, where art is lived rather than displayed. Rooted in Rome’s creative spirit, the hotel provides a natural home for McGregor.

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The Brit List Awards, powered by Hotel Designs, is an annual celebration of excellence in British and international hospitality and design. Recognising the top interior designers, architects, hoteliers, and suppliers, the event honours innovation, sustainability, and standout talent across 15 award categories.

A cornerstone of the industry calendar, The Brit List Awards will celebrate its 10th year with a masquerade-themed extravaganza on 5th November 2026 at London’s Ministry of Sound. As is tradition for the awards, we expect a sell-out crowd of more than 600 guests to enjoy an evening of glittering entertainment and dazzling creativity.

APPLICATIONS ARE NOW OPEN! Applications are now open, so make sure you put yourself, your projects, and your colleagues forwards – only fully submitted applications can be in with a chance of winning an award – you have until Friday 31st July 2026 to submit your entry.

This year’s categories: Interior Designer of the Year Architect of the Year Hotelier of the Year Team of the Year Mentor of the Year (new for 2026) Rising Star Best in British Product Design Hotel of the Year International Award Best in Bar & Restaurant Design Best in Accessible Design The Innovation Award The Eco Award For the Love of Art Award (new for 2026) Outstanding Contribution Award For full details of the event, and how to submit an application for an award, visit hoteldesigns.net/the-brit-list-awards

The Brit List Awards 2026 Sponsors

To become a sponsor of The Brit List Awards 2026, please get in touch with Katy Phillips k.phillips@forumevents.co.uk

INDUSTRY NETWORKING

Dual Perspectives SUSTAINABILITY & CIRCULARITY Introducing Dual Perspectives, a new feature exclusive to NEWH UK and SPACE magazine. Through candid conversations, we bring together emerging voices and established professionals to explore the ideas shaping the industry.

WORDS BY NICOLA KENT

A

t a time when design continues to evolve rapidly, open conversations are more vital than ever, offering a clearer understanding of where the sector stands today and where it is heading.

These conversations provide a rare window into the experiences of those working within design and architecture, how they are navigating change, preparing for the future, and responding to some of the most complex challenges facing the field.

This exclusive series pairs individuals at the beginning of their creative journeys (NEWH UK Student Scholarships), with those who have already carved out influential careers, creating a dynamic exchange of insight, ambition, and perspective.

The first conversation in the series takes on the expansive and ever-pressing themes of sustainability and circularity. Bringing fresh perspective and considered expertise, it features Timothy Shepherd, Founder and Managing Director of Shepherd&, alongside Francesca Conidi, recipient of the NEWH UK Interior Design Student Scholarship. Together, they offer a compelling exchange of ideas, bridging experience and emerging thought, to explore how designers can respond to environmental responsibility with innovation, intention, and impact.

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INDUSTRY NETWORKING

THE PROFFESSIONAL

THE NEWH SCHOLAR

Timothy Shepherd is the Founder and Managing Director of Shepherd&, bringing over 30 years of design experience to the conversation. Read about his latest project from page 40.

Francesca Conidi is about to graduate with a BA in Interior Design from Middlesex University, and is a recipient of the NEWH UK Interior Design Student Scholarship 2025

Is sustainability now a non-negotiable in interior design?

TIMOTHY: In principle, yes. However, regulation, project demands, and climate pressure have pushed sustainability into baseline expectations.

Frameworks like LEED and BREEAM have made it hard to ignore. For commercial projects, especially, ESG targets and reporting mean it’s often contractually embedded.

In practice, budgets, timelines, and supply chain constraints still dilute ambition. In residential and hospitality design, sustainability is often aspirational rather than enforced. Many projects land in a “better than before” middle ground rather than fully circular or low impact.

It’s becoming non-negotiable at the strategic level, but still negotiable in execution, which is where we have to encourage change. Ultimately, legislation will help this, but we should be the support to clients to achieve before this.

FRANCESCA: As a student designer that doesn’t work with budgets or client relationships, sustainability feels non-negotiable. In our university projects, sourcing sustainable materials is embedded in the early design process, often without considering non-sustainable alternatives; it almost feels like the starting point rather than an added layer.

However, from conversations I’ve had at networking events, it's clear that, in reality, it’s not always fully achievable, largely due to budget constraints and tight timelines.

I see sustainability today as a fundamental design responsibility rather than an optional layer, even if real-world conditions still influence how consistently it can be applied.

Are circular design principles realistic?

TIMOTHY: If I take an optimistic view, circularity and designing for disassembly, reuse, and material recovery is gaining traction. Modular systems, leasing models, and material passports are becoming more common, especially in workplace and retail.

Being more sceptical, true circularity is structurally difficult, as buildings should, if designed well,last for decades, whereas brands,

FRANCESCA: I think circular design principles have become inevitable today, less a choice and more a direction the industry is moving towards. In terms of how realistic they are, I do think it will take time before they can be fully implemented for the same reasons mentioned earlier.

At the same time, they already feel very realistic as a mindset. The new generation of designers are starting their careers with a different awareness,

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tenants, and needs don’t. Then disassembly is rarely prioritised at fit-out stage, and storage and reverse logistics are wholly unresolved problems Even those pioneers like Ellen MacArthur Foundation acknowledge that circular systems require ecosystem change, not just better design decisions. Circularity is realistic in part, but fullloop remains rare.

Is reclaimed and recycled material a design opportunity or a limitation?

TIMOTHY: It should always be part of your design, when did we stop recovering a piece of furniture in the history of interior design, gifting pieces of furniture to friends and family or encouraging a client to move furniture to a new office.

Unique textures and narratives, authenticity is a luxury signal now. Lower embodied carbon is easily achieved through this, and gives a differentiation from mass-produced interiors Limitations come from inconsistent supply and quality, Certification challenges (fire ratings, durability, warranties). Also, higher labour and sourcing time. If the design process adapts, it works; otherwise, it feels like a constraint.

"Design events have also been really valuable, such as Clerkenwell Design Week, because they give you the chance to experience materials in person and understand them in a more direct way".

Francesca Conidi

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and you can really see this shift in universities, where sustainability is not just one topic in an essay but something integrated across the whole course and widely encouraged to explore.

For older generations of designers, who have been working in a different way for decades, it’s not that sustainability is less realistic, but it will naturally take more time to fully integrate. It requires not only adapting to new processes and regulations, but also rethinking entire organisational systems and, more importantly, shifting long-established ways of thinking and designing.

FRANCESCA: Personally, storytelling is at the core of my design approach, and researching materials becomes an extra layer that adds depth to that story. In that sense, reclaimed and recycled materials are definitely a design opportunity as they push the design development further.

What I find interesting is that they change the starting point of the project. Instead of designing something ideal and then finding the materials, you begin with what already exists, and that shifts the whole process, refining the concept.

At the same time, I think the limitations are real. In practice, I guess it’s not always easy to rely on reclaimed or recycled materials. But I don’t necessarily see this as a negative, as it forces you to make decisions and to prioritise what really matters in the project. If you can’t apply everything everywhere, you have to decide where it actually makes sense to invest (whether in certain materials, elements, or parts of the space). In that way, the design becomes less about applying a general idea and more about making specific, considered choices that shape the project in a more meaningful way.

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INDUSTRY NETWORKING

How are designers sourcing sustainable materials today?

TIMOTHY: Firstly, with direct relationships with niche or more main-stream manufacturers. Material libraries and platforms can also help with that initial search at project outset.

Then the network of salvage specialists and demolition sourcing with your own projects and contractor networks.

We then have the exciting use of experimental biomaterials and low-carbon composites. Some manufacturers lead with these products already.

Designers are returning to their craft, more like curators and researchers rather than specifiers.

Where is sustainability & circularity heading by 2030?

TIMOTHY: That’s next week in my mind, and every project we are looking at now, it’s too short-term; look at the end of your career, as then you can judge how successful you have been in this pursuit.

Likely realities its feels are things like carbon accounting becomes standard in design decisions, Circularity becomes measurable, not just conceptual.

Then, hybrid models should dominate (part new, part reused, part bio-based) with digital material passports and traceability scaling up. I hope we get closer to fully circular interiors at scale, with the elimination of virgin materials and seamless global reuse systems Sustainability needs to move from a design feature to an invisible default constraint, much like accessibility or fire compliance.

Sustainability in interior design is no longer optional in intent, but unfortunately still imperfect in execution. The most interesting work isn’t trying to be “perfectly sustainable,” but navigating the tension between aesthetic ambition, commercial reality, and environmental responsibility. There lies the job we have ahead of us.

FRANCESCA: I have started learning about sustainable materials from the university materials library, and now my sourcing mostly comes from research and curiosity, starting online, exploring platforms like Instagram or TikTok, and then following whatever catches my attention to discover new materials or brands. Design events have also been really valuable, such as Clerkenwell Design Week, because they give you the chance to experience materials in person and understand them in a more direct way.

I also look at what studios and designers are doing, especially those that focus on storytelling, as that often leads me to smaller or less obvious manufacturers. I wouldn’t say I have one fixed list of favourites yet, but I’m definitely more drawn to companies that are transparent about their process and that work with locally sourced materials.

FRANCESCA: I think, and I hope, sustainability will simply become part of our everyday life. Right now, we still feel the need to highlight every time we use a sustainable material, almost as if it’s a bonus point when a project is sustainable. But I think we’ll reach a point where it simply becomes standard practice.

I also think that over the next few years, we’ll have more clarity about how new materials actually perform, so decisions won’t be based solely on intention but on real data. Even if I don’t think it’s realistic to say everything will be fully circular, I do believe we’ll have stronger tools and a more solid foundation to design in a more consistent and informed way.

For those eager to engage in conversations shaping the design industry, get involved at the NEWH UK Round Table event, hosted at Furniture Makers’ Hall, London, on Thursday 18th June, kindly sponsored by British bed manufacturer Hypnos, and Mullan Lighting based in County Monaghan, Ireland.

NEWH, THE WORLD’S BIGGEST ORGANISATION FOR NETWORKING IN THE INTERNATIONAL HOSPITALITY DESIGN INDUSTRY, HAS CHAPTERS AROUND THE WORLD. TO FIND OUT MORE ABOUT US, AND TO JOIN YOUR LOCAL CHAPTER, LOOK US UP ON SOCIAL MEDIA OR VISIT OUR WEBSITE.

newh.org

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ĘŅ Ƶ±Ÿ ƋĘå ĀųŸƋ ÚåŸĜčĹåų Ņų ±ųÏĘĜƋåÏƋ ƼŅƚ ÚĜŸÏŅƴåųåÚ ƋʱƋ ĵ±Úå ƼŅƚ ƋĘĜĹĩØ Ů ĘĜŸ ĜŸ ƵʱƋ F Ƶ±ĹƋ ƋŅ ÚŅØŰ ±ĹÚ ƵĘƼũ 0IPP] ;IEVWXPIV [EW XLI ǻVWX HIWMKRIV [LS XVYP] MRWTMVIH QI XS TYVWYI XLMW TEXL . [EW GETXMZEXIH F] LS[ WLI XIPPW WXSVMIW XLVSYKL QEXIVMEPW ERH FPIRHW EVX JEWLMSR ERH EVGLMXIGXYVI MRXS E GSLIWMZI ZMWMSR -IV [SVO WLS[IH QI XLEX HIWMKR GER FI FSXL I\TVIWWMZI ERH XVERWJSVQEXMZI MRWTMVMRK QI XS GVIEXI WTEGIW XLEX PIEZI E PEWXMRK MQTVIWWMSR Fü ÆƚÚčåƋ ƵåųåĹűƋ ±Ĺ ĜŸŸƚåØ ƵʱƋűŸ ƋĘå ĵŅŸƋ åƻƋų±ƴ±č±ĹƋ üå±Ƌƚųå ƼŅƚűÚ ±ÚÚ ƋŅ ± ĘŅƋåĬ ÚåŸĜčĹũ .ƶQ HVE[R XS GSPPEFSVEXMRK [MXL [SVPH VIRS[RIH EVXMWXW XS GVIEXI PEVKI WGEPI MRWXEPPEXMSRW XLEX EVI MRXIKVEP XS E LSXIPƶW EVGLMXIGXYVI ERH MHIRXMX] [MXL [SVOW GSRGIMZIH EW TEVX SJ XLI FYMPHMRK VEXLIV XLER EHHIH PEXIV .ƶH PSZI XS WII E FIWTSOI (LMLYP] KPEWW WGYPTXYVI VMWMRK XLVSYKL ER EXVMYQ SV E /EQIW 8YVVIPP PMKLX MRWXEPPEXMSR XVERWJSVQMRK E WTEGI MRXS E WERGXYEV] åĬĬ ƚŸ ±ÆŅƚƋ ƼŅƚų Úųå±ĵ ÚåŸĜčĹ ŞųŅģåÏƋ . [SYPH PSZI XS LEZI [SVOIH SR XLI &QERKMVM VIWSVX MR 9XEL [LIVI EVGLMXIGXYVI HMWETTIEVW MRXS XLI

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Spotted emerging talent in hotel design?

BåĬŞ ƚŸ ÚĜŸÏŅƴåų ƋĘå üƚƋƚųå Ĭå±ÚåųŸ ĜĹ ĘŅƋåĬ ÚåŸĜčĹţ cŅĵĜűƋå ± ĜŸĜĹč Ƌ±ų üŅų {e ) ĵ±č±DŽĜĹå ÆƼ ÏŅĹƋ±ÏƋĜĹč Ņƚų åÚĜƋŅųĜ±Ĭ Ƌå±ĵ at j.miles@forumevents.co.ukţ Ÿå ƋĘå ŸƚÆģåÏƋ ĬĜĹå ‘RISING STARS’ ƋŅ Ĭå±ųĹ ĵŅųå ±ÆŅƚƋ ĹŅĵĜűƋĜŅĹ ÏųĜƋåųĜ± ±ĹÚ ĩåƼ Ú±ƋåŸţ

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DAWOOD ZOHRABBAGI Architectural Designer HKS HOSPITALITY STUDIO hksinc.com/hospitality

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ANABEL TWITCHELLREQUENA Designer ABDA DESIGN abdadesign.co.uk & KVEHYEXI SJ (SZIRXV] 9RMZIVWMX] &REFIP LEW EP[E]W FIIR TEWWMSREXI EFSYX TYVWYMRK E GVIEXMZI GEVIIV .R NYWX XLVII ]IEVW EX &')& )IWMKR WLI LEW FIGSQI E ZEPYIH QIQFIV SJ XLI XIEQ MQTVIWWMRK FSXL GSPPIEKYIW ERH GPMIRXW [MXL LIV HIWMKR XEPIRX TVSJIWWMSREPMWQ ERH TVSEGXMZI ETTVSEGL -IV GVIEXMZMX] XIGLRMGEP WOMPP ERH GSRJMHIRGI LEZI IREFPIH LIV XS GSRXVMFYXI TSWMXMZIP] XS XLI GSQTER] GYPXYVI ERH HVMZI TVSNIGXW JSV[EVH MRHITIRHIRXP]

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TVIHMGXEFPI GLSMGI XLEX SJXIR JIIPW PMOI E WEJI JEPPFEGO VEXLIV XLER E FSPH HIWMKR WXEXIQIRX .XƶW XMQI XS TYWL FI]SRH XLMW XVIRH ERH I\TPSVI QSVI MRRSZEXMZI [E]W XS EHH XI\XYVI ERH [EVQXL XS E WTEGI Fü ÆƚÚčåƋ ƵåųåĹűƋ ±Ĺ ĜŸŸƚåØ ƵʱƋűŸ ƋĘå ĵŅŸƋ åƻƋų±ƴ±č±ĹƋ üå±Ƌƚųå ƼŅƚűÚ ±ÚÚ ƋŅ ± ĘŅƋåĬ ÚåŸĜčĹũ . [SYPH GVIEXI E FVIEXLXEOMRK GIMPMRK MRWXEPPEXMSR XLEX TVSNIGXW XLI VIEP XMQI WO] JVSQ ER] PSGEXMSR MR XLI [SVPH Ƴ MQEKMRI KYIWXW HMRMRK FIRIEXL XLI 3SVXLIVR 1MKLXW JSV I\EQTPI 8LMW [SYPH XVERWJSVQ XLI WTEGI MRXS ER MQQIVWMZI IZIV GLERKMRK I\TIVMIRGI FPIRHMRK XIGLRSPSK] ERH REXYVI XS GVIEXI E WIRWI SJ [SRHIV ERH IWGETMWQ Fü ƼŅƚ ÏŅƚĬÚ Ę±ƴå ÆååĹ ÏųåÚĜƋåÚ üŅų ±ĹƼ ĜĹƴåĹƋĜŅĹ ĜĹ ƋĘå ƵŅųĬÚØ ƵʱƋ ƵŅƚĬÚ ĜƋ Æå ±ĹÚ ƵĘƼũ TSXMJ] EW MX TYXW XLI IRXMVI [SVPH SJ QYWMG TSHGEWXW ERH EYHMSFSSOW MR ]SYV TSGOIX .XƶW QSVI XLER NYWX E PMWXIRMRK TPEXJSVQ Ƴ . WII MX EW E HMWGSZIV] IRKMRI XLEX XVERWJSVQW LS[ TISTPI I\TIVMIRGI WXSVMIW QSSHW ERH QSQIRXW .XW EFMPMX] XS GSRRIGX TISTPI KPSFEPP] XLVSYKL EYHMS MW FSXL WMQTPI ERH VIZSPYXMSREV] ERH . [SYPH LEZI PSZIH XS FI TEVX SJ XLEX

åĬåÏƋåÚ ŞųŅģåÏƋ ŠŞĜÏƋƚųåÚš× &REFIP [EW PIEH HIWMKRIV JSV :SGS SYXLEQTXSR JSV :EPSV -SWTMXEPMX] )VE[MRK MRWTMVEXMSR JVSQ SYXLEQTXSRƶW VMGL QEVMXMQI LIVMXEKI WLI GVIEXIH ER MQQIVWMZI IRZMVSRQIRX XLEX IZSOIW E WIRWI SJ IWGETI JVSQ XLI QSQIRX KYIWXW [EPO XLVSYKL XLI HSSV

Spotted emerging talent in hotel design?

BåĬŞ ƚŸ ÚĜŸÏŅƴåų ƋĘå üƚƋƚųå Ĭå±ÚåųŸ ĜĹ ĘŅƋåĬ ÚåŸĜčĹţ cŅĵĜűƋå ± ĜŸĜĹč Ƌ±ų üŅų {e ) ĵ±č±DŽĜĹå ÆƼ ÏŅĹƋ±ÏƋĜĹč Ņƚų åÚĜƋŅųĜ±Ĭ Ƌå±ĵ at j.miles@forumevents.co.ukţ Ÿå ƋĘå ŸƚÆģåÏƋ ĬĜĹå ‘RISING STARS’ ƋŅ Ĭå±ųĹ ĵŅųå ±ÆŅƚƋ ĹŅĵĜűƋĜŅĹ ÏųĜƋåųĜ± ±ĹÚ ĩåƼ Ú±ƋåŸţ

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B U C H I N G E R H E A LT H R E S O R T C ÔT E D ’A Z U R , F R A N C E Opening 2029, Expected keys 95, Architecture GOMIS & Associés Architeure, Interior design Matteo Thun

B

uchinger Wilhelmi has announced plans to open a new wellness-focused flagship on the Côte d’Azur in 2029, located in Roquefortles-Pins, approximately 20km from Nice Airport. The project marks a significant milestone for the family-owned business, which has specialised in therapeutic fasting and integrative medicine since its founding by Dr Otto Buchinger in 1920. Today, the company is led by the fourth generation, with existing clinics in Germany and Spain.

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Set across a 44-hectare site, the 95-room resort is designed as a holistic health destination, combining medically supervised fasting programmes with diagnostics, nutrition, fitness, and wellbeing therapies.

Facilities will include a 3,400m² spa, a medical centre staffed by eight doctors, four pools, and dedicated spaces for yoga, meditation, and cultural activities. The scheme also incorporates biodynamic agriculture, private villas, and an art and sculpture park.

Architecture and interiors are central to the concept. The project is being led by Nicebased GOMIS & Associés Architeure, with

interiors by Matteo Thun, aiming to translate Buchinger’s principles of health, longevity, and sustainability into a contemporary built form.

The development has already been awarded the BDM (Bâtiment Durable Méditerranéen) Gold Standard at planning stage, recognising its environmental performance, alongside ECRAINS certification for air quality.

Sustainability measures include photovoltaic panels, climate wells, and a car-free masterplan.

The project reflects Buchinger’s ambition to expand its European network while aligning its medical philosophy with design, landscape, and environmental responsibility.

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C O R I N T H I A C H E N G D U S I C H UA N , C H I N A Opening 2032, Development ShiLong Industry Co, The Geminus Group, Operator Corinthia Hotels, Expected keys 150 rooms and suites, 60 residences

C

orinthia Hotels has announced the signing of Corinthia Chengdu in partnership with ShiLong Industry Co and The Geminus Group. Scheduled to open in 2032, the project QEVOW E WMKRMǻGERX WXIT MR XLI FVERHƶW I\TERWMSR into China.

Located in Chengdu’s Gaoxin District, at the intersection of Tianfu Avenue and Tianfu First Street, the development sits adjacent to Gui Xi Urban Park. The hotel and branded residences will occupy a new 225-metre mixed-use tower

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within the city’s South Central Activity Zone.

The scheme will include approximately 150 rooms and suites, alongside 60 branded VIWMHIRGIW EPP HIWMKRIH XS SǺIV TERSVEQMG views across the city.

Part of a wider masterplan currently under construction, the project is positioned as a mixed-use destination combining hospitality, retail, residential, and commercial elements, with a total investment of approximately RMB 4 billion. The architecture and design are intended XS VIǼIGX GSRXIQTSVEV] PY\YV] WXERHEVHW [MXL E focus on sustainability and integration within the surrounding urban context.

Corinthia Chengdu will follow the brand’s “grand boutique” approach, combining largescale development with an emphasis on craftsmanship, detail, and personalised service.

The

project

also

introduces

Corinthia’s

2IHMXIVVERIER HIWMKR MRǼYIRGI XS XLI VIKMSR EMQMRK XS GVIEXI E LSWTMXEPMX] SǺIVMRK XLEX connects international travellers with Chengdu’s cultural and creative identity.

The development underscores Corinthia’s strategy to expand into key global cities through landmark

projects

that

combine

design,

location, and mixed-use programming.

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THE WORLD’S LEADING DESIGN DESTINATION

135+ SHOWROOMS OVER 600 INTERNATIONAL BRANDS ONE ADDRESS

Design Centre, Chelsea Harbour London SW10 0XE +44 (0)20 7225 9166

w w w.dcch.co.uk

Credits & Advertising | Design Centre Chelsea Harbour

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VERTEX O K I N AWA , J A PA N Opening To be announced, Owner/operator NOT A HOTEL, Design Zaha Hadid Architects, Site size 25,322 sq m

P

rimarily known for its development of shared ownership villas, Japanese firm, NOT A HOTEL has launched two new hospitality brands, including vertex – which explores the intersection of architecture and technology. The inaugural vertex hotel will be located on Okinawa, Japan, with architecture by Zaha Hadid Architects.

Set on a 25,322 sq m coastal site, the project is positioned between forested terrain and white sand beaches. The design is closely integrated with the landscape to minimise environmental impact while maximising privacy and uninterrupted ocean views from each villa. The architecture is shaped by the site’s Ryukyu limestone formations and follows the natural contours of the shoreline through a series of stepped terraces, courtyards, and gardens.

Environmental performance is central to the scheme.

The building is elevated above the boundary between

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forest and beach to reduce its footprint and protect biodiversity. A data-driven design process, including year-round

analysis

of

climate

conditions,

has

informed orientation, material selection, and spatial planning. Large overhanging canopies, inspired by Okinawan vernacular architecture, provide shaded outdoor spaces while responding to solar exposure.

The

hotel

incorporates

natural

ventilation

by

harnessing prevailing coastal winds and is engineered to withstand typhoons and seismic activity. Modular construction

using

prefabricated

components will

reduce on-site impact, while recycled aggregates sourced locally support a circular construction approach.

2EXIVMEPMX] EPWS VIǼIGXW PSGEP GVEJX XVEHMXMSRW [MXL Okinawa pine, limestone, and ceramics integrated throughout.

The

project

continues

Zaha

Hadid

Architects’ long-standing work in Japan, combining advanced engineering with a strong emphasis on landscape, sustainability, and cultural context.

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EGYPT Twenty-three years late and at twice its original budget, the Grand Egyptian Museum has ĀűĬĬƼ ŅŞåĹåÚţ eĹÚ ŸŅ ʱŸ ƋĘå āŅŅÚč±Ƌå ô ŅĹ ± ĘŅƋåĬ ŞĜŞåĬĜĹå üŅƚų ƋĜĵåŸ ƋĘå ŸĜDŽå Ņü ±ĹƼ ŅƋĘåų ŅĹ ƋĘå ÏŅĹƋĜĹåĹƋØ ƵĜƋĘ ƋĘå ƵŅųĬÚŲŸ ÆĜččåŸƋ ŅŞåų±ƋŅųŸ ĀųŸƋ ƋĘųŅƚčĘ ƋĘå ÚŅŅų

I

ü ƖLjƖĂ Ƶ±Ÿ ƋĘå Ƽå±ų )čƼŞƋ ĀűĬĬƼ ųåŅŞåĹåÚ ƋĘå ÚŅŅų ƋŅ ĜƋŸ ŅƵĹ Ş±ŸƋØ ƖLjƖƅ ĜŸ ƋĘå Ƽå±ų ƋĘå čĬŅƱĬ ĘŅŸŞĜƋ±ĬĜƋƼ ĜĹÚƚŸƋųƼ Ƶ±ĬĩåÚ ƋĘųŅƚčĘ ĜƋţ Ęå cŅƴåĵÆåų ƖLjƖĂ Ĝűƚčƚų±ƋĜŅĹ Ņü ƋĘå :ų±ĹÚ )čƼŞƋĜ±Ĺ aƚŸåƚĵ Š:)aš ô ± âŎ ÆĜĬĬĜŅĹØ ĂLjLjØLjLjLjěŸŧƚ±ųåěĵåƋųå ÏŅĵŞĬåƻ ƋƵŅ ĩĜĬŅĵåƋųåŸ üųŅĵ ƋĘå {Ƽų±ĵĜÚŸ Ņü :ĜDŽ±Ø ƋƵŅ ÚåϱÚåŸ ĜĹ ƋĘå ĵ±ĩĜĹč ô Ƶ±Ÿ ƋĘå ϱƋ±ĬƼŸƋţ eƋƋåĹÚåÚ ÆƼ UĜĹč 8åĬĜŞå F Ņü ޱĜĹØ UĜĹč {ĘĜĬĜŞŞå Ņü åĬčĜƚĵØ }ƚååĹ ±ĹĜ± Ņü IŅųڱŠ±ĹÚ ± ųŅŸƋåų Ņü Ęå±ÚŸ Ņü ŸƋ±ƋåØ ƋĘå ŅŞåĹĜĹč ÏåųåĵŅĹƼ ųåüų±ĵåÚ )čƼŞƋ ±Ÿ ± contemporary cultural destination rather than any other standard ŞŅŸƋ쪱ĹÚåĵĜÏ ųåÏŅƴåųƼ ŸƋŅųƼţ Ęå ƵŅųĬÚűŸ Ĭ±ųčåŸƋ ĵƚŸåƚĵ ÚåÚĜϱƋåÚ ƋŅ ± ŸĜĹčĬå ÏĜƴĜĬĜŸ±ƋĜŅĹ ĹŅƵ ĘŅĬÚŸ ĵŅųå ƋʱŠŎLjLjØLjLjLj ±ųƋåü±ÏƋŸØ ĜĹÏĬƚÚĜĹčØ üŅų ƋĘå ĀųŸƋ ƋĜĵå ŸĜĹÏå BŅƵ±ųÚ ±ųƋåųűŸ ŎĿƖƖ ÚĜŸÏŅƴåųƼØ ƋĘå ÏŅĵŞĬåƋå ĂØƐĿíěŞĜåÏå ƚƋ±ĹĩʱĵƚĹ ÏŅĬĬåÏƋĜŅĹţ Ęå ĹƚĵÆåųŸ ÆåĘĜĹÚ ƋĘå ĵŅĵåĹƋ ±ųå åĵŞĘ±ƋĜÏţ eÏÏŅųÚĜĹč ƋŅ ƋĘå )čƼŞƋĜ±Ĺ aĜĹĜŸƋųƼ Ņü ŅƚųĜŸĵ ¼ eĹƋĜŧƚĜƋĜåŸØ )čƼŞƋ ƵåĬÏŅĵåÚ ŎĂţƀ ĵĜĬĬĜŅĹ ƋŅƚųĜŸƋŸ ĜĹ ƖLjƖĉ ±ĹÚ ĜŸ ŅĹ Ƌų±Ïĩ üŅų Ŏí ĵĜĬĬĜŅĹ ĜĹ ƖLjƖĂØ ƵĜƋĘ ƋĘå čŅƴåųĹĵåĹƋ Ƌ±ųčåƋĜĹč ƐLj ĵĜĬĬĜŅĹ ÆƼ ƖLjƐƖţ FĹƋåųűƋĜŅűĬ ±ųųĜƴ±ĬŸ Ƶåųå ƚŞ ĉíŢ Ƽå±ųěŅĹěƼå±ų ĜĹ ƋĘå üĜųŸƋ ŧƚ±ųƋåų Ņü ƖLjƖĂ ±ĬŅĹåØ ±ĹÚ ƋŅƚųĜŸĵ ųåƴåĹƚå ųå±ÏĘåÚ âŎƖţĂ ÆĜĬĬĜŅĹ ĜĹ ƋĘå üĜųŸƋ ĹĜĹå ĵŅĹƋĘŸţ

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Ęå :)a ĜƋŸåĬü ĜŸ üŅųåϱŸƋ ƋŅ Úų±Ƶ üĜƴå ĵĜĬĬĜŅĹ ±ĹĹƚ±Ĭ ƴĜŸĜƋŅųŸ ±Ƌ ĵ±ƋƚųĜƋƼØ ƵĜƋĘ Ú±ĜĬƼ ±ƋƋåĹÚ±ĹÏå ŞųŅģåÏƋåÚ ƋŅ ƋųĜŞĬå üųŅĵ ĂØLjLjLj ƋŅ ŎĂØLjLjLjţ That demand has translated into the most concentrated hotel ÚåƴåĬŅŞĵåĹƋ Ÿƚųčå ±ĹƼƵĘåųå ŅĹ ƋĘå eüųĜÏ±Ĺ ÏŅĹƋĜĹåĹƋţ eÏÏŅųÚĜĹč ƋŅ BŅŸŞĜƋ±ĬĜƋƼ :ųŅƚŞűŸ ƖLjƖƅ BŅƋåĬ ʱĜĹ %åƴåĬŅŞĵåĹƋ {ĜŞåĬĜĹåŸ ĜĹ eüųĜϱ ųåŞŅųƋØ )čƼŞƋ ĹŅƵ Ĭå±ÚŸ ƵĜƋĘ ŎíĂ ŞĬ±ĹĹåÚ ĘŅƋåĬŸ ±ĹÚ ĉĂØĿíĉ ųŅŅĵŸ ô ĵŅųå ƋʱŠ± ƋĘĜųÚ Ņü ƋĘå åĹƋĜųå ÏŅĹƋĜĹåĹƋ±Ĭ ŞĜŞåĬĜĹå ±ĹÚ üŅƚų ƋĜĵåŸ ƋĘå ƴŅĬƚĵå Ņü ŸåÏŅĹÚěŞĬ±ÏåÚ aŅųŅÏÏŅţ kü ƋĘŅŸåØ ĂŎţĉŢ ±ųå ±Ĭųå±ÚƼ ƚĹÚåų ÏŅĹŸƋųƚÏƋĜŅĹţ Ęå ÏŅƚĹƋųƼ ŸĜčĹåÚ ƐĿ ĹåƵ ĘŅƋåĬ Úå±ĬŸ ĜĹ ƖLjƖĂØ ±ĹÚ ƐƐ ŅŞåĹĜĹčŸ ±ųå üŅųåϱŸƋ üŅų ƖLjƖƅ ±ĬŅĹåţ :ųå±Ƌåų ±ĜųŅ ±ÏÏŅƚĹƋŸ üŅų íí Ņü ƋĘŅŸå ŞųŅģåÏƋŸ ±ĹÚ ƖƖØŎŎŎ ųŅŅĵŸØ ƋĘå Ĭ±ųčåŸƋ ƚųÆ±Ĺ ĘŅƋåĬ ŞĜŞåĬĜĹå Ņü ±ĹƼ ÏĜƋƼ ĜĹ eüųĜ챯 ƵĜƋĘ eÏÏŅų ŠƖí ŞųŅŞåųƋĜåŸšØ a±ųųĜŅƋƋ ŠƖLjšØ BĜĬƋŅĹ ŠŎíš ±ĹÚ FB: ŠŎĉš ÏŅĬĬåÏƋĜƴåĬƼ ÏŅĵĵĜƋƋĜĹč ŸŅĵå ŎƅØĉLjLj ųŅŅĵŸ ƋŅ ƋĘå ϱŞĜƋ±Ĭţ åƼŅĹÚ ±ĜųŅØ Ę±ųĵ )Ĭ ĘåĜĩĘűŸ ŞĜŞåĬĜĹå ϱųųĜåŸ ƋĘå Ĭ±ųčåŸƋ ±ƴåų±čå ųåŸŅųƋ ŸĜDŽå ĜĹ eüųĜϱűŸ ƋŅŞ ŎLj ĵ±ųĩåƋŸ ±Ƌ ĂƐĿ ųŅŅĵŸØ ±ĹÚ a±ųŸ± eĬ±ĵ ʱŸ Ŏĉ ĹåƵ ųåŸŅųƋŸ ĜĹ ÚåƴåĬŅŞĵåĹƋţ {ƚƋƋĜĹč ƋĘå ĹƚĵÆåųŸ ĜĹƋŅ ÏŅĹƋåƻƋØ {e ) ĬŅŅĩŸ ±Ƌ ƋĘå ŞųŅģåÏƋŸ ŸĘ±ŞĜĹč )čƼŞƋűŸ ĹåƻƋ ÏʱŞƋåųţ

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RECENT OPENINGS The headline opening of the recent cycle is ŅĀƋåĬ ±ĜųŅ %ŅƵĹƋŅƵĹ cĜĬå, which began welcoming guests in early 2025 and is said to be XLI PEVKIWX SǻXIP ER][LIVI MR XLI [SVPH )IWMKRIH F] *K]TXMER ǻVQ *P,LSRIMQM Architects – the same studio behind Conrad (EMVS ERH SǻXIP 1IKIRH 4PH (EXEVEGX &W[ER Ƴ the 615-key, 24-storey property occupies a prime stretch of the Nile’s east bank, minutes JVSQ 8ELVMV UYEVI .RXIVMSVW XLVIEH SǻXIPƶW French codes through Egyptian craft references, with a sculptural mahogany-and-smoked-glass staircase rising to a cluster of droplet-shaped TIRHERX PMKLXW MR XLI PSFF] 8LI LSXIP VYRW XS seven restaurants and bars, a 300-square-metre SYXHSSV TSSP E (PYF 2MPPIWMQI GSRGMIVKI ǼSSV and more than 2,000 square metres of event WTEGI .X MW &GGSVƶW JSYVXL SǻXIP MR *K]TX NSMRMRK XLI *P ,I^MVEL ;MRXIV 5EPEGI 1Y\SV ERH 4PH (EXEVEGX &W[ER 4R XLI 7IH IE ĜƻŅŸ ±Ú±ĵĜŸ ʱųĵ )Ĭ ĘåĜĩĘ opened in 2023 in a phased fashion which is still carrying on through 2026 and is the most significant single piece of new resort WYTTP] MR MREM ;MXL QSVI XLER VSSQW across multiple wings (the newest ‘Blue Planet’ wing carrying the highest specification), the integrated resort signals a deliberate move beyond Sharm’s traditional all-inclusive ZSPYQI TPE] ERH XS[EVH E 1EW :IKEW WGEPI IRXIVXEMRQIRX PIH QSHIP 4XLIV VIGIRX openings on the coast include I±DŽ eĬÆåųŅ Hurghada, a more design-conscious upscale family resort that solves the location problem of the more isolated Sahl Hasheesh enclaves, and DoubleTree by Hilton El Gouna a±ĹčųŅŅƴƼ, a younger, kitesurf-led debut on *P ,SYREƶW SRP] STIR WIE FIEGLJVSRX

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IN THE PIPELINE The most-watched Cairo opening is Mandarin kųĜåĹƋ±Ĭ ĘåŞĘå±ųÚØ ±ĜųŅ – the rebirth of the celebrated 1841 hotel that hosted Winston (LYVGLMPP ERH XLI 2ELEVENEL SJ /SHLTYV FIJSVI FIMRK HIWXVS]IH MR XLI (EMVS +MVI 4[RIH

by Saudi Arabia’s Al-Sharif Group and operated F] 2ERHEVMR 4VMIRXEP EW XLI FVERHƶW ǻVWX property in Egypt, the 276-key hotel (188 rooms, 88 suites) sits on the Nile’s east bank, with interiors by Paris-based Sybille de Margerie tasked with preserving the building’s LIVMXEKI &JXIV WIZIVEP XMQIPMRI WLMJXW GYVVIRX I\TIGXEXMSRW TSMRX XS E VISTIRMRK 2ERHEVMR 4VMIRXEPƶW *K]TX WXVEXIK] KSIW GSRWMHIVEFP] JYVXLIV .R 2EVGL XLI KVSYT announced it would assume management of two of Upper Egypt’s most historic hotels: the 4PH (EXEVEGX MR &W[ER ERH XLI ;MRXIV 5EPEGI MR 1Y\SV FSXL TEVXRIVIH [MXL 8EPEEX 2SYWXEJE Group, with full reopenings as a±ĹÚ±ųĜĹ kųĜåĹƋ±Ĭ kĬÚ ±Ƌ±ų±ÏƋ eŸƵ±Ĺ and a±ĹÚ±ųĜĹ kųĜåĹƋ±Ĭ ĜĹƋåų {±Ĭ±Ïå XƚƻŅų WGLIHYPIH JSV /YP] &PSRKWMHI XLIQ XLI FVERH [MPP PEYRGL MXW ǻVWX ever Nile river cruise – owned by K G Company (part of Garranah Group) and operated by

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2ERHEVMR 4VMIRXEP Ƴ [MXL XLVII ERH WIZIR RMKLX MXMRIVEVMIW FIX[IIR 1Y\SV ERH &W[ER ,VSYT (*4 1EYVIRX 0PIMXQER LEW JVEQIH XLI TEGOEKI EW ƸE WIEQPIWW IRH XS IRH I\TIVMIRGI XLEX unfolds across land and water,” and it amounts to one of the most ambitious single-country TPE]W XLI FVERH LEW IZIV PEYRGLIH -MPXSR QIER[LMPI MW QSZMRK EKKVIWWMZIP] ĜčĹĜ± ÆƼ BĜĬƋŅĹ ±ĜųŅ ĩƼƵ±Ĭĩ and the accompanying 200-unit branded residences will mark the debut of the Signia brand in Africa, located in West (ȠMVSƶW O][EPO QM\IH use development a 20-minute drive from TLMR\ .RXIVREXMSREP &MVTSVX ERH XLI ,*2 8LI 200-key hotel will carry one of Cairo’s largest meetings footprints at 5,000 square metres, MRGPYHMRK E FEPPVSSQ ERH SYXHSSV IZIRX PE[R Hilton currently operates 14 hotels in Egypt and has 27 more in pipeline – part of a stated TPER XS XVMTPI MXW TVIWIRGI ERH I\GIIH trading properties, with further signings already announced including the BĜĬƋŅĹ ±ĜųŅ cåƵ ±ŞĜƋ±Ĭ ŅƵåų and a Hilton + Hilton Garden Inn pairing in the New Administrative Capital, FSXL WPEXIH JSV

Closer to the Pyramids themselves, Accor and &FY )LEFM 8SYVMWQ .RZIWXQIRX (SQTER] EVI progressing the ŅĀƋåĬ XåčåĹÚ {Ƽų±ĵĜÚŸ :ĜDŽ±, scheduled for late 2027 and positioned to GETXYVI XLI WTMPPSZIV HIQERH JVSQ XLI ,*2 Hilton is separately introducing its lifestyle brands Curio Collection and Tapestry Collection to the Egyptian market, while 2EVVMSXXƶW WXVSRK (EMVS TMTIPMRI MW I\TIGXIH XS FVSEHIR XLI YTTIV YTWGEPI ERH PY\YV] supply across both the historic east bank and XLI 3I[ &HQMRMWXVEXMZI (ETMXEP 4R XLI 7IH IE XLI HIZIPSTQIRX TMGXYVI MW WLMJXMRK JVSQ UYERXMX] XS[EVH WTIGMEPMWEXMSR Marsa Alam, long the quietest of Egypt’s diving coasts, has 14 resorts in pipeline with more XLER LEPJ WGLIHYPIH XS STIR MR XLI RI\X months, repositioning the region as a higherIRH EPXIVREXMZI XS -YVKLEHEƶW ZSPYQI QSHIP LEVQ *P LIMOLƶW RMRI TMTIPMRI TVSNIGXW Ƴ [MXL XLEX VSSQ EZIVEKI Ƴ GSRǻVQ XLI destination’s pivot toward integrated megaresorts rather than the standalone all-inclusives XLEX HIǻRIH XLI PEWX G]GPI

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As the country approaches its 30-million-visitor target for 2032, what is happening EGVSWW (EMVS 1Y\SV &W[ER ERH XLI 7IH IE MW RSX EW VIGSZIV] JSGYWIH EW QER] SJ XLI HIWXMREXMSRW [I GSZIV FYX QSVI E VIRI[EP SJ MXW TYFPMG TIVWSRE *K]TXƶW LSXIP PMRI YT LEW LMWXSVMGEPP] PEKKIH MXW EVGLEISPSKMGEP TYPP FYX XLI GYVVIRX [EZI Ƴ PIH F] XLI PY\YV] PMOIW SJ 2ERHEVMR 4VMIRXEP -MPXSR &GGSV ERH 2EVVMSXX ERH YRHIV[VMXXIR F] ,YPJ ERH HSQIWXMG GETMXEP Ƴ MW ǻREPP] GPSWMRK XLEX KET 8LI LEVHIV UYIWXMSR EW ; -SWTMXEPMX] ,VSYTƶW VITSVX RSXIW MW XMQMRK &GVSWW XLI &JVMGER GSRXMRIRX SRP] EVSYRH E XLMVH of pipeline rooms typically open on schedule, and 20% of those due by end-2026 are RSX ]IX YRHIV GSRWXVYGXMSR *K]TXƶW ǻKYVIW WMX WPMKLXP] FILMRH IZIR XLEX WIZIR LSXIPW STIRIH MR XLI GSYRXV] MR YT JVSQ NYWX XLVII MR Ƴ E HSYFPMRK FYX WXMPP QSHIWX EKEMRWX XLI WGEPI SJ [LEX MW WMKRIH 8LI VIEWSR MW TEVXP] XLI ]SYXL SJ XLI TMTIPMRI MXWIPJ SQI SJ *K]TXƶW TVSNIGXW HIEPW [IVI WMKRIH MR SV PEXIV QIERMRK E large share may be still too early in the development cycle to complete in time for the KSZIVRQIRXƶW XSYVMWQ XEVKIXW 8LI TMTIPMRI MW GSQMRK FYX LS[ QYGL SJ MX EGXYEPP] XVEHIW F] XLI QYWIYQƶW WIGSRH ERRMZIVWEV] MW XLI WXSV] XS [EXGL S

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SHOWTIME

P I P E L I N E AT A G L A N C E In total

185 PROJECTS

45,984 ROOMS

+1/3 OF AFRICAN PIPELINE

x4 MOROCCO PIPELINE

+35.5% YOY GROWTH

Market split GREATER CAIRO

88 PROJECTS

22,111 ROOMS

18% OF AFRICAN PIPELINE RED SEA

9 PROJECTS SHARM EL SHEIKH

14 PROJECTS MARSA ALAM

hotelspaceonline.com

Source: W Hospitality Group, Hotel Chain Development Pipelines in Africa 2026 N o v e m b e r / D e c report, e m b epresented r 2 0 2 5 at FHS | Africa 3 3 2026

A Certain Je Nais Sais Quois SǻXIPƶW (*4 2EYH 'EMPP] MW VIHIǻRMRK +VIRGL VSSXIH PY\YV] JSV E RI[ IVE Ƴ FEPERGMRK LIVMXEKI [MXL IRZMVSRQIRXEP GIVXMǻGEXMSR HMZIVWMX] ERH EQFMXMSYW KPSFEP I\TERWMSR

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verseeing some of the world’s most recognisable luxury hotel brands, Maud 'EMPP] MW KYMHMRK SǻXIP MGallery and Emblems through a period of profound change. One year SR JVSQ SǻXIPƶW XL ERRMZIVWEV] MR WLI MW sharpening brand pillars, advancing IRZMVSRQIRXEP GIVXMǻGEXMSR ERH WSGMEP MQTEGX and accelerating a global pipeline spanning Cairo to Jaipur, Mexico City to Prague. In GSRZIVWEXMSR [MXL 5&(* WLI VIǼIGXW SR [LEX luxury means today, how heritage brands stay relevant, and why sustainability, diversity and culture now sit at the heart of her growth strategy.

a±ƚÚ ±ĜĬĬƼ MW (*4 SJ SǻXIP 2,EPPIV] Emblems and a member of Accor’s Luxury 1MJIWX]PI *\IGYXMZI (SQQMXXII ;MXL E distinguished career spanning government, transport, and digital transformation, she brings a sharp strategic vision and proven leadership to the role.

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eŸ ŅĀƋåĬ ƋƚųĹåÚ ƅLj Ĭ±ŸƋ Ƽå±ųØ ƵʱƋ Ƶåųå ƋĘå ĵŅŸƋ ĜĵŞŅųƋ±ĹƋ ÏʱĹčåŸ ƼŅƚ ÚųŅƴå ƋŅ ĩååŞ ƋĘå Æų±ĹÚ ŸĘ±ųŞØ ųåĬåƴ±ĹƋØ ±ĹÚ ÏĬå±ųĬƼ ŞŅŸĜƋĜŅĹåÚ ĜĹ ƋŅÚ±ƼűŸ ĬƚƻƚųƼ ĵ±ųĩåƋũ SǻXIP [EW XLI ǻVWX +VIRGL KPSFEP PY\YV] LSXIP FVERH ERH XLEX MW RSX E HIXEMP Ƴ SYV +VIRGL )3& MW our strength. In a landscape where many luxury brands increasingly look and sound alike, we GLSWI XS GPEVMJ] [LEX QEOIW SǻXIP YRMUYI ;I FIKER F] VIEǽVQMRK SYV TLMPSWSTL] SJ

Link, our mission to create bridges between +VIRGL LIVMXEKI ERH PSGEP GYPXYVIW -IEVXJIPX Service Culture, our approach to hospitality, HIǻRIH F] IǺSVXPIWW GLMG ERH KIRYMRI IQSXMSREP MRXIPPMKIRGI ERH (SQQMXXIH 1Y\YV] SYV responsibility to preserve what truly matters – from art and gastronomy to the environment and local communities.

To reinforce this positioning, we also structured XLI FVERH EVSYRH ǻZI HMWXMRGXMZI YRMZIVWIW Ƴ Legend, Urban, Resort, Residences and Airports Ƴ EPPS[MRK SǻXIP XS I\TVIWW MXW MHIRXMX] [MXL KVIEXIV GPEVMX] EGVSWW HMǺIVIRX HIWXMREXMSRW ERH guest expectations.

Beyond strategy, we elevated the guest experience through stronger brand rituals and TEVXRIVWLMTW XLEX IQFSH] QSHIVR +VIRGL PY\YV] .RMXMEXMZIW WYGL EW XLI (ERHPI 7MXYEP 1E -EYXI Croissanterie, or exclusive La Tour d’Argent HMRRIVW LSWXIH EX SǻXIP 1IKIRH 2IXVSTSPI -ERSM ERH SǻXIP 2I\MGS (MX] 7IJSVQE MPPYWXVEXI how we bring culture and gastronomy to life in our hotels.

At the same time, we launched a global program to modernize the portfolio and WXVIRKXLIR FVERH GSRWMWXIRG] 3IEVP] E XLMVH SJ XLI SǻXIP RIX[SVO MW GYVVIRXP] VIRSZEXIH SV

+VIRGL >IWX Ƴ E QSHIVR I\TVIWWMSR SJ XLI +VIRGL EVX HI ZMZVI XLEX QEKRMǻIW GYPXYVI KEWXVSRSQ] design, sleep and the guest experience around the world. This philosophy is supported by three other pillars that guide everything we do: Cultural

YRHIVKSMRK XVERWJSVQEXMSR MRGPYHMRK ǼEKWLMT TVSNIGXW WYGL EW SǻXIP 3I[ =SVO SǻXIP 2SRXVIEP ,SPHIR 2MPI ERH SǻXIP ]HRI] ;IRX[SVXL EPSRKWMHI QENSV STIRMRKW PMOI SǻXIP (SXSRSY 2EVMRE -SXIP TE ERH SǻXIP 7M]EHL

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This transformation is not cosmetic. It is about IRWYVMRK SǻXIP VIQEMRW E HMWXMRGXMZI ZSMGI MR PY\YV] LSWTMXEPMX] Ƴ SRI XLEX GSQFMRIW +VIRGL elegance, cultural connection and deeply human service. ¥Ņƚ ʱƴå ŞųåƴĜŅƚŸĬƼ Ÿ±ĜÚ ĬƚƻƚųƼ ůƵ±ĬĩŸ ŅĹ ƋƵŅ ĬåčŸű ô ŞųŅÚƚÏƋ ±ĹÚ ŸåųƴĜÏåţ BŅƵ ÚŅåŸ ƋʱƋ ŞĘĜĬŅŸŅŞĘƼ ŸĘŅƵ ƚŞ ÚĜüüåųåĹƋĬƼ ÆåƋƵååĹ ƋĘå Æų±ĹÚŸũ Luxury never rests on marble alone and it never rests on smiles alone. It is the balance between product and service. &X SǻXIP XLI TVSHYGX I\TVIWWIW +VIRGL elegance through design, gastronomy and our &VX SJ PIIT MRGPYHMRK SǻXIP 2='*) IVZMGI FVMRKW [EVQXL ERH KIRIVSWMX] +VIRGL ^IWX QYWX be felt not staged.

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SǻXIP 1IKIRH IPIZEXIW XLMW TLMPSWSTL] MRWMHI MGSRMG LIVMXEKI TVSTIVXMIW -MWXSV] MW RSX decoration. It is narrative. Each address carries GYPXYVEP WMKRMǻGERGI ERH HIQERHW EFWSPYXI excellence in restoration and service.

2,EPPIV] SYV GSPPIGXMSR SJ FSYXMUYI LSXIPW leads with story and emotion – memorable and meaningful moments. Each hotel has a soul and that narrative shapes everything from design to mixology. The M Moment experiences allow guests to engage deeply with the destination.

Emblems is our newest brand and represents intimate uncompromised bespoke luxury. Scale is smaller. Individuality is stronger. We are growing it deliberately because in this segment precision matters more than speed. Lucknam 5EVO [EW SYV ǻVWX *QFPIQW TVSTIVX] ERRSYRGIH PEXI ERH WIXXMRK XLI FIRGLQEVO JSV XLI

brand’s highly personalised and distinctive luxury experiences. ĜƋĘ ŅĀƋåĬűŸ üŅƚų ŞĜĬĬ±ųŸ ĹŅƵ ÏĬå±ųĬƼ ÚåĀĹåÚ ƋĘå 8ųåĹÏĘ ƋŅƚÏĘ Ęå±ųƋüåĬƋ ŸåųƴĜÏå ÏƚĬƋƚųå ÏƚĬƋƚų±Ĭ ĬĜĹĩ ±ĹÚ ŸƚŸƋ±ĜűÆĜĬĜƋƼ ĘŅƵ ƵŅƚĬÚ ƼŅƚ ÚåŸÏųĜÆå ƋĘåĵ ĜĹ ƖLjƖƅ They matter because they are coherent. The +VIRGL )3& MW SǻXIPƶW WMKREXYVI ERH MX MW ZMWMFPI in gastronomy, design collaborations, and even FI]SRH LSWTMXEPMX] ;I EVI SYXǻXXMRK &MV +VERGI PSRK LEYP 'YWMRIWW GEFMRW [MXL SǻXIP 2='*) QEXXVIWWIW 8LEX MW +VIRGL LSWTMXEPMX] XVEZIPMRK beyond our hotels.

-IEVXJIPX WIVZMGI GYPXYVI QIERW IQSXMSREP intelligence. True luxury is intuitive, but I often say we have succeeded only if we have a distinctive culture. This is exactly what we are

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Luxury never rests on marble alone and it never rests on smiles alone.

It is the balance between product and service.

building through programs designed to create a YRMUYI SǻXIP GYPXYVI PMOI Ƹ. 1SZI . 1MZI . 1IEHƹ focused on service, training, and leadership, and by training all employees in luxury and emotional intelligence.

The Cultural Link, symbolized in our interlocking rings, represents the meeting of +VIRGL LIVMXEKI ERH PSGEP MHIRXMX] 4YV LSXIPW must be anchors in their communities and new openings around the world are a testament to this positioning.

And sustainability is non-negotiable. Luxury hotels will be sustainable or won’t be.

Renovation programs integrate energy performance, responsible sourcing, and elimination of single-use plastics. ĜƋĘ ƋåĹ ŸĜčĹĜĹčŸ ĜĹ ƖLjƖĂ ±ĹÚ ± ü±ŸƋěĵŅƴĜĹč čĬŅƱĬ ŞĜŞåĬĜĹå ĘŅƵ ÚŅ ƼŅƚ ±ƴŅĜÚ ÚĜĬƚƋĜŅĹũ )MWGMTPMRI ERH GSLIVIRGI )IZIPSTQIRX MW healthy, and developing well protects

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desirability. That balance between consistency and individuality is what prevents dilution. ,YIWXW ORS[ [LEX SǻXIP WXERHW JSV ]IX IEGL LSXIP SǺIVW E HMWXMRGX I\TIVMIRGI VSSXIH MR MXW PSGEP GYPXYVI .XƶW RSX EFSYX KVS[MRK JEWXIV MXƶW about growing with purpose. Ęå ųåÚåŸĜčĹ Ņü ƋĘå ā±čŸĘĜŞ ŸƚĜƋåŸ ±Ƌ ŅĀƋåĬ XŅĹÚŅĹ Ƌ I±ĵåŸ Úų±ƵŸ ŅĹ ƋĘå Ïųå±ƋĜƴå ųåÆåĬĬĜŅĹ Ņü ƋĘå ŎĿƀLjŸţ ±Ÿ ƋʱƋ ± ÏŅĹŸÏĜŅƚŸ ŸƋåŞ ±Ƶ±Ƽ üųŅĵ ŧƚĜåƋ ĬƚƻƚųƼ SǻXIP JYPP] IQFVEGIW UYMIX PY\YV] FYX [I MRXIVTVIX MX XLVSYKL XLI PIRW SJ +VIRGL EVX HI vivre and cultural expression. Quiet luxury does not mean neutral or invisible. It means elegance, intention and emotional connection.

8LI MRWTMVEXMSR JVSQ XLI W MW XLIVIJSVI RSX RSWXEPKME FYX VIMRXIVTVIXEXMSR ;MXL YMXI ERH XLI 4TIVE YMXI 5MIVVI =ZIW 7SGLSR explored the creative energy of that decade through bold colours, expressive design and

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thoughtful details inspired by music, stage design and KVETLMG EIWXLIXMGW SJ XLI XMQI +VSQ FIWTSOI 5MIVVI 5EYPMR furniture to curated artworks, the record player and the Experience Bar, every element creates a narrative that connects Parisian elegance with London’s creative spirit. +SV YW PY\YV] MW ǻVWX ERH JSVIQSWX ER EXXMXYHI . SJXIR compare it to a black dress: the one that makes you feel GSQJSVXEFPI GSRǻHIRX ERH XVYP] ]SYVWIPJ .X VIWXW SR X[S pillars - product and service. The product must be I\GITXMSREP [LMGL MW [L] [I EVI MRZIWXMRK WMKRMǻGERXP] MR VIRSZEXMSRW EGVSWW XLI SǻXIP RIX[SVO 'YX XVYI PY\YV] MW ultimately about how a place makes you feel.

8LMW MW [LIVI SǻXIPƶW LIEVXJIPX WIVZMGI GYPXYVI GSQIW MRXS play. Through programs such as Cousu Main and leadership principles built around humble excellence, distinguished presence and emotional intelligence, we cultivate a distinctive culture of service across our hotels.

8LI WYMXIW EX SǻXIP 1SRHSR X /EQIW XLIVIJSVI IQFSH] SǻXIPƶW ZMWMSR SJ UYMIX PY\YV] VIǻRIH GYPXYVEPP] VSSXIH ERH HIWMKRIH XS GVIEXI WSTLMWXMGEXIH I\TIVMIRGIW [LIVI +VIRGL elegance meets the creative energy of the destination. S

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Oliver Hemming

Crafting the New Kid on the Block, The Shepherd Mayfair Transforming an unremarkable 1970s building into a bespoke boutique hotel, requires vision, imagination and attention to detail.

In possession of all three – and much more – Timothy Shepherd, Founder and Managing Director of Shepherd& takes us behind the brick façade as The Shephard Mayfair prepares for its summer 2026 opening WORDS BY MEGHAN TAYLOR

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s founder of interior, architecture and digital design studio Shepherd&, Timothy Shepherd has led the interiors of The Shepherd Mayfair.

Originally conceived while he was Managing Director at Buckley Gray =ISQER XLI TVSNIGX VIǼIGXW LMW HMWXMRGXMZI approach to hospitality design, prioritising craftsmanship, contextual storytelling, and a detail-oriented sense of luxury.

Situated at the gateway to historic Shepherd Market, the 82-key hotel reinterprets the scale and character of Mayfair’s eighteenth- and nineteenth-century mansions through a contemporary, residential lens. In this interview, 8MQSXL] VIǼIGXW SR XLI IZSPYXMSR SJ XLI TVSNIGX exploring how subtle narrative details, layered materials, and playful experiential elements contribute to creating a hotel environment that feels both personal and cohesive.

Can you walk us through the original concept for The Shepherd Mayfair?

There wasn’t a formal brief – it was more a conversation. I already knew the owners from previous projects and understood their desire for a boutique hotel that felt rooted in Mayfair rather than overtly branded. The aim was to GETXYVI XLI UYMIX GSRǻHIRGI SJ XLI EVIEƶW historic mansions through artisanal materials and personal, human details.

I developed the initial concept in three to four weeks, and it has remained largely unchanged.

That early interpretation of Mayfair’s elegance – expressed through bespoke joinery, warm timbers, and subtle layering – guided the entire project.

From the outset we were also conscious of the building’s relationship with Shepherd Market, whose intimate character informed MRXIVMSVW XLEX JIIP VIǻRIH ]IX VIPE\IH 8LI owners trusted that interpretation, which allowed the design to evolve organically.

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How did you approach designing a boutique luxury hotel within the constraints of a 1970s structure while maintaining comfort and elegance?

It was about layering context and detail. The existing structure wasn’t designed for boutique hospitality, so we reinterpreted it through the MRXIVMSV I\TIVMIRGI VEXLIV XLER XV]MRK XS ǻKLX XLI building. Layout adjustments, bespoke joinery, and careful use of lighting and materials helped soften transitions between spaces.

We also looked to Mayfair’s historic townhouses for inspiration, echoing their rhythm of rooms and corridors. Circulation spaces were made slightly darker and more atmospheric, so the guest rooms feel brighter and more welcoming. Custom joinery, tailored lighting, and thoughtful acoustics helped conceal the building’s quirks, creating a calm, cohesive sense of luxury that feels effortless rather than overtly designed.

How did you ensure that each guest room retained a sense of individuality while still feeling cohesive within the overall hotel aesthetic?

Each room has bespoke joinery, layouts, and details shaped by the building’s proportions.

Some have window seats overlooking Shepherd Market, others have slightly different seating arrangements or desk configurations.

However, the palette, materials, and scale unify them. Timber finishes, soft upholstery curves, and a consistent colour language create a shared identity. Guests experience variation without dissonance, maintaining a consistent narrative across the hotel.

Much of the furniture and joinery appears bespoke – what were some of the challenges in creating pieces that fit the unique dimensions and quirks of the building?

The building is from the 1970s, so nothing was WXERHEVH *ZIV] VSSQ TVIWIRXIH E WPMKLXP] HMǺIVIRX WIX SJ HMQIRWMSRW ERH [I GSYPHRƶX VIP] SR SǺ XLI shelf typologies. For example, Rob wanted to maximize every inch of space in the rooms, which meant we had to carefully size every joinery piece.

A small adjustment in one area could gain an extra QQ MR E WLS[IV [LMGL QEOIW E LYKI HMǺIVIRGI in luxury perception.

Even pieces that look similar across rooms are bespoke in their details. Walls shift slightly, floors aren’t perfectly level, and ceilings differ. We had to tailor everything from joinery to the banquettes, sofas, and cabinetry. We even collaborated

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PHOTOGRAPHY BY FELIX SPELLER

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celebrating the craft as much as the design, and in a boutique hotel, that shows in every detail guests interact with, even subconsciously.

BŅƵ ÚŅ ŅŞåų±ƋĜŅűĬ ųåŧƚĜųåĵåĹƋŸØ ĬĜĩå ŸƋ±ý ƵŅųĩāŅƵŸ ±ĹÚ ųŅŅĵ ĬŅčĜŸƋĜÏŸØ ĜĹāƚåĹÏå ƼŅƚų interior design decisions?

Operational realities are inseparable from design. We had to consider circulation, luggage storage, room service, and maintenance at every turn. For instance, the beds were raised to allow flight cases underneath. Wardrobes were designed so luggage could be tucked away neatly without cluttering the room. Even seemingly small things, like a lacquered-chess table with a little suede-lined drawer that pulls out for cutlery storage, is designed to enhance functionality while maintaining the luxury feel.

XEǺ [SVOǼS[ HMGXEXIH LS[ WTEGIW [IVI shaped. Double doors, pivot doors, and soft lighting panels were all designed not just for aesthetics, but for sound transfer, privacy, and usability. This is the layer of design often invisible to guests but crucial for a seamless experience. It’s about thinking like a guest and like an operator simultaneously – every element must work perfectly on both fronts.

How does the residential component of the ÆƚĜĬÚĜĹč ĜĹāƚåĹÏå ƼŅƚų ĜĹƋåųĜŅų ÚåŸĜčĹ ÏĘŅĜÏåŸ for the hotel spaces?

The hotel and residences coexist symbiotically.

7IWMHIRXW FIRIǻX JVSQ LSXIP WIVZMGIW FYX XLIMV TVIWIRGI WLETIH XLI WGEPI ǻRMWLIW ERH circulation. Spaces needed to feel luxurious yet intimate, serving both transient guests and longer-term residents seamlessly.

closely with artisans like Moroso for furniture, who have ‘the Michaelangelo of foam cutting’, who could shave prototypes down to exact tolerances. The work isn’t just drawing in an office, it’s an ongoing, iterative process with craftspeople who can think differently and solve unexpected challenges.

Collaboration with suppliers seems central to the project – how do you select partners who can execute such precise and detailed craftsmanship?

Selecting the right suppliers is about more than quality; it’s about shared problem-solving and

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GSQQMXQIRX +SV MRWXERGI MJ E FIH GSYPHRƶX ǻX through a lift, the solution wasn’t to compromise – it was to design a bed that could be delivered in pieces and reassembled without losing design integrity. Every door pivot, every drawer, every upholstered piece required dialogue and iterative problem-solving.

We worked with artisans who are exceptional at what they do but may not have extensive marketing presence. People like that don’t just manufacture, they contribute creatively – SǺIVMRK WSPYXMSRW [I QMKLX RSX LEZI XLSYKLX SJ This is the sort of collaboration that elevates a project from good to exceptional. You’re

What role does layering – through lighting, art, textures, and furniture – play in creating a hotel environment that feels both luxurious and personal?

Layering is everything. Lighting sets mood, textures give tactility, art introduces narrative, and furniture defines how people use the space. When these elements interlock thoughtfully, the hotel feels personal and curated rather than staged.

Luxury often comes from subtle complexity.

Guests may not consciously analyse why a space feels comfortable, but the layering of materials, proportions, and lighting shapes that perception.

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Many elements in the hotel have personal or narrative significance – how do you balance storytelling with functional design?

Storytelling enriches the guest experience without overwhelming it. For example, artwork in the bar and curated vintage pieces tie the hotel to history and personal narrative, creating layers guests can uncover. But each piece also had to work functionally within the hotel’s daily operations.

Photography and presentation were emphasised during the project – how important is visual storytelling in conveying your interior design vision?

Photography by Jack English and George McLeod capture the essence of the space and its narrative. We layered context through both images and physical design, showing how materials, lighting, and scale interact. A photograph should make the design feel tangible and accessible, emphasising both comfort and craftsmanship.

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The hotel includes playful touches, like a custom chess table and vanity mirrors – how do you determine which whimsical or experiential elements to integrate into a space?

I look for moments that surprise or delight without feeling contrived. The chess table in the Shepherd& rooms, for example, isn’t just decorative. It’s a functional piece with suedelined drawers for cutlery, polished veneers, and subtle references to culture and storytelling – the Queen’s Gambit has made chess sexy and exciting again.

Similarly, the vanity mirrors rise and unlock with the key card, illuminating the guest at exactly the right moment. These are small interactions, but they communicate care, luxury, and thoughtfulness.

Even people who don’t actively play chess respond to the table – it’s tactile, timeless, and elegant. This approach allows guests to uncover layers of experience naturally, giving a sense that the hotel has personality and

thought behind every detail. Luxury, to me, is as much about delight as it is about function.

Communication between architects, interior designers, contractors, and suppliers can be fragmented – how did you maintain alignment to ensure seamless execution of the hotel interiors?

Communication was constant. Weekly discussions, site visits, and collaborative problem-solving prevented misalignment.

Everyone – from the general manager to the contractors – were encouraged to share insights. This continuity is rare, but it’s essential.

How do you balance practicality and luxury in a hotel where both comfort and bespoke design are expected by discerning guests?

Luxury isn’t about excess – it’s about thoughtful practicality. Every design choice, from bed height to storage, is about guest comfort. It’s the seamless combination of utility and artistry that makes a space feel truly luxurious. S

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STEPHANIE BARBA MENDOZA F O U N D E R & C R E AT I V E D I R E C T O R , S T E P H A N I E B A R B A M E N D O Z A

Six years ago, Stephanie Barba Mendoza was perfectly happy. Then she left one of London's most admired hospitality studios to start her own. Sitting down with SPACE, she shares the moments that have shaped her growth, the influences that continue to evolve her work, and where she is heading next

WORDS BY JESS MILES

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Wilde Vienna PHOTOGRAPHS BY F R A N C I S C O N O G U E I R A (WILDE LISBON), AND JULIUS HIRTZBERGER (WILDE VIENNA)

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pring really is in bloom for Stephanie Barba Mendoza, as she takes a rare moment of pause in her busy schedule to tell us all about it from her London studio. She’s just back from photographing the recently completed Wilde Vienna, and as part of a multi-site design partnership with the aparthotel brand, Lisbon opened last year, Porto debuts imminently, and Amsterdam follows soon after. As if that wasn’t enough plates to spin, she’s also working on a private members' club in Vietnam, and a hotel in Bordeaux dated for 2027, whilst dreaming up a culture-and-music club in Mexico City designed with her brother. Her studio, founded at the start of the pandemic and now seven people strong, is operating across three continents simultaneously.

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Seeing how she’s clearly thriving under her own studio, it’s hard to imagine that six years ago she was an associate at Martin Brudnizki Design Studio, and had no intention of leaving.

"I never thought I was going to start my own studio," she says. "I never had this urge of having my own business. I thought I was always going to be there forever."

Barba Mendoza joined MBDS in her late twenties, after studying architecture in Mexico, spending a year at the KLC School of Design in London, and a brief partnership with a friend that ended with the 2008 crash. She arrived as a designer, was made senior in two years, became an associate two years after that, and stayed for nearly a decade. "Everybody was just so inspiring," she says of those years. "I was so incredibly happy to be in this company with so much talent."

As well as learning so much from working directly with Martin Brudnizki himself, Barba Mendoza credits her peers as another reason for never feeling the need to move on. What becomes clear as she reminisces on her time there is that the cohort that came up through MBDS in the 2010s could easily be read as a who’s who in contemporary hospitality design. Linda Boronkay and Bryan O’Sullivan each head up their own studios. Andy Goodwin and Tom Parker teamed up and went on to found Fettle. Gianpiero Gaglione is in Los Angeles, Charlie North is now Global VP of Interior Design at Ennismore.

"We called them the golden days of MBDS," WLI WE]W [MXL EǺIGXMSR 4J GSYVWI XLI KSPHIR days were when it was golden for us – everybody who's that age and there now will probably be saying the same thing about their generation," she explains, before settling on

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All images on this page and opposite, Wilde Lisbon

HIǻRMRK XLEX IVE SJ 2') EW FIGSQMRK Ƹ& super school for hospitality interior design."

The project that changed everything was Annabel's. Eight years on, its eccentric design still has interiors editors everywhere drooling, and images still appear in magazines as if they are hot SǺ XLI TVIWW 'EVFE 2IRHS^E [EW XLI PIEH designer, working alongside Martin Brudnizki on the creative direction for the entire club. "It was a pretty iconic project," she says. "[It was] an incredible opportunity, with an incredible budget, and a client who was brave enough to push boundaries. At the time, maximalism wasn't everywhere. What we did was really fresh."

"You need a client brave enough to just go for it, and who has the budget to accomplish it – they go hand in hand," she says on why the project was as successful as it was. Of Brudnizki himself, she is unequivocal. "Martin gave me a lot of freedom and a lot of trust. I

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felt creatively very satisfied because I had a voice. A very lucky position, really."

So why leave?

The answer is, in part, motherhood. "I had my second child," she says, "and when I came back from maternity leave the second time, it felt a little bit like Groundhog Day. I thought – okay, my time is done. I need a new challenge."

She looked around but nowhere measured up.

"It's such an incredible company that going WSQI[LIVI IPWI MW ZIV] HMǽGYPX *ZIV][LIVI JIPX like a compromise. So, I thought – why leave? I'm going to try it on my own and see what happens."

There were no grand expectations, no business plan polished for investors. Just the conviction, hard-won and quiet, that she had already been trusted with the most important things at MBDS – leading Annabel's, running her team, sitting next to Brudnizki on creative direction – and that she could trust herself with the rest.

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LI PEYRGLIH XLI WXYHMS MR ERH WMKRIH LIV ǻVWX X[S projects within a week of each other, both high end residentials Ƴ SRI MR 2MEQM XLI SXLIV MR &RX[IVT +SV XLI IRXMVI ǻVWX ]IEV WLI worked alone, deliberately. "Having been an associate for so long, you stop doing a lot of the actual work. I wanted to go through every part of a project myself, to set up how I wanted my company to run."

It was also a period of establishing her own style, of understanding what that looked like outside the framework of someone else's vision. Look at her work today, she strikes a balance between brave and soft, time-worn and contemporary, and almost never leaves a room feeling quiet. Perhaps her mastery of contrast is the natural by-product of two cultures rubbing against each other.

"I've always loved colour," she says on being brave with the use of it. "I've always felt very comfortable with it. It's not something I've acquired – it's always been with me. That's probably all subconscious of growing up in Mexico."

You might assume that someone raised on the riot of 2I\MGER GSPSYV [SYPH ǻRH 'VMXMWL HIWMKR GSQTEVEXMZIP] muted, but she’s quick to push back. "The British are adventurous too. You get the most amazing houses with pattern on pattern, layered inside grand stately homes. There's a lot of richness in Britain. Though I grew up in Mexico, my LIVMXEKI MW GSQFMRIH [MXL X[IRX] ]IEVW LIVI Ƴ XLIVI W HIǻRMXIP] E QM\ SJ MRǼYIRGIW MR Q] [SVO &W PMJI KSIW SR ERH IZSPZIW QSVI GYPXYVEP MRǼYIRGIW REXYVEPP] join the roster. Barba Mendoza’s husband is Austrian, and the recent Vienna project sent her deep into the Secessionists. "The Wiener Werkstätte, the Jugendstil movement – there's so much VMGL HIWMKR MR :MIRRE JVSQ XLEX XMQI /SWIJ -SǺQERR )EKSFIVX Peche, Adolf Loos. Even when there's simplicity, there's still HIXEMP WSQIXLMRK HMǺIVIRX .X W RIZIV NYWX TPEMR We continue to talk about looking to the past for inspiration, and inevitably move on to originality in design today. "Everything LEW FIIR HSRI ƹ WLI EHQMXW GERHMHP] Ƹ3S SRI MW VIMRZIRXMRK XLI [LIIP =SY ǻRH ]SYV S[R ZSMGI F] FVMRKMRK ]SYV S[R XEOI SR something you've seen."

The most personal expression of that voice is a recent project in Mexico City – a culture-and-music club in La Roma, in an old house, designed in collaboration with her brother. "He does all the programming. The talent he brings is very experimental," she shares. With a thriving design scene, that wasn’t as prevalent when she was growing up, I wonder if she’d make a bigger return to Mexico. "I'd love to do more projects in Mexico. To have more of a space there," she replies.

For Wilde Lisbon, the brief began with the brand's keywords – witty, sophisticated, artistic – and ended with the sea. "Lisbon is surrounded by water. I almost wanted to create the feeling of being on the water – calming, serene, energising, all these HMǺIVIRX IPIQIRXW EX SRGI The translations are everywhere but never literal. The curves of a wave, abstracted into the soft lines of the joinery, a bespoke wallpaper that ombrés through the colours of the

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All images on this page and opposite, Wilde Vienna

sea, dark green into lighter green into blue. "When you look at it, you don't think of the sea. But if you know the story behind it, you can feel it," she explains. Underfoot, a QSWEMG ǼSSV XLEX LSRSYVW 5SVXYKEP W XMPI XVEHMXMSR GEVVMIW the same curves and palette through the entire ground ǼSSV 8LIR XLIVIƶW E ǻVITPEGI GEVZIH JVSQ PMQIWXSRI XLEX ǼS[W MRXS E FYMPX MR WIEX EKEMRWX [EPPW SJ GLEPO] TPEWXIV Ƴ "Playing with textures is so important," she says on Wilde Lisbon’s design, and of all her work.

-IV EXXIRXMSR XS HIXEMP ERH ǼEMV JSV PE]IVIH REVVEXMZIW MW something Wilde has trusted her to interpret again and again. The studio's relationship with the brand began in 2022 and now spans six properties, each demanding its own translation of the same brand language. Lisbon found the answer in city’s glittering waterfront, Vienna [MPP FI E HMǺIVIRX REVVEXMZI IRXMVIP] It is a remarkable run for a six-year-old studio. Barba 2IRHS^E XEPOW EFSYX XLI NSYVRI] WS JEV [MXLSYX ǼSYVMWL

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or fanfare – self-assured without self-promotion, creative and business instinct in equal measure. Ask her what she'd design if she could choose anything, and the answer comes immediately. "A train,” she says, as her I]IW PMKLX YT Ƹ1MOI XLI 4VMIRX *\TVIWW SV E 'IPQSRH train. A little jewel carriage – something extraordinarily bespoke, with beautiful materials." . PSZI ;IW &RHIVWSR ǻPQW XSS WLI EHHW EW WLI wistfully begins dreaming up the design. You can picture it now – a small, layered, Stephanie Barba Mendoza world. Rich fabrics and intricate details, sparking curiosity with every detail.

Maybe she will get to design the train, maybe she won't.

Either way, one thing for certain is that the next project will be just as swoon-worthy as the rest of her portfolio. And who knows – one day, the young designers in her studio QE] [IPP PSSO FEGO SR MX EW XLI TVSNIGX XLEX HIǻRIH XLIMV careers, and the start of their own golden days. S

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S P E C I A L F E AT U R E | C H E L S O M

Chelsom Launches Portables Designed for Hospitality

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s Chelsom approaches its 80th anniversary, the company is set to launch its brand-new lighting collection, Portables by Chelsom, on 19th May at Clerkenwell Design Week. Portables is a bold new collection of cordless, decorative lighting designed specifically for the Bar and Restaurant, Hospitality and Marine sectors.

After decades as a global leader in mains powered decorative lighting for hotel and cruise ship projects, Chelsom has taken a considered and refined approach to launching this new

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product category. As with all Chelsom products, Portables is a design-led collection that brings the brand’s signature aesthetic to one of the industry’s fastest-growing product areas.

Created under the direction of Will Chelsom and James Bartlett, the Portables range is designed with interior designers at its core.

Available in elegant Aged Brass and Oil Rubbed Bronze finishes, and paired with beautifully crafted blown glass, timeless fabrics, and metal shades, each piece delivers a distinctive atmosphere alongside brilliant functionality.

Engineered for performance as well as style, the collection features four-step dimming,

fast two-hour charging, and up to 90 hours of battery life. Supporting accessories, including multi-lamp charging trays and trolleys, ensuring seamless operation in busy restaurant and bar environments.

While ideal for hospitality settings, Portables transitions effortlessly into guest rooms, cruise cabins, and residential interiors, offering versatility in aesthetics without compromising on design.

With this launch, Chelsom brings 80 years of expertise into a new category, setting a new benchmark for portable lighting in hospitality.

For further information please contact 01253 831404 or email marketing@chelsom.co.uk . spacedesignmagazine.net

PHOTOGRAPHS BY DEAN HEARNE

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THE DEAN BERLIN, GERMANY

Rachael Gowdridge captures the edgy spirit of Berlin for Dean Group’s latest opening, designing E LSXIP XLEX IRGETWYPEXIW XLI GMX]ƶW IǺSVXPIWW XIRWMSR FIX[IIR VE[RIWW ERH VIǻRIQIRX WORDS BY ZANA WILBERFORCE

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o say that The Dean can throw a party is an understatement. For the launch of their German debut in Berlin’s leafy Charlottenburg neighbourhood, the independent lifestyle brand brought a dose of cheery Irish hospitality to west Berlin for the night. For the launch, some of the hotel rooms were transformed into intimate gig spaces for emerging and established artists to perform. Fashion designers presented their latest collections, a cellist performed in the listening room and – true to the city’s nocturnal reputation – there was a designated techno room.

This display of local creativity is central to The Dean experience, starting with Rachael Gowdridge’s complete redesign of the property. In the lobby on arrival, you’re immediately hit with patterned tiles and striking artwork in unexpected curves and corners. Original architectural details contrast with a bold palette and sculptural lighting. “[We] wanted the hallways to feel like a transition space,” says Gowdridge, whose portfolio includes The Hoxton Hotels and Gleneagles. “By adding yellow it feels soft and welcoming, and that merges into the [green] ceiling, completely enveloping the space in colour.”

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T H E S PAC E Owner LHC Group Operator Dean Group Developer LHC Group Investor Joint Venture between LHC Group and a global investment partner Amenities Bar, restaurant, bakery Keys 81 guestrooms PROJECT TEAM Design Rachael Gowdridge Lighting Design Weiser Lighting Landscaping Underleaf Procurement Arcacia (Public Areas) Main Contractor ERL Hotel Project Management GmbH Project Manager ERL Hotel Project Management GmbH Graphic Design / Branding / Visual Identity Stacks Studio Art Consultant Thom Oosterhof KEY SUPPLIERS Fabrics and soft furnishings Yarn Collective, Pierre Frey, Zimmer & Rhode, Kvadrat Drapery Nobilis, JAB (EVTIXW ERH ǼSSVGSZIVMRKW Ege Bathroom Bleu Provence Artists include Wolfgang Guenther, Kanta Kiimura, Peter Bohnisch, Justus Lemm, Dennis Scholl, Fiete Stolte, Aline Schworer, Daniel Paramio, Ricky 1II ,SVHSR 5IXIV 4PMZIV ;SPǺ Erika Richter, Xia Peng

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XERHSYX FYX WYFXPI ǻVWX MQTVIWWMSRW EVI RSXLMRK RI[ to The Dean hotels, an Irish-born, culture-rich lifestyle brand for on-the-go travellers. Spread across Dublin, Galwin, Cork and now Berlin, each property is uniquely designed to capture the essence of its location and RIMKLFSYVLSSH 8LMW WIRWI SJ GEPQ GSRǻHIRGI declares Gowdridge, was used to create an “arrival experience that feels grounded and welcoming without being overly formal. It’s about creating an immediate connection, so guests feel both intrigued and at ease, as though they’ve stepped into somewhere familiar but with a distinct point of view.”

Making the move to Berlin felt like the natural next step – a city bursting with creativity and an irreverent spirit. Charlottenburg is one of Berlin’s most storied and creative districts, lined with galleries and literary hotspots once frequented by writers, artists and philosophers during the Cold War. As Gowdridge puts MX Ƹ'IVPMR LEW XLMW IǺSVXPIWW XIRWMSR FIX[IIR VE[RIWW ERH VIǻRIQIRX [LMGL VIEPP] KYMHIH YW 8LIVIƶW E freedom in the way the city mixes eras, styles and

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MRǼYIRGIW [MXLSYX SZIVXLMROMRK MX ;I EPPS[IH XLI design to feel slightly undone in places, curated but not overly polished, with a sense of individuality running throughout.”

One way this mix of eras is achieved is through the mishmash of vintage items and bespoke furniture, spanning several decades. “The mix of vintage pieces was very intentional,” explains the designer, adding that they “wanted the interiors to feel collected over time rather than designed in a single moment. There’s a blend of mid-century seating, European antiques, and more utilitarian pieces – each bringing its own XI\XYVI ERH WXSV] .X VIǼIGXW 'IVPMRƶW PE]IVIH MHIRXMX] [LIVI HMǺIVIRX MRǼYIRGIW GSI\MWX UYMXI REXYVEPP] ƹ By preserving the building’s original architectural details – raw plaster walls, original tiles – Gowdridge has created a deliberate tension of old and new that runs through every space. “Because the building has changed use a number of times over the years, a lot of the original features had been eradicated. Rather than reintroduce features, we instead chose to

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work with what was left behind, which created more of a contrast to some of the contemporary interjections, such as the joinery and furniture,” says the designer. Thresholds are a theme. Entering the lobby, the mood shifts through colour and texture to create a transition space between the bakery, lobby and restaurant. Rather than separating the public spaces, they blend and merge to create an open-plan space that feels immediately warm and inviting.

The 81 guestrooms welcome you with a colour-drenched vestibule in deep red. The dramatic entryway is deliberate, acting as a cocoon-like threshold or liminal space between the outside world and your private space. “There’s a moment of intensity… before you step into a softer, more muted environment,” ,S[HVMHKI VIǼIGXW Ƹ8LEX GSRXVEWX LIMKLXIRW XLI WIRWI SJ VIXVIEX ƹ Bathrooms are just as striking, with original tilework and an unexpected green-painted ceiling that creates a trippy, topsyturvy feel to the space – in a good way. Tiny details point to the brand’s Irish heritage, including some playful micro-copy on the phone and a few Irish cocktails in the minibar. Details like this are so small you might miss them, nodding to the brand’s heritage while keeping Berlin’s avant-garde spirit front and centre.

4R XLI KVSYRH ǼSSV )IER ,VSYT LEW XIEQIH YT [MXL 'IVPMR brunch favourite Benedict for its downstairs bakery, restaurant and bar. Whether you opt for the stacked Tiramisu pancakes or your eggs of choice – which come with two sides and a batch of freshly baked bread – the portions are substantial. For breakfast on the go, the bakery is as popular with the locals as the hotel guests. The window into the kitchen is a nice touch; you can marvel at the pastry makers kneading dough for their artisan handmade sourdough bread, a slow and considered ritual that takes three days in total to make. Retreat to the LSXIP W GSW] OEǺIIOPEXWGL VIEHMRK RSSO F] XLI FEOIV] JSV E UYMIX VIEH [LIVI ]SYƶPP ǻRH E GYVEXIH WIPIGXMSR SJ GSǺII XEFPI books to choose from. New and old copies of Apartamento, Sleek and MiLk encourage spontaneous perusal and occasional interactions with strangers.

Doubling as an art gallery, the hotel’s select paintings and sculptures are just as much a conversation-starter. Throughout XLI LSXIP GYVEXSV 8LSQ 4SWXIVLSǺ LEW WIPIGXIH E QSVI XLER 100-strong collection of original works by emerging and established artists, guided by curator Jenn Ellis of Aspara Studios. As you step into the hotel for check-in, artwork from contemporary painter Xia Peng welcomes guests on arrival.

Outside, an installation by Fiete Stolte and Julia Stolte is spread across the curvature of the building which reads: “If I Weren’t This Sculpture I’d Be The Horizon”. The quote is purposefully poetic and slightly cryptic, encouraging passersby to stop and contemplate the wording and spark conversation.

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“In the public areas, we have large hero-pieces that contrast against smaller works that have been HIPMFIVEXIP] TPEGIH WPMKLXP] SǺ GIRXVI ƹ ,S[HVMHKI explains. “It’s a subtle move, but it encourages people to pause and engage with the space in a less predictable way.” One standout piece is a small but striking sunset and horizon by Fiete Stolte and his wife Julia Stolte. Unlike a normal diptych, which is typically displayed side by side, this particular piece is TVIWIRXIH MR E ǼMTTIH TSVXVEMX EVVERKIQIRX YWMRK XLI natural line of the frame to form the horizon. From a slight distance, it looks like a painting, but it’s actually made out of dyed bin bags in the spirit of artepovera (making art from nothing). In the guestrooms, Gowdridge describes her approach as more of an intimate process. “The pieces are all unique and they’re deliberately petite in scale, which makes them feel more personal. We positioned them quite carefully

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within the rooms so that they’re not just decorative, but something guests will naturally notice and take a moment to engage with,” Gowdridge adds.

As for guest diversions, immersive gallery and artist studio visits can be arranged. The hotel’s partnership with Fiete Stolte Studio takes visitors through the artist’s bright, airy studio in Berlin, where he works with his wife, Julia Stolte. From C/O Berlin to the CFA Contemporary Fine Arts Berlin, there are endless independent galleries to explore in and around the area, positioning the property as a base for serious design- and art-centric exploration. With forthcoming openings in Munich and Miami, Dean Group’s global expansion is far from a move away from its Irish portfolio; if anything, it will continue to push for creative partnerships in a similar way, celebrating the people that give each city and neighbourhood its distinct identity. S

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ORIENT EXPRESS VENEZIA V E N I C E , I TA LY A 15th-century palazzo in Venice’s Cannaregio district reopens as a hotel, with a restoration that layers contemporary design onto centuries of architectural history

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alazzo Donà Giovannelli has spent the past six hundred years accumulating stories: a ducal wedding in 1548, a congress of Italian scientists in 1847, decades as a private picture gallery. It has now accumulated one more – its conversion into the Orient Express group’s second Italian property, opened in March 2026. The building had never been a hotel before, and guests will feel that in the best possible way.

8LI TEPE^^S WMXW EX XLI GSRǼYIRGI SJ X[S GEREPW MR (ERREVIKMS Venice’s northernmost sestiere and its least tourist-trampled. Its pink and white façade – a pattern borrowed from the Palazzo Ducale, added during a 19th-century renovation by architect Giovanni Battista Meduna – was long buried beneath plain paint.

The restoration stripped that back, and the building now shimmers above the Rio di Noale with something approaching its original ambition. Guests arrive either through a Gothic water gate by boat, through a discreet garden entrance from Santa Fosca, or via a GSYVX]EVH SǺ XLI XVEHE 3SZE 8LI XLVII VSYXIW JIIP PMOI E HIPMFIVEXI EVGLMXIGXYVEP NSOI IZIV] IRXVERGI MW E HMǺIVIRX OMRH SJ XLVIWLSPH

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PHOTOGRAPHS BY GIULIO GHIRARDI

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Architect and interior designer Aline Asmar d’Amman has led the project since 2018. Her brief was total – renovation, interior design, and the sourcing of every artwork and antique – and the result is correspondingly dense. Her approach places restoration and intervention in genuine dialogue rather than polite coexistence. Tinted mirrors are mounted against patinated frescoes. Sculpted boiseries in dark wood frame views of stucco work by Neoclassical decorator Giuseppe Borsato.

Moiré-silk wall panels, rippling like canal water, share rooms with Antonio del Zotto’s marble caryatids. The building has a lot to say, and d’Amman has not tried to quieten it.

8LI PSFF] GEPPIH (SVXI HIP (SRXI MW XLI QSWX WMKRMǻGERX WTEXMEP XVERWJSVQEXMSR .X [EW previously an open mineral courtyard; it is now a grand interior room with soaring original beams, tree ferns, velvet sofas, and bespoke

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Murano chandeliers in gold-leaf glass. A pair of 19th-century sculpted lions replicating a (ERSZE WXYH] WMX SR E GMTSPPMRS QEVFPI GSRWSPI The tables – in pietra d’istria stone – deliberately echo the proportions of the café tables in Piazza San Marco. The room works as a social IRKMRI TISTPI ǻPXIV XLVSYKL MX GSRWXERXP] ERH it changes character in the evening when the lighting shifts and candles replace the daylight.

Meduna’s octagonal staircase, one of his 19th-century additions, rises to the Piano Nobile through a celestial vault. At its base stand four WGYPTXIH JIQEPI ǻKYVIW VITVIWIRXMRK XLI RSFPI families who occupied the building over the centuries. These are the kinds of details that reward the slow walker. The staircase opens SRXS XLI EPE HIPPE (YPXYVE [LIVI E ,SXLMG Revival ceiling of lapis-lazuli blue is crossed with golden cordons framing family crests. &^YVI ZIMRIH QEVQSVMRS ERH (EVVEVE QEVFPI

panels line the walls below painted GothicRMGLI ǻKYVIW 8LI VSSQ MW RS[ YWIH EW E KYIWX lounge, with bookcases and a drinks cabinet replenished throughout the day – a function that suits it better than formality would.

The 47 rooms and suites extend across the FYMPHMRK ERH MRXS (Eƶ 3SEPI E GSRRIGXIH historic structure also renovated by Meduna.

Each suite has been treated as a distinct historical argument. The Orient Express Suite is built around the grand salon where European scientists gathered in 1847: a coffered ceiling bearing Antonio Zona’s portraits of illustrious Venetian minds, the faces suspended in painted gold, with ,MSZERRM 'YWEXSƶW :IRMGI (VS[RMRK 2MRIVZE EX the centre. Silky moiré wall panels, a sculptural marble fireplace flanked by caryatids, and a (EIWEV OMRK FIH FIRIEXL E GSYXYVI GVS[R canopy sit within a room that makes the

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connection between 19th-century academic grandeur and present-day hospitality feel like a natural progression rather than a costume change. The bathroom, entirely in marble with sculpted basins and a freestanding bath, continues the palazzo’s dialogue with stone.

The La Minerva Suite takes its name from a 1710 fresco by Jacopo Guarana on its reeded, stucco-edged ceiling – one of the oldest surviving artworks in the building, thought to predate the Piano Nobile. The suite sits at the junction of the Rio di Noale and Rio di Santa Fosca, and the restored Venetian corner window, a rare architectural feature, pulls in light from two directions simultaneously.

The Teatro Suite offers a more exuberant argument.

Polychrome paintings by Gian Battista Meduna’s restorers give [E] XS E GIMPMRK F] ,MEGSQS (EWE SJ XLI 8LVII ,VEGIW drifting through clouds, cherubs circling, the Giovannelli family crest between the windows. The geometric wooden floor acts as a stage set in itself.

The restoration throughout has been extensive, and the materials list is notable. More than 300 master artisans were

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T H E S PAC E Owner Arsenale Group Operator Orient Express (Accor Group) Keys 47 rooms, suites and residences Amenities 3 restaurants and bars, 5 public salons and a library, spa with hammam and aquatic therapies, gym, secret garden, private event spaces PROJECT TEAM Architecture & interior design Aline Asmar d’Amman Historic architect (19th century) Giovanni Battista Meduna Restoration collaborated with 300+ historians, conservation specialists and artisans

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employed, working across fresco conservation, goldleaf gilding, stucco repair, and mosaic restoration. In what is apparently only the second instance in Venice’s history, a dam was built around the palazzo’s foundations to allow divers to dry the structure from within – a process that took roughly three years. Marble fragments recovered during the work were handed to artists for RI[ WGYPTXYVIW 8LI -EPP[E] SJ ;SRHIVW Ƴ (EPPI Meraviglia – serves as a connecting passage between the lobby and the garden, lined with a rotating selection of contemporary works pegged to Venice’s cultural calendar, from the Biennale to the Film Festival.

Three-Michelin-starred chef Heinz Beck oversees the JSSH SǺIVMRK -MW VIWXEYVERX -IMR^ 'IGO :IRI^ME STIVEXIW in the former orangerie, where hand-pleated silk veils highlighted in gold by Atelier Lemaré Lognon hang from a pitched ceiling above tables set between two mineral KEVHIRW 1E (EWEXM XLI EPP HE] VIWXEYVERX SGGYTMIW E

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more theatrical register: sculptural chandeliers in faded celadon, amber, and pink; crackled lacquer surfaces; a commissioned plasterwork wall piece falling in pleated forms down the central wall, a reference to Marchesa 1YMWE (EWEXM 8LI ;EKSR 'EV XYGOIH FILMRH E QSRYQIRXEP [SSHIR HSSV LEW E ǼSSV TEXXIVRIH EJXIV XLI (Eƶ Hƶ4VSƶW KISQIXV] ERH XEFPIW [MXL GLIGOIVIH Murano glass tops that double as chess boards.

The Salone Vittoria, on the first noble floor, was originally commissioned in 1548 for the wedding of Guidobaldo II della Rovere to Vittoria Farnese, Princess of Parma. Its original Murano glass chandelier still hangs in place. The room now hosts private events for up to 50 guests. It is one of several spaces in this building that have survived intact precisely because they were considered too important to alter – which makes them now, paradoxically, the most forwardlooking rooms in the hotel. S

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PHOTOGRAPHS COURTESY OF AETHOS AND ASTET STUDIO

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AETHOS LONDON SHOREDITCH, UK

Tokyo meets the East End at Aethos London, where Astet Studio has transformed a former Shoreditch landmark ;47) '= JESS MILES

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horeditch wears its identity like a grass stain on white GPSXLMRK 4RGI XLI KVMXX] KVEǽXM WGVE[PIH JVMRKI SJ XLI (MX] MX LEW FIIR KIRXVMǻIH KPSWWIH ERH KIRXVMǻIH EKEMR ERH ]IX WSQILS[ MX LEW VIJYWIH XS WYVVIRHIV MXW WGVETT] GVIEXMZI TYPWI 8LI GVERIW WXMPP PSSQ SZIV 4PH XVIIX XLI +VMHE] RMKLX UYIYIW WXMPP WREOI SYXWMHI XLI FEVW SR (YVXEMR 7SEH ERH XLI WQIPP SJ NIVO GLMGOIR JVSQ XLI QEVOIX SR 7MZMRKXSR XVIIX WXMPP [EJXW MXW [E] TEWX XLI PEXIWX XVIRH] GSRGITX GEJ³ 8S STIR E GVIHMFPI LSXIP LIVI XSHE] MW E FVEZI QSZI Ƴ MXƶPP Ǽ] SV ǼST HERGMRK EPSRK XS XLI FIEX SJ XLI PMZIP] RIMKLFSYVLSSH SV [EXGLMRK XLI [SVPH SYXWMHI KS SR F] [MXLSYX MX -EZMRK STIRIH E WXVMRK SJ LSXIPW XLEX WXVMOI XLI FEPERGI FIX[IIR VIǻRIH ERH FSLIQMER ]SYRK *YVSTIER LSWTMXEPMX] FVERH &IXLSW LEW EPVIEH] TVSZIH MXW QIXXPI MR LMKL ZMFI HIWXMREXMSRW WYGL EW 2MPER 2EPPSVGE ERH 1MWFSR +SV MXW 90 HIFYX XLI GLEPPIRKI SJ LSVIHMXGL [EW I\EGXP] XLI OMRH SJ STTSVXYRMX] XLI FVERH WIIQW XS WIIO SYX ERH XLI TVSWTIGX XS XVERWJSVQ E PSGEP EVGLMXIGXYVEP PERHQEVO$ 8SS LEVH XS VIWMWX IX [MXLMR XLI MQTSWMRK GSRGVIXI WLIPP SJ XLI JSVQIV 3SFY -SXIP XLI RI[ &IXLSW 1SRHSR SGGYTMIW E FYMPHMRK XLEX [LIR MX ǻVWX STIRIH MR HMZMHIH STMRMSR SQI PSZIH MXW MRHYWXVMEP FVEZEHS SXLIVW

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JIPX MX WEX E[O[EVHP] EQMH XLI EVIEƶW NYQFPI SJ :MGXSVMER [EVILSYWIW ERH XEKKIH WLYXXIVW & FMX XSS W[ERO] Ƴ TIVLETW FYX ERSXLIV HIǻRMRK TSMRX SJ MRXIVIWX MR LSVIHMXGLƶW IGPIGXMG ZMWXE MX became, nonetheless. &GUYMVIH F] 1MQIWXSRI &, MR XLI VSSQ TVSTIVX] [EW LERHIH XS 'EVGIPSRE FEWIH &WXIX XYHMS JSV E VIMRZIRXMSR &W TVMQI VIEP IWXEXI EPVIEH] ǻX JSV TYVTSWI &IXLSW XSSO ER IǽGMIRX ETTVSEGL [MXL E TLEWIH VIRSZEXMSR SR XMKLX XMQIPMRIW 8VYI XS [SVH XLI LSXIP VISTIRIH [MXL E WSJX PEYRGL PEWX 4GXSFIV NYWX E JI[ QSRXLW PEXIV NSMRIH MR XLI RI[ ]IEV F] 8LI ;MPPS[ 7SSQ QIQFIVWƶ WTEGI ERH VSYRHMRK SYX SRP] [IIOW EKS [MXL XLI YRZIMPMRK SJ 2MXWY XLI QSHIVR M^EOE]E XLEX SǺIVW E QSVI EGGIWWMFPI ERH EVKYEFP] QSVI XVIRH] /ETERIWI HMRMRK destination than its predecessor. ;EPOMRK MR JSV XLI ǻVWX XMQI XLMW WTVMRK XLI property has certainly blossomed since its &IXLSW XEOI SZIV 4J GSYVWI XLI WGIRX GYVEXMSR

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ERH ǼS[IVW F] 'SVRE] +PSVEP )IWMKR LIPT FYX XLI WTEGI MW EPMZI [MXL UYMIX GSRZIVWEXMSR MR W]RG [MXL XLI LSXIPƶW WYVVSYRHMRKW REXYVEP PMKLX ǼSSHMRK MR SZIV PEMH FEGO JEGIW 0IITMRK XLI FYMPHMRKƶW FSRIW SR WLS[ VIQSZIW XLI SZIVP] TSPMWLIH EIWXLIXMG E RI[ LSXIP SJXIR XEOIW E [LMPI XS WLEOI ERH &WXIXƶW MRXIVMSV ZMWMSR JIIPW EX LSQI MRZMKSVEXMRK XLI FMK I\TERWI SJ WTEGI MR XLI PSFF] [MXL E JVIWL XEOI &WXIX JSYRHIH F] EVGLMXIGXW &PE >VIMKEX ERH 4WGEV *RKVSFE ERH X[MGI PMWXIH MR XLI &) MWRƶX XLI SFZMSYW GLSMGI JSV LSVIHMXGL EW E TERMWL WXYHMS FIXXIV ORS[R JSV 2EVFIPPE WIEJSSH VIWXEYVERXW XLER *EWX 1SRHSR LSXIPW FYX TIVLETW XLI] [IVI I\EGXP] [LEX [EW RIIHIH 7EXLIV XLER VIEGLMRK JSV XLI YWYEP LSVIHMXGL WLSVXLERH SJ I\TSWIH FVMGO ERH *HMWSR FYPFW XLI WXYHMS LEW FVEMHIH MR E XLVIEH SJ &WMER GVEJXWQERWLMT ERH 2IHMXIVVERIER [EVQXL XLEX VYRW XLI PIRKXL SJ XLI FYMPHMRK Ƹ8VEHMXMSR ERH QSHIVRMX] GSRZIVKI MR E WTEGI WLETIH F] &WMER

VIJIVIRGIW ERH XLI VIFIPPMSYW WTMVMX SJ LSVIHMXGL ƹ XLI] WE] SJ XLIMV HIWMKR 8LI PSFF] FIWX IQFSHMIW XLIMV REVVEXMZI Ƴ behind the reception desk, a sprawling abstract FSXERMGEP QYVEP VIJIVIRGMRK /ETERIWI 'MNYXWYOEM HVE[MRKW ERH LSVIHMXGLƶW KVEǽXM ERGLSVW E VSSQ SJ HEVO XSRIW ERH VMGLP] TEXXIVRIH ǼSSVW 'IWTSOI PMKLXMRK GSQQMWWMSRIH JVSQ PSGEP EVXMWERW XLVS[W TSSPW SJ [EVQ PMKLX EGVSWW SVMKMREP EVGLMXIGXYVEP JIEXYVIW XLI WXYHMS LEW FIIR GEVIJYP XS TVIWIVZI 'VYWLIH QIXEPW QIIX XIVVEGSXXE PE]IVIH [SSH meets textile screens, the polished sits next to XLI VE[ &WXIX HIWGVMFIW XLI TVSNIGX EW E HMEPSKYI between the contrast, and the lobby is where the GSRZIVWEXMSR MW PSYHIWX +PS[MRK STIRP] JVSQ XLI PSFF] &IXLSW (EJ³ LEW FIIR XLI FYMPHMRKƶW QSWX EGGIWWMFPI JSSXLSPH WMRGI XLI WSJX STIRMRK ERH MX QEOIW E WQEVX MRXVSHYGXMSR XS XLI VIWX 8LI HIGMWMSR XS TPERX E 2IHMXIVVERIER QIRY LIVI MW YRI\TIGXIH FYX MX works, and acts as a thread to the designer’s

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S[R WXSV] ERH FVERHƶW XVEGO VIGSVH '] QMH QSVRMRK XLI VSSQ LYQW [MXL XLI OMRH SJ VIQSXI [SVOIVW XLEX LEZI QEHI LSVIHMXGL XLIMV HI JEGXS SǽGI PETXSTW NSWXPMRK [MXL ǼEX [LMXIW ERH F] XLI XMQI XLI PYRGL WIVZMGI VYRW MRXS IEVP] IZIRMRK HVMROW XLI PSGEPW LEZI FIKYR XS GPEMQ MX EW XLIMV S[R ;LEXIZIV IPWI this hotel is doing, it has managed to give the RIMKLFSYVLSSH WSQI[LIVI MX EGXYEPP] [ERXW XS WTIRH XMQI Ƴ RSX NYWX WSQI[LIVI XS WXE] 'YX XLMW [EW I\EGXP] [LEX &IXLSW WIX SYX XS HS Ƴ GVIEXI GSQQYRMX] Ƴ ERH XLI] FIH HIITIV MRXS XLEX XIVVMXSV] [MXL XLI MRXVSHYGXMSR SJ E FVERH [MHI QIQFIVWLMT TVSKVEQQI 8LI ;MPPS[ 7SSQ STIRIH MR /ERYEV] MW [LIVI &IXLSWƶ QIQFIVWƶ GPYF EQFMXMSRW FIGSQI XERKMFPI 7IWXEYVERX FEV PMFVEV] ERH XIVVEGI ǼS[ MRXS IEGL SXLIV MR E WMRKPI PS[ PMX W[IIT XLI FPEGO QEVFPI GSYRXIVXST VYRRMRK JVSQ 8LI ;MPPS[ 7SSQƶW HIHMGEXIH VIGITXMSR XLVSYKL XS XLI FEV Ƹ+YRGXMSREP IPIQIRXW EVI HMWGVIIXP] MRXIKVEXIH ERH XLI PMKLXMRK MRXVSHYGIW E QSVI MRXMQEXI VL]XLQ ƹ &WXIX RSXIW SJ XLI WTEGI [LMGL YWIH XS FI E FEVI FSRIW GSRJIVIRGI ERH QIIXMRK VSSQ 7IXLMROMRK XLI VSSQ [MXL MRXMQEG] MR QMRH LEW XVERWJSVQIH ER YRHIVYXMPMWIH WTEGI MRXS SRI XLEX STIVEXIW EW E GS [SVOMRK LYF F] HE] WLMJXMRK F] IZIRMRK MRXS WSQIXLMRK XLEX JIIPW EPQSWX HSQIWXMG ERH JEQMPMEV 7EXXER GLEMVW ǻPP XLI FSXXPI lined shelves catch the bar light, and the room takes on a relaxed atmosphere where people can wind down and socialise. &IXLSW TMXGLIW EPP SJ XLMW EKEMRWX LSVIHMXGLƶW [IPP WXSGOIH GYTFSEVH SJ ZIPZIX VSTIW [LIVI GPYF ERH GS [SVOMRK QIQFIVWLMTW LEZI QYPXMTPMIH JEWXIV XLER XLI]ƶZI HMǺIVIRXMEXIH XLIQWIPZIW (*4 'IRNEQMR -EFFIP XEPOW EFSYX E LSWTMXEPMX] XLEX ƸHSIWRƶX NYWX WIVZI TISTPI Ƴ MX FVMRKW XLIQ XSKIXLIV ƹ ERH LSXIP QIQFIVWLMTW SǺIV QSVI XLER QSWX & [IPPRIWW ǼSSV [MXL WEYRE GSPH TPYRKI LSX FEXLW ERH E GPEWW WXYHMS WMX SRI PIZIP E[E] [LMPI YT EFSZI VSSQW EVI VIEH] XS EFWSVF XLI PEXI RMKLXW 9T MR XLI VSSQW &WXIXƶW LERH MW PMKLXIV [LMGL MW E WIRWMFPI GEPP KMZIR XLI FYMPHMRKƶW VIPEXMZIP] ]SYRK FSRIW 8LI TVIZMSYW ǻX SYX LEW FIIR VIǻRIH VEXLIV XLER VMTTIH SYX XLI TEPIXXI [EVQIH XLI XI\XYVIW PE]IVIH YT )VETIV] ERH YTLSPWXIV] HS QSWX SJ XLI [SVO WSJXIRMRK XLI EVGLMXIGXYVIƶW LEVHIV IHKIW MRXS WSQIXLMRK XLEX JIIPW HMWXMRGXP] QSVI VIWMHIRXMEP XLER XLI GSVTSVEXI PIERMRK SVMKMREP YMXIW XEOI JYPPIV EHZERXEKI SJ XLI LSVIHMXGL WO]PMRI SJ FVMGO chimneys and glass towers with several opening onto private terraces that, on a clear evening, JVEQI XLI (MX]ƶW KPEWW GPYWXIV SR SRI WMHI ERH XLI TEXGL[SVO SJ -EGORI] VSSJXSTW SR XLI SXLIV

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T H E S PAC E Owner Limestone AG Operator Aethos Interior design Astet Studio Keys 164 rooms and suites aethos.com

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8LIR FIPS[ KVSYRH XLIVIƶW 2MXWY 4TIRIH NYWX E JI[ [IIOW EKS XLI RI[ VIWXEYVERX MW XLI TVSNIGXƶW FMK QSQIRX ERH GEPPMRK GEVH Ƴ MXW Q]WXIVMSYW FY^^ WTMPPMRK SYX SR XS XLI WXVIIX EFSZI PMOIP] XS HVE[ MR QER] E GYVMSYW TEWWIVF] ;MXL XLEROW XS XLI FYMPHMRKƶW EVGLMXIGXYVI KYIWXW I\TIVMIRGI E HVEQEXMG IRXVERGI HIWGIRHMRK JVSQ ;MPPS[ XVIIX XLVSYKL E WYROIR /ETERIWI KEVHIR MRXS E WSEVMRK HSYFPI LIMKLX VSSQ XLEX JIIPW QMPIW JVSQ XLI TEZIQIRX EFSZI 'VMKLX ERH STIR F] HE] XLI VIWXEYVERX HVSTW into a more heady space by night, soaked in low red PMKLXMRK ERH XLI WSYRHW SJ IEW] )/ WIXW Ƹ/ETER ERH LSVIHMXGL QIIX MR XLI XVERWMXMSR JVSQ HE] XS RMKLX [LIVI XLI PMKLX JEHIW XLI QYWMG VMWIW ERH XLI WTEGI FIGSQIW QSVI MRXIRWI ƹ &WXIX WE]W 8LIMV MRXIVMSVW FSVVS[ JVSQ XLI M^EOE]E XVEHMXMSR [MXLSYX FIGSQMRK GPMGLI +VEQIH KPEWW ERH XI\XMPI WGVIIRW VIMRXIVTVIX [EWLM TETIV ǻPXIVMRK PMKLX MRXS E HMǺYWI KPS[ [LMPI GEVTIRXV] XLEX RSHW XS /ETERIWI XIQTPI [SSH[SVO VMWIW MR E GPIER

PEXXMGI FIX[IIR FEV ERH GIMPMRK 8LI STIR OMXGLIR MW JVEQIH ERH WPMKLXP] IPIZEXIH XLI VSFEXE KVMPP XVIEXIH EW XLIEXVI Ƴ ǻVI WQSOI ERH XLI VL]XLQMG GPEXXIV SJ E FYW] TEWW FIGSQMRK TEVX SJ XLI VIWXEYVERXƶW WSYRHXVEGO Ƹ8LI WTEGI HSIW RSX VIZIEP MXWIPJ EPP EX SRGI MX MW FYMPX XLVSYKL PE]IVW ǻPXIVW ERH WYFXPI XVERWMXMSRW ƹ &WXIX WE]W SR YXWYVSM XLI /ETERIWI MHIE SJ WYFXPI GLERKI SZIV XMQI [LMGL XLI] YWIH EW E HIWMKR TVMRGMTPI JSV 2MXWY ;EPOMRK SYX SRXS ;MPPS[ XVIIX EJXIV E PSRK PYRGL XLEX LEW FPIH MRXS IEVP] IZIRMRK HVMROW [LEX WXE]W MR QMRH MWRƶX XLI VSSQ GSYRX SV IZIR XLI EXXVEGXMZI QIQFIVWLMT TMXGL FYX VEXLIV XLI WIRWI SJ E LSXIP XLEX LEW WYGGIWWJYPP] IQFIHHIH MXWIPJ MR XLI GLEPPIRKMRK RIMKLFSYVLSSH MX MRLEFMXW 2MXWY QE] LEZI FIIR XLI FMK ǻREPI SJ &IXLSW 1SRHSRƶW TLEWIH STIRMRK FYX [LEXƶW I\GMXMRK MW WIIMRK LS[ XLI LSXIP GSRXMRYIW XS IWXEFPMWL MXWIPJ [MXLMR MXW PSGEPMX] .J MX OIITW YT [MXL XLI TEGI XLIVIƶW RS HSYFX MX [MPP become a Shoreditch stalwart in no time. S

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THE LAKE COMO EDITION C A D E N A B B I A , I TA LY

EDITION’s design-led playbook lands on Lake Como, calling upon Neri&Hu to reimagine a historic villa with a cinematic sense of sequence

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et along the western shores of Lake Como, The Lake Como EDITION occupies a site that is as complex as it is familiar. The original villa, shaped by more than a century of additions and alterations, arrives with its own contradictions – a patchwork of architectural styles, volumes, and material expressions. Rather than smooth these out, the design leans into them, using the building’s irregularities as a starting point for something more nuanced.

The project is led by Omnam Group, the European developer behind a growing portfolio of design-led hospitality assets, working in partnership with Bain Capital and Marriott’s sleek EDITION brand.

Their model – identifying heritage properties in prime locations and repositioning them through strong design and brand alignment – is clearly legible in this latest project. Architecture and interiors are overseen by Shanghai based inter-disciplinary architectural design TVEGXMGI 3IVM -Y )IWMKR ERH 7IWIEVGL 4ǽGI [MXL )I 8EPIW EGXMRK as architect of record, bringing together an international team tasked with balancing preservation and reinvention.

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PHOTOGRAPHS BY NIKOLAS KOENIG

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The redevelopment reframes the former Hotel Britannia Excelsior as a contemporary hospitality destination while keeping one foot ǻVQP] MR MXW TEWX 8LI LMWXSVMG JE±EHI VIQEMRW maintaining the building’s presence on the lakefront, while the real work happens inside, [LIVI GMVGYPEXMSR MW GPEVMǻIH WTEGIW EVI rebalanced, and a new rhythm is introduced.

A sense of recalibration is felt immediately SR EVVMZEP 8LI EPP RI[ HVST SǺ WIUYIRGI subtly reorients the approach, giving the building a clearer sense of entry without overplaying the intervention. Inside, the transition from exterior to interior is handled with restraint. There is no grand reveal, but rather a gradual unfolding – a series of spaces

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that introduce themselves in layers, allowing the building’s complexity to be read over time rather than all at once.

At the heart of the scheme is a simple but IǺIGXMZI MHIE XLI MRXIVMSV KEVHIR 7EXLIV XLER E PMXIVEP KEVHIR MX VIEHW EW E WIUYIRGI SJ TPERXIH moments and spatial pauses that thread through the building, linking its various parts together. It’s a device that helps make sense of what could otherwise feel disjointed, softening transitions and guiding movement in a way that feels instinctive rather than forced.

A sculptural stair anchors this concept, acting as both orientation point and visual cue. Its form responds to the layered nature of the I\MWXMRK WXVYGXYVI WXMXGLMRK XSKIXLIV HMǺIVIRX

volumes while maintaining a sense of clarity.

From here, movement unfolds gradually with corridors widen into lounges, intimate corners opening onto larger communal spaces, and glimpses of the lake appearing and disappearing as you move through.

Continuing the thread, the public areas lean into the balance between openness and intimacy. The Grand Hall, with its statement chandelier and verde smeraldo marble bar, acts as a central meeting point – formal enough to feel like an occasion, but softened by material warmth and careful lighting. It’s a space designed for lingering, whether for a drink, a meeting, or simply to take in the atmosphere.

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Elsewhere, the tone shifts. A series of smaller, more enclosed spaces – including a library and secondary bar – adopt a darker palette of oak and terracotta plaster, creating a more residential feel. Creating QSQIRXW SJ GSQTVIWWMSR XLI] SǺIV GSRXVEWX XS XLI openness of the larger rooms and give the overall I\TIVMIRGI E QSVI I\GMXMRK WIRWI SJ VL]XLQ ERH ǼS[ Outdoors, terraces and courtyards extend the narrative rather than interrupt it. A pergola-shaded HMRMRK EVIE JVEQIW ZMI[W EGVSWW XLI PEOI [LMPI UYMIXIV courtyard spaces introduce moments of pause. Planting MW YWIH WTEVMRKP] FYX IǺIGXMZIP] VIMRJSVGMRK XLI MHIE SJ the garden as a connective thread rather than a decorative afterthought.

The relationship with the lake is handled with similar restraint. While views are maximised, they are never overexposed. Openings are framed like postcards, sightlines are controlled, and the water is revealed in glimpses as much as in panoramas. The gentle curation of views is subtle yet directional, allowing the setting to retain a sense of discovery.

Accommodation is distributed across 148 guestrooms and suites, including four rooms within Villa Gina. In TVMZEXI UYEVXIVW XLI HIWMKR WLMJXW XS[EVHW E UYMIXIV more domestic language. Custom walnut furniture, hand-tufted rugs, and stone bathrooms create a sense of understated comfort, while restored French balconies and large windows bring the lake into focus.

Materiality across the hotel follows a consistent philosophy, letting tactility be the decorative feature.

Marble, terrazzo, plaster, and timber recur throughout, GVIEXMRK HMǺIVIRGI ERH GSRXMRYMX] [MXLSYX FIGSQMRK repetitive. Suppliers including MGS for marble and Marazzi for ceramics contribute to a palette that feels rooted in the region but interpreted through a contemporary lens.

Furniture and lighting reinforce this approach. Pieces from Cassina, B&B Italia, Molteni, and Thonet sit alongside custom designs by Neri&Hu, creating an environment that feels collected rather than prescribed. Lighting – from brands including Flos and Artemide – is layered to create atmosphere, shifting subtly from day to night.

'I]SRH XLI MRXIVMSVW XLI ǼSEXMRK TSSP MRXVSHYGIW E more social dimension. Extending out onto the lake, it operates as both amenity and destination – a place where the relationship between architecture and water becomes more immediate. The Lido, by Omnam’s newest venture, Omnam Design Studio (ODS), will welcome a second pool and social hub. With its bar, lounge areas, and direct lake access, it will bring a sense of energy that contrasts with the more measured pace of the interiors.

Food and drink play a central role in this dynamic. +SYV ZIRYIW SǺIV E VERKI SJ I\TIVMIRGIW JVSQ XLI

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T H E S PAC E Owner Omnam Group, Bain Capital Operator EDITION Hotels (Marriott International) Keys 148 guestrooms and suites, Amenities 4 dining venues, a destination spa and ǻXRIWW GIRXVI ERH 1EOI (SQSƶW PEVKIWX ǼSEXMRK TSSP PROJECT TEAM Architecture (AOR) De.Tales Interior design 3IVM -Y )IWMKR ERH 7IWIEVGL 4ǽGI Lighting design Isometrix Landscape design Studio Makia Art consultant VISTO KEY SUPPLIERS Materials MGS (marble), Marazzi (ceramic tiles), millwork by Extra Ordinario, Pianca, and SkillMax FF&E Cassina, B&B Italia, Molteni, Zanotta, Thonet, Vitra, Agape, Classicon, Wittmann Textiles Kvadrat, Dedar, Jaipur Rugs, Class Design Spa/Bathroom Axor, Laufen Lighting Flos, Artemide, Viabizzuno, Santa & Cole, Karakter, MIIC, Oluce Outdoor Talenti, TRIBU, Ethimo

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VIPE\IH STIR EMV WIXXMRK SJ 7IR^S XS XLI QSVI VIǻRIH atmosphere of Cetino, led by Mauro Colagreco. Each space is shaped as much by its design as by its menu, reinforcing the idea that hospitality here is as much EFSYX IRZMVSRQIRX EW MX MW EFSYX SǺIVMRK Wellness adds another layer. The Longevity Spa, developed in collaboration with The Longevity Suite, introduces a more technical approach to wellbeing, combining traditional treatments with diagnostics-led programmes and biohacking technologies.

Architecturally, the space remains consistent with the rest of the hotel – calm, material-driven, and immersive without feeling enclosed.

For Omnam Group, the project is less about reinvention ERH QSVI EFSYX VITSWMXMSRMRK &GUYMVIH MR ERH VIHIZIPSTIH SZIV WIZIVEP ]IEVW XLI TVSTIVX] VIǼIGXW XLI group’s hands-on approach – from funding and design direction through to operational delivery – working closely with both creative teams and brand partners to shape a commercially viable but design-led outcome.

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That balance is evident throughout with interventions avoiding over-correction, instead working with the building’s existing character and adjusting it where needed. Enlarging guestrooms, improving circulation, and introducing new public spaces that better align with contemporary hospitality expectations.

It also speaks to the wider EDITION positioning [LIVI VEXLIV XLER MQTSWMRK E ǻ\IH EIWXLIXMG XLI FVERH relies on a consistent approach to concept that prioritises atmosphere, social spaces, and a sense of place over visual uniformity. Here, that translates into a LSXIP XLEX JIIPW WTIGMǻG XS 1EOI (SQS [MXLSYX PIERMRK too heavily on its clichés.

The result is a project that feels commercially sharp but design-conscious – a difficult balance to strike on a lake where heritage can easily tip into pastiche. Instead, The Lake Como EDITION lands WSQI[LIVI QSVI QIEWYVIH E LSXIP XLEX YRHIVWXERHW MXW GSRXI\X FYX MW IUYEPP] JSGYWIH SR LS[ MX STIVEXIW its latest edition. S

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PHOTOGRAPHS BY DOOK

ANDBEYOND SUYIAN LODGE L A I K I P I A , K E N YA An architectural jewel emerges in Laikipia WORDS BY ANDREW WAKEM

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et against the dramatic backdrop of northern Kenya’s Laikipia plateau, the newly unveiled andBeyond Suyian Lodge is a striking addition to the region’s rich safari heritage. Nestled within the Suyian Conservancy, north of Mount Kenya, the lodge occupies a unique position on an escarpment with panoramic views of the ancient Suyian rock sanctuary and sweeping vistas to the south toward Mount Kenya. This exceptional setting has informed every aspect of the lodge’s design and placement, with the terrain itself dictating the architectural response. andBeyond’s Suyian Lodge is the result of a collaborative vision between leading architectural and design practices. Michaelis Boyd, appointed in September 2022 following their celebrated work across Kenya, led the design alongside Nicholas Plewman Architects. The interior vision was shaped by Fox Brown Creative, while the landscape was sensitively crafted by Tufaha Africa.

Construction began in March 2024 and, after 16 months of building in one of Africa’s most remote and ecologically sensitive environments, the lodge is now open for guests to check in.

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This project marks a continued partnership between andBeyond and Michaelis Boyd, following successful collaborations at Sandibe and Kichwa Tembo in Kenya, and Benguerra Lodge in Mozambique. The brief for Suyian called for a destination that celebrated the wild spirit of Laikipia while treading lightly on the land. One of the area’s most distinctive natural features is its population of elusive black leopards, rarely seen elsewhere, making Suyian a site of both ecological and experiential significance.

plunge, and a yoga and gymnasium space. Fourteen standalone one-bedroom villas and a larger twobedroom villa are dotted discreetly across the escarpment, each strategically oriented to capture the sunrise and maximize privacy. The villas feature domed ceilings in their living and bedroom spaces – an architectural homage to the forms of the surrounding VSGO WERGXYEV] Ƴ [LMPI XLI FEXLVSSQW SǺIV I\TERWMZI views, deep stone bathtubs, circular skylit showers, and even a “loo with a view.” The ceilings between the domes

Guests arriving at the lodge are welcomed into a main building that serves as both a hub and a sanctuary. This includes a bar, restaurant, lounge, outdoor terrace, boutique, and a map room. A unique feature is the Black Leopard Room – an editing suite where guests can review and process their photography, a nod to the site’s extraordinary wildlife encounters. A short walk away, the pool area offers expansive views and restful indulgence, complete with a pool bar, daybeds, and a cooling deck.

Wellness is thoughtfully integrated, with a separate complex housing two treatment rooms, a sauna, a cold

are vaulted to continue the curved language of the architecture. Each villa also boasts a private plunge pool, a terrace, indoor and outdoor living spaces, and a JYPP] WXSGOIH FEV ERH GSǺII WXEXMSR Sustainability lies at the heart of Suyian. The lodge is entirely off-grid, powered by solar energy, with water sourced from boreholes, and waste water through onsite filtration and reuse systems. Food waste is composted, and the surrounding landscape has been rewilded with indigenous planting. Green roofs not only insulate but also help the lodge visually recede into the escarpment, continuing the

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architects’ ambition to embed the building within its natural environment.

Materials were selected with a deep respect for place and climate. Locally sourced stone cladding reduces emissions and echoes the rocky topography. External domes are rendered with earth taken directly from the site, blending seamlessly with the surrounding geology. Interiors are finished in lime plaster, polished concrete, and timber – used extensively in wellness areas. All the doors and shutters are made of Crittall to follow the delicacy of the design.

Ceilings in the main areas feature timber PEXLIW GSRXMRYMRK ǼYMHP] XS XLI SYXHSSV pergolas and shaded terraces. The architecture draws on a language of arches and circular forms, expressing a harmonious rhythm that balances protection and openness.

The masterplan accounts for wildlife movement and proximity, encircling the lodge with a low-impact elephant fence to protect the structures while allowing other animals – KMVEǺIW PMSRW ^IFVEW PISTEVHW ERH IPITLERXW – to wander freely up to its edges. The architecture’s relationship with the land is not only aesthetic but also ecological, with careful siting and construction practices minimizing visual and environmental impact. S

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T H E S PAC E Owner Suyian Conservancy Trust Operator andBeyond Amenities Indoor and outdoor restaurants, bar, lounge, library, map room, wellness including gym and pool Keys 15 villas PROJECT TEAM Architecture Michaelis Boyd, Nicholas Plewman Architects Interior design Fox Brown Creative Landscape design Tufaha Africa Conservation consultants Space for Giants Lighting design Lighting Solutions Kenya Engineering Continental Consultants LLP (structural), ARAW Design (MEP) Contractor Northscape KEY SUPPLIERS Furniture Belle Furniture, Authenteak, High Thorn, Njena, Italian Design Outdoor Kaa Hapa, Afro Dutch, Sunnydaze Bathroom Stone Arts Soft furnishing Hertex, Evolution Product, Ginger Cat, Jireh Hand Woven Craft Lighting Creative Innovations, Design Africa, High Thorn Other Ceramiqa Pottery (crockery), Hadithi Crafts (styling baskets), Interior Solutions (mosquito nets), Kitengela Glass (bespoke glassware), Rusty Fundi [MRHS[W HSSVW ERH KYIWX EVIE ǻVITPEGIW .VSR[SSH &JVMGE KYIWXVSSQ ǻVITPEGIW

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IMAGES COURTESY OF ROSEWOOD HOTELS & RESORTS

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ROSEWOOD COURCHEVEL LE JARDIN ALPIN COURCHEVEL, FRANCE

A contemporary alpine retreat blending 1960s glamour, artisanal craftsmanship and immersive design in one of the world’s most exclusive ski destinations.

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T H E S PAC E Operator Rosewood Hotels & Resorts Amenities Integrated retail and ski rental spaces, spa, all-day dining concept with terrace, kids club, bar lounge and cigar room Keys 51 rooms and suites, and 3 signature houses: Saulire House, Courchevel House, and Jardin Alpin Apartment PROJECT TEAM Lead design Tristan Auer Jardin Alpin Apartment design Studio KO Artist installations Olafur Eliasson, Elisa Strozyk, Christian Pellizzari, Amandine Haeghen, Studio MTX, Morgane Baroghel-Crucq KEY SUPPLIERS Fabric Pierre Frey Lighting Garnier & Linker Architectural glass Thinkglass Architectural embroidery Studio MTX Bathroom Gessi Carpets édition 1.6.9 Furniture Ado Chale (suite table)

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AREA FOCUS

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O U T D O O R S PAC ES May might be a little early to wave off the winter blues, but the recent splash of sunshine has us dreaming about where to spend those long summer days – both at home and away. Hotels are quick to answer the call, offering the chicest outdoor spaces catering to sun worshippers, shade seekers, and design lovers alike. From poolside bars to leafy courtyards and rooftops built for golden-hour views, we round up the standout hotel outdoor spaces where style and escapism meet under open skies.

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AREA FOCUS

SIX SENSES ROME I T A LY &X M\ IRWIW 7SQI MRHSSV SYXHSSV PMZMRK XEOIW GIRXVI WXEKI SǺIVMRK KYIWXW a calm, sun-drenched retreat in the heart of the Eternal City. Designer Patricia Urquiola has transformed a historic Roman palazzo into a serene sanctuary, blending soft geometry with natural textures and traditional Italian materials.

8LI 'MZMYQ VIWXEYVERX ǼS[W IǺSVXPIWWP] JVSQ XLI PSFF] MRXS ER EMV] GSYVX]EVH where a curved green marble bar mirrors its indoor counterpart, forming an elegant, near-complete circle beneath sculptural, earth-toned steelwork. Up on top, the NOTOS rooftop bar embraces Urquiola’s signature tactile style, serving botanical cocktails with panoramic views of Rome at golden hour.

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THE EVE S Y D N E Y, A U S T R A L I A The rooftop is where its at at The Eve – home to a garden, pool and restaurant it’s a hedonist’s playground. For the look and feel of the restaurant, Lottie, interior architect George Livissianis drew directly from Haddow’s architectural palette. Sandblasted travertine, Palladiana ǼSSVMRK ERH I\TSWIH GSRGVIXI GVIEXI E XEGXMPI FEGOHVST 7IH XVEZIVXMRI JSVQW XLI GSVI SJ the colour story, shifting from ochre to vibrant orange – hues that echo both the cuisine and XLI ]HRI] WYRWIX )IWMKRIH F] )ERMIP 'EǺWO] XLI KEVHIR TE]W LSQEKI XS XLI WMXIƶW JSVQIV life as one of colonial Sydney’s earliest pleasure gardens, part of Portuguese immigrant John Baptist’s 40-acre nursery in East Redfern, which operated from the 1900s to the 1930s.

At the centre of the garden is a 20-metre pool clad in dark green Sukabumi tiles, surrounded by sunbeds and cabanas with retro-style umbrellas in a punchy Hermès orange.

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DELANO DUBAI UAE Designed by Elastic Architects, SA Consultants, La Bottega Interiors, and YDesign – alongside Ennismore’s in-house team – Delano Dubai takes the bold spirit of the Miami original and gives it a fresh, laid-back twist. At the centre of the resort, the Delano Pool makes a statement with oversized, billowing umbrellas, sculptural topiary, and sunken lounge seating built into the shallows. Just steps away, the pool’s bar and restaurant continues the relaxed vibe with a warm, textural palette SJ WXSRI ǼSSVW VEXXER JYVRMXYVI ERH WYRWLMRI ]IPPS[ WXVMTIH YTLSPWXIV]

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THE LANA DUBAI, UAE The Lana, set in Dubai’s Business Bay, brings together bold architecture and sky-high leisure with unmistakable style. Designed by Foster + Partners, the 30-storey tower nods to the city’s shifting skyline, while interiors by Gilles & Boissier layer in rich textures, curated art and a strong sense of place. But it’s the rooftop that steals the spotlight.

High Society, the hotel’s bar and restaurant, wraps around a show-stopping infinity pool with front-row views of the Burj Khalifa and beyond. With sunken seating, parasollined daybeds and sharp city views, it’s Dubai’s newest contender for most photogenic pool scene.

THE CHANCERY ROSEWOOD LONDON, UK Once the former home of the United States Embassy, The Chancery Rosewood now sits behind the dazzling façade on Grosvenor Square. Originally the work of FinnishAmerican architect Eero Saarinen, the building’s restoration LEW FIIR PIH F] MV )EZMH (LMTTIVǻIPH MR GSPPEFSVEXMSR [MXL developers Qatari Diar Europe LLP. The opening of the hotel debuted eight distinct restaurants and bars, each with its own sense of character and craft. Taking its name from the iconic gilded eagle sculpture perched atop the building, the Eagle Bar occupies the rooftop terrace – a wraparound aerie with views over Grosvenor Square and a vinyl-led music programme curated by an East London collective.

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T H E C H E S T E R F I E L D M AY FA I R LONDON, UK Red Carnation has revealed an elegant hideaway above the rooftops of Mayfair. The stylish retreat features a retractable roof, a glowing marble bar and burnt-cedar decking, and offers space for up to 60 guests. Set atop the first Red Carnation property, Stanley’s was inspired by the collection’s hospitable founder, the late Stanley Tollman, whose face is immortalised by a bespoke mosaic from Maggy Howarth Studio.

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SHOWTIME

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EVENTS DIARY

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SPACE brings you the best in show this year from design and architecture fairs to industry conferences, and award ceremonies around the globe.

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MELBOURNE DESIGN WEEK

N YC x D E S I G N F E S T I VA L

5 -7 M AY

1 4 - 2 4 M AY

1 4 - 2 0 M AY

L a s Ve g a s , U . S .

Melbourne, Australia

N e w Yo r k C i t y, U S A

HD Expo + Conference is the largest single destination for hospitality product discovery in the U.S. where buyers can ĀĹÚ ŞųŅÚƚÏƋŸ ƋŅ ÆųĜĹč ƋĘåĜų ŞųŅģåÏƋŸ ƋŅ ĬĜüåţ

Australia’s leading design festival, held annually over 11 days in Melbourne and regional Victoria.

NYCxDESIGN produces dynamic programming year-round, culminating in its signature festival spanning industries from architecture and product design to technology.

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JUNE

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ICFF

CLERKENWELL DESIGN WEEK

NYU IHIF

1 7- 1 9 M AY

1 9 - 2 1 M AY

3 1 M AY – 2 J U N E

N e w Yo r k C i t y, U S A

London, UK

N e w Yo r k , U S A

The International Contemporary Furniture Fair is North America’s leading platform for contemporary furniture design.

Spread across London’s most saturated design district, Clerkenwell Design Week showcases world leading interiors brands and emerging design talent.

The International Hotel Investment Forum returns to New York, in partnership with the NYU School of Professional Studies and its Tisch Center of Hospitality.

icff.com/fair

clerkenwelldesignweek.com

ihifamericas.com

L.E/MIAMI

WOW!HOUSE 2026

NEOCON

1-4 JUNE

2 JUN – 2 JUL

8-10 JUNE

Miami, USA

London, UK

Chicago, U.S.

An exclusive travel trade festival dedicated to the high-end contemporary market. Hosting 1,700 delegates, the show promotes creative and high-end suppliers.

A one-of-a-kind showhouse featuring 21 rooms and outdoor spaces, brought to life by world-class designers in collaboration with top brands and suppliers.

A launch pad for innovation, NeoCon offers ideas and introductions that shape the built environment today and into the future.

lemiami.com

dcch.co.uk/wowhouse

neocon.com

HOTEL & RESORT DESIGN SOUTH

CRUISE SHIP INTERIORS

3 D AY S O F D E S I G N

9-10 JUNE

9-10 JUNE

10-12 JUNE

Miami, U.S.

Miami, U.S.

Copenhagen, Denmark

HDRS is a sourcing and networking platform created exclusively to connect designers and the global supply chain with hotel & resort brands from the South and LATAM markets.

Taking place alongside HRDS, CSI is a gateway for the cruise interiors supply chain to meet with the most esteemed cruise lines, designers, and shipyards.

Denmark's official design festival, 3daysofdesign is a global platform to showcase and celebrate creativity across a vast array of design arenas.

hotelresortdesign-south.com

cruiseshipinteriors-expo.com

3daysofdesign.dk

DESIGN SHOW AUSTRALIA

D E S I G N F E S T I VA L N O R T H

IDAS

11-13 JUNE

17 JUNE

22 JUNE

S y d n e y, A u s t r a l i a

Birmingham, UK

London, UK

A trade show that invites designers, devel-

A touring 1-day showcase of innovative

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design products for the A&D community to connect and engage with suppliers both existing and new.

The Interior Design & Architecture Summit (IDAS), Hotel Designs’ premium meet-the-buyer event for designers, architects and suppliers

designshow.com.au

designsocialnorth.co.uk

hoteldesigns.net

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Finding beauty, meaning & resonance AT MILAN DESIGN WEEK

WO RD S BY W R E N LO U C K S

Known for her holistic approach to design, Founder and Creative Director of Be-Kin Wren Loucks considers the shift from visual display to sensorial immersion as she shares her impressions of the world’s biggest design event

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pn ac s p a cheodt e lssi g meaognal zi ni nee. c. noemt

Wren Loucks is the Founder and Creative Director of Be-Kin, a luxury interior design studio known for its holistic approach. She believes that the spaces we occupy have a profound impact on how we feel and that beauty has power to heal that is beyond WYTIVǻGMEP ;VIR XEOIW GPMIRXW SR E NSYVRI] SJ discovery, exploring their tastes, revealing their sensitivities and tuning in to their energy.

The highly personalised spaces Be-Kin creates bring clients joy, comfort and inspiration. Wren is a teacher at Inchbald GLSSP SJ )IWMKR ERH E ǻRI EVXMWX [LS IRNS]W helping clients, collaborators and students unlock their creativity. be-kin.com

W

All images from Nilufar Grand Hotel installations at Milan Design Week 2026, pictured right is to Lola Montes’ reception desk, pictured opposite is (LVMWXMER 5IPPM^^EVMƶW EǺVSR Iridacee wall lamp

spacedesignmagazine.net

hen I stepped inside the Nilufar Grand Hotel, the conventions of daily life washed away. I was suddenly an actor on a set, engaging with the breathtaking Milan Design Week installation from the celebrated city gallery, Nilufar. Inside the space, timelines converged. In the lobby, a striking 1970s chandelier hung above me, while I sat in a contemporary plush velvet armchair with a Gabriella Crespi brass bird over my shoulder.

The hotel spanned three floors in Nilufar’s depot space, and invited you into private dining spaces, bedrooms, sitting rooms. One’s imagination became boundless, the senses delighted as they digested the rich palette of textures and unique pairings of objects like a George Nakashima table among serpentine contemporary glass chandeliers. Nina Yasher, Nilufar Gallery’s founder, built her reputation as a tastemaker on such unexpected,

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daring juxtapositions. And to enjoy them unfolding across multiple floors and outside spaces was a delight.

This was design not just to function, but to evoke beauty, meaning and resonance. The narrative thread created coherence – playing with codes of welcome and domesticity; and allowing space for experimentation. Feeling like a player in a storyline elevated the experience beyond display and viewing, towards immersion and emotion. I wanted to take my time to see and feel the exhibition. And this way of ‘slow, deliberate and intentional’ seeing resonated with me throughout Milan Design Week.

The next day I went to Salone del Mobile. It is one of the largest interior design fairs in the world, with 50-60,000 visitors each day. A new exhibition hall called Rarities caught my eye. It is dedicated to collectible design, limited editions, high-end craftsmanship, and design antiques, marking the first time such pieces have a dedicated, curated space within the main fair. It felt intimate, and the fact that many of the objects were one-offs and limited editions gave them a gravitas that asked you to slow down and really ‘see’ each piece. Several made a lasting impression and I look forward to sharing some beautiful finds with my clients.

This page and opposite Nilufar Grand Hotel main hall and lounge, Audrey 1EVKI ǼSSV MRWXEPPEXMSR ERH WIGSRH ǼSSV VSSQW including The Fumoir, and boutique

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At the exhibition, I spoke with curator Valentina Ciuffi, finding common ground in our interest in the more mysterious, unseen dimensions of material objects and design. Interconnections and convergences – this is what excites me about Milan Design Week, the unexpected synchronicities. It reminds me that I’m on the right path.

With Joseph Grima, Valentina is co-founder of Alcova, the design platform behind two of the most talked-about stops in Mlian this week. Across the historic Biaggio Military Hospital on the Western edge of the city, and the modernist home of architect Franco Albini, Alcova brought together 131 exhibitors in playful yet sophisticated presentations. As I wander through the industrial complex of Baggio, I feel I have entered a portal into another time and place, where craftsmanship, storytelling and collectible design converge.

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SHOWTIME This page david/nicolas conceive a bedroom with hand painted and hand embroidered wall coverings developed with de Gournay.

Outdoors, Andrea Mancuso’s new Punteggiato collection is showcased in Rubelli Punteggiato fabric, designed by Gio Ponti in 1934.

Opposite (LVMWXMER 5IPPM^^EVMƶW EǺVSR .VMHEGII wall lamp, Etienne Marc chandelier, Nilufar's La Casa Magica

Valentina is also the curator of Nilufar’s other major exhibition – La Casa Magica, reimagining the home as a symbolic, ritual space. Through evocative objects, the exhibition explores belief, domestic archetypes, and re-enchantment. This is design as alchemy. In my own practice as Creative Director of Be-Kin, I find that by tuning into a client’s energy and sensitivities, as well as their more readily observable tastes, it allows for deeper dialogue.

This supports the design of highly personalised spaces, orchestrating materiality and light, objects, furniture and art into one resonant whole. The process becomes more about how people can thrive in a space – what they will do in it, rather than focusing too narrowly on its aesthetic appeal.

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My lasting impression of three days in Milan Design Week was that of stimulating dialogue. The dance between the space, the objects, how this intersects with one’s own unique cosmology and leaves a unique resonance. This relates to a wider trend in hospitality – a desire to move beyond visually-driven digital culture and seek out more analogue experiences. Ones that can only be felt through pure presence, that relate to a specific time and space. It’s why thousands of design enthusiasts make the yearly pilgrimage to Milan, join the long queues and crowds for real-life happenings that will stay with them long after the fair has ended. Through the tactile, sensory and tangible, we can create feelings that cannot be captured through a photo but resonate on an invisible plan within oneself. The impressions these leave within us. The patinas they wash over our creative souls.

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BEHIND THE DESIGNS AT WOW!HOUSE 2026 As the participating studios and partners prepare for the grand opening, SPACE KIXW E KPMQTWI SJ XLI TPERW ERH MRWTMVEXMSRW FILMRH ǻZI WXERHSYX VSSQW

JUN E 2-JULY 2 , D E S I G N C E N T R E C HE L S E A H A RB O U R

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PERENNIALS AND SUTHERLAND GARDEN TERRACE

BY FETTLE DESIGN fettle-design.co.uk | perennialsandsutherland.com What was your first reaction when you were asked to take part in WOW!house?

We had only recently been talking as a studio about how exciting it would be to FI MRZSPZIH XLMW ]IEV WS FIMRK MRZMXIH XS take part in the show was a fantastic moment for us.

What sort of ambience are you trying to create? 4YV ZMWMSR JSV XLI ,EVHIR 8IVVEGI GETXYVIW XLI IǺSVXPIWW KPEQSYV SJ ER .XEPMER ZMPPE XIVVEGI E TPEGI XLEX celebrates colour, craft and the simple TPIEWYVI SJ SYXHSSV PMZMRK .RWTMVIH F] Perennials’ La Dolce Vita collection, the space is designed to feel warm, joyful and MQQIVWMZI PMOI WXITTMRK MRXS E WYR soaked Mediterranean afternoon.

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What is it about Perennials and Sutherland and their collection that inspires you? Both Perennials and Sutherland’s collections are beautifully crafted, elegant and technically superior. ;I LEZI [SVOIH [MXL 5IVIRRMEPW JSV QER] ]IEVW XLI] LEZI WYTTPMIH JEFVMGW JSV QER] of our outdoor spaces, like the rooftop bar EX ;EV[MGO MR SLS SV XLI XIVVEGI EX 8LI ,ISVKMER -SXIP MR ERXE 2SRMGE

Sutherland Arlette Dining Chair, Perennials Al Fresco Positano fabric, cushions in Leaping Leopards, Sunshine +EFVMG +VMRKI 'IRIǻX Mosaic Factory Encaustic Cement Tile, Sogni Di Cristallo Rialto Pendant Light, Grecia Wall Light

Who do you imagine living in the space that you are designing? We thought EFSYX LS[ XLI TIVWSR PMZMRK LIVI [SYPH QSZI XLVSYKL XLI WTEGI LS[ QSVRMRKW [SYPH FI TYVTSWIJYPP] WPS[ MRXMQEXI KEXLIVMRKW MR XLI EJXIVRSSR WYR WSQISRI who cared about texture and atmosphere.

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C A’ P I E T R A B AT H R O O M

BY DE ROSEE SA deroseesa.com | capietra.com What inspires you about working with Ca’ Pietra?

They are true masters of the materials they work with, particularly stone. Their depth of knowledge and the breadth of their collection is exceptional. We’ve worked with them previously and their client support, attention to detail and delivery are always outstanding.

What is your design concept? When I looked at the footprint of the bathroom and considered the timing of WOW!house, I was immediately drawn towards something nostalgic and Mediterranean – perhaps hotels stuck in the 1970s, maybe even a little Brigitte Bardot. Something seductive at the beginning of summer that draws us out of the long UK winter months and transports us somewhere warmer and more evocative. We’re imagining an aged Mediterranean hotel overlooking the sea, with a suggestion of a garden beyond, so that you feel you’re looking out onto something rather than simply being enclosed within four bathroom walls. The concept is nostalgic, Mediterranean, slightly cinematic and ambitious in its use of materials.

Ca’ Pietra Foundry Novo Porcelain Tile, Antwerp Cobbles, Versaille Rouge Marble, Fusion Wow Marble, Bespoke Milking Stool in Moleanos Limestone by De Rosee Sa, Senese 0ETTE 8LVII -SPI 1S[ 5VSǻPI Valerie Wade Italian Murano Ribbed Glass Wall Lights, Armac Martin Contemporary Cremorne Bolt

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Are there any interesting examples of craftsmanship?

Yes, particularly in the stonework. We’re pushing Ca’ Pietra to the limits of what can be achieved in stone.

8LIVI [MPP FI E VSYRH [MRHS[ WYVVSYRH E TVSǻPIH stone cornice and other detailed architectural elements. The craftsmanship, especially in the stone fabrication, will be central to the room.

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MISIA FOR CASAMANCE GROUP BEDROOM SUITE B Y H E N R I F I T Z W I L L I A M - L AY henrifitzwilliamlay.com | misia-paris.com What is your design concept? We saw this as a chance to design more than a traditional bedroom.

Instead, we’ve opted to try and create sort of a time capsule, somewhere that feels like it is the result of XVEZIP XLVSYKL HMǺIVIRX HIWXMREXMSRW ERH TPEGIW The aesthetic takes cues from Art Deco, but isn’t tied to one period. The mix of geometric plasterwork, carved wood, Verdigris detailing and modernist furniture makes the space hard to place in any one era. We wanted the room to feel layered and collected, slightly nostalgic yet simultaneously forward looking.

What was your starting point or inspiration?

MISIA, our WOW!house partner, draws on a lot of Art Deco influence in their choices of patterns and materials, so that was the jumping-off point as far as the aesthetic. We also wanted to celebrate the centenary of the Paris expo that gave the movement its name.

Are there any interesting examples of craftsmanship in the room? British Woodworker Joss Stoddart’s hand carved pieces are basically the epitome of craftsmanship – he’s come up with some really exciting suggestions, like charring the wood to reference Modernist / Deco ebonised wood treatments in a fresh way, so we’re very excited to be working with him on this.

Misia Riviera du Levant vant fabric, Victoria Stone 8VEZIVXMRI ǻVITPEGI WYVVSYRH J. WYVVSYRH J. Adams & Co. Spot Pro Ceiling Light, ht, ECART Jean-Michel Frank Elephant Armchair chair c. 1939, Henry Blake nic Door Pull Handle, And Darwin Oyster Organic tool, Ebanisteria Marelli Objects Leckford Stool, Square Block Wood Moulding, Tim Page lour 16 Carpets Mahal 3 Colour

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SHOWTIME Benjamin Moore paint colours Sea Froth 2107-60, Magenta 2077-10, Grape Juice 2074-10, Green 2044-10, Citron 2024-30, Picante 006, Blue 2066-10, Deglan by Charles Bernand Eido Dining Table, Jan Waterston by Charles Bernand Self Mining Chair, Dawn Bendick by Charles Bernand Time Rock Stack, Rubble Cherry Cola, Vaughan Hardwick Table Lamp

B E N J A M I N M O O R E M I N H WA S A LO N

BY YO U N G H U H younghuh.com | benjaminmoorepaint.co.uk

What is your design concept? Rooms that tell a story and give visitors a sense of discovery are always the most fascinating. Because we are doing the Benjamin Moore room we knew we had to go absolutely maximalist with colour, which is a dream because we love colour. As we developed concept, I thought of the millions room in the Schonbrunn palace. When I saw the room, I was struck by all the beautiful Indian miniature paintings set within baroque panelling. I thought it would be so fun to do a room that told the story of Minwha or Korean folk art [LMGL VIǼIGXW Q] S[R 0SVIER LIVMXEKI ;MXLMR E TPE]JYP QSHIVR HIWMKR we decorate the surfaces with high contrast colours which you often ǻRH MR 2MR[LE . LSTI XLI VSSQ WYVTVMWIW ERH HIPMKLXW ZMWMXSVW

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What sort of ambience are you trying to create? I hope people will feel joy and wonderment. But then also appreciate the artistry of the paintings, the gorgeous furniture by Robert Knapp covered in Colefax, the incredible gallery pieces from Charles Burnand, and Vaughan.

What are the key products you will be using? We designed lacquered [EPPW [MXL MRWIX FS\IW MR QER] HMǺIVIRX GSPSYVW WSQI SJ [LMGL [MPP FI decorated with hand painted minhwa paintings in Benjamin Moore paint

by Fromental. Custom banquettes by Robert Langford using Cowtan and Tout fabrics fabricated in coordinating fabrics will provide a lush counterpoint to the high sheen of the surfaces.

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S A M U E L H E AT H P R I M A R Y B AT H R O O M

BY RIGBY & RIGBY rigbyandrigby.com | samuel-heath.com

Describe your concept The R&R x Samuel Heath bathroom concept is one that appeals to all senses. An authentic Japanese articulation of a bathroom concept, with beautiful materials such as timber, textured plaster and stone. The concept is centred around key features of sanitary ware by Samuel Heath; such as the GIRXVEP ǼSSV WXERHMRK FEXL XET [MXL /ETERIWI inspired Ofuro bathtub. Digital screens will TSVXVE] HMǺIVIRX IRZMVSRQIRXW XS LIPT XVERWTSVX KYIWXW XS HMǺIVIRX PSGEXMSRW EVSYRH XLI [SVPH and encourage imagination. Complimented by a uniquely curated sound-scape, guests can TEYWI ERH VIǼIGX XLI WTEGI TVSZMHMRK E moment of calm as one travels through the WOW!house experience.

Nuno Fabrics 1-455 Icy Snow, Rigby & Rigby ID Team feature ceiling lattice design, Holly Hunt Aurora Chandelier, James Wellesley timber construction, Cecotti Collezioni Janine Lounge Chair, Samuel Heath 3 Hole [EPP QSYRXIH FEWMR ǻPPIV MR Anthracite, Domus Etoile DREL 2EXX ǻRMWL XMPI

How did Samuel Heath inspire your bathroom design? The craftsmanship, level of care and detail applied to the sanitary ware design was a great source of influence and inspiration in the design. We were particularly inspired by the craftsmen at the Samuel Heath foundry, and the use of hand tooling still done today (as seen in the metal pressing on metal shower baskets on the factory floor) which dovetails beautifully with the tooling used in Japanese craft such as wood cuts or wood printing.

Tell us about one special design moment we should look out for One special design element in the bathroom space is the central bathtub feature (designed by Rigby & Rigby and manufactured by David Taylor). Alongside this is a feature Samuel Heath floor standing tap and objets, which help activate the space.

Overhead, a beautiful, stepped timber ceiling (by James Wellesley Interiors) and Japanese patterned lattice work (created by the Rigby & Rigby design team) will feature above the central bathtub.

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Our roundup of the products to know right now

CORIUM ARTE 8LI (SVMYQ GSPPIGXMSR SǺIVW E GSRXIQTSVEV] MRXIVTVIXEXMSR SJ GPEWWMGEP TEXXIVRW JVSQ XLI *EVP] 7IREMWWERGI [MXL EYXLIRXMG LMWXSVMGEP QSXMJW WYFXP] MRXIV[SZIR XLVSYKLSYX (VEJXIH JVSQ TVIQMYQ GETVMRI PIEXLIV Ƴ WYTTPI ]IX WXVSRK [MXL E PY\YVMSYW ǻRMWL Ƴ XLI GSPPIGXMSR XEOIW MXW REQI JVSQ XLI 1EXMR [SVH JSV PIEXLIV SQI HIWMKRW JIEXYVI E WEXMR WYVJEGI SXLIVW E PMKLXP] WERHIH RYFYGO 8LI PIEXLIV MW LERH GYX WXMXGLIH ERH EWWIQFPIH XLIR IQFVSMHIVIH GVIEXMRK ER MRXIVTPE] FIX[IIR QEXIVMEP ERH HIWMKR XVEHMXMSR ERH QSHIVRMX] arte-international.com

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SPACE EDIT

RIDGELINE SCHOTTEN & HANSEN Schotten & Hansen returns to Salone del Mobile to introduce two new colourways – Light and Medium – for its Ridgeline magneticcompatible wooden surface. Inspired by the Alpine landscape FIX[IIR 'EZEVME ERH .XEP] XLI ǻRMWLIW VIǼIGX XSREP WLMJXW JVSQ snow-capped peaks to forested slopes and exposed rock.

Developed with architect Francisco Cortina, Ridgeline features a distinctive three-dimensional texture that echoes split wood and aged Bog Oak, subtly changing with light throughout the day. The magnet-compatible system allows for easy installation across walls, kitchens and cabinetry, with panels that can be repositioned or reused, supporting circular design. Available in 60 x 12 cm formats, 7MHKIPMRI SǺIVW ǼI\MFPI ZMWYEPP] H]REQMG GSRǻKYVEXMSRW schotten-hansen.com

K I M M U PA N G I L A Ï C O L L EC T I O N OMEXCO Omexco has partnered with designer Kim Mupangilaï on an exclusive collection that blends her distinctive identity with the wallcovering brand’s artisanal expertise and carefully sourced materials. Rooted in her Belgian–Congolese heritage, the collection explores wood and VEǽE Ƴ QEXIVMEPW XLEX I\TVIWW E HMEPSKYI FIX[IIR GYPXYVI GVEJX ERH form. Mupangilaï’s sculptural furniture language is reinterpreted through intricate mural marquetry, resulting in surfaces that are both I\TVIWWMZI ERH VIǻRIH 8LI GSPPIGXMSR VIǼIGXW LIV FVSEHIV TVEGXMGI which bridges cultural storytelling and material exploration.

Recognised internationally, Mupangilaï brings a bold, characterful ZMWMSR XS XLI GSPPEFSVEXMSR GVIEXMRK E HIWMKR PIH GSPPIGXMSR HIǻRIH by texture, narrative and contemporary elegance. omexco.com

THE HARMONY OF LINES NOËL & MARQUET NOËL & MARQUET has introduced The Harmony of Lines – a new collection of wall panels combining advanced material TIVJSVQERGI [MXL VIǻRIH GSRXIQTSVEV] HIWMKR +IEXYVMRK extended lengths of 2.60 m and a slim 9.5 mm depth, the panels create seamless surfaces with minimal joints while preserving interior space. Crafted from next-generation HDPS, the panels are waterproof, impact- and scratch-resistant, making them suitable for kitchens, bathrooms and spa environments. Each TERIP MW JEGXSV] TVMQIH ERH VIEH] XS TEMRX SǺIVMRK JYPP HIWMKR ǼI\MFMPMX] 8LI GSPPIGXMSR MRGPYHIW PMRIEV QSXMJW HIWMKRIH XS create subtle textures through repetition, light and shadow, bringing rhythm, clarity and architectural elegance to interiors. noel-marquet.uk

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THE BRITISH MUSEUM COLLECTION DEUS EX GARDENIA Launched at London Design Week, Deus Ex Gardenia's collaboration with The British Museum reimagines rare artworks from the museum's collections as 12 richly detailed wallpapers.

Presented as botanicals, all-over patterns and atmospheric murals, the designs draw on 17th and 18th century Indian miniature paintings, textiles and metalwork, where nature, myth and craftsmanship intertwine. Vibrant palettes and intricate detailing give the range what the brand describes as a jewel-box aesthetic – lush, exotic and quietly escapist. deusexgardenia.com

EMPREINTES L E L I È V R E PA R I S X M A I S O N L E L E U Five years on from Rétrospective, Lelièvre Paris and Maison Leleu return with Empreintes – a collection of fabrics and rugs shaped by a dialogue between heritage and contemporary design. Developed by Maison Leleu's artistic director Alexia Leleu with the Lelièvre Paris studio, the range spans jacquards, embroideries, chenilles and velvets, with motifs drawn subtly from the Leleu archives. Two hand-tufted wool VYKW I\XIRH XLI XI\XMPI PERKYEKI XS XLI ǼSSV lelievreparis.com

ANJU COLLECTION LARSEN 1EVWIR I\XIRHW MXW PSRK LIPH JEWGMREXMSR [MXL ǻFVI XI\XYVI ERH heritage into handcrafted natural surfaces with the Anju collection.

Drawing on ikats, Tuareg rugs and traditional weaving methods, the designs reinterpret historical motifs through a contemporary lens. Natural materials including abaca, water hyacinth, hemp and FERERE PIEZIW EVI FVSYKLX XS PMJI XLVSYKL VIǻRIH XIGLRMUYIW XLEX reveal their depth and character. A balanced palette moves from soft neutrals to earthy tones and saturated jewel colours. larsenfabrics.com

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M É M O I R ES C O LO R É ES PIERRE FREY X ISABELLE DE B O R C H G R AV E 'IKYR MR ERH GSQTPIXIH MR XVMFYXI JSPPS[MRK .WEFIPPI HI 'SVGLKVEZI W TEWWMRK MR 4GXSFIV 2³QSMVIW (SPSV³IW XVERWPEXIW XLI PEXI EVXMWX W YRMZIVWI MRXS XI\XMPIW [EPPGSZIVMRKW ERH VYKW 8LI GSPPIGXMSR GIPIFVEXIW GSPSYV GVEJX ERH XLI HMEPSKYI FIX[IIR EVX ERH QEXIVMEP [MXL IEGL XIGLRMUYI GLSWIR XS HS NYWXMGI XS LIV [SVO Ƴ JVSQ XVEHMXMSREP ǼEX JVEQI ERH VSXEV] TVMRXMRK XS IQFVSMHIV] ) XI\XYVIW ERH QEXXI SV TIEVPIWGIRX MROW 8LI VIWYPX MW E PE]IVIH I\TVIWWMZI IRWIQFPI WLETIH F] QER] LERHW

pierrefrey.com

MURALS COLLECTION MURASPEC Muraspec has unveiled a new collection of digitally printed murals, designed to transform interiors into impactful visual statements. Inspired by contemporary colour trends, the range spans nature-led scenes and bold, expressive compositions, suitable for both residential and commercial spaces. Each mural can be fully customised, with adjustments to colour, scale and HIWMKR SǺIVMRK ǼI\MFPI GVIEXMZI TSWWMFMPMXMIW 5VSHYGIH using advanced Swiss printing technology and :4( JVII ,VIIRKYEVH ,SPH GIVXMǻIH MROW XLI GSPPIGXMSR TVSQMWIW LMKL HIǻRMXMSR HIXEMP ERH GSPSYV consistency. Printed on premium, durable substrates, the murals are cleanable, lightfast and CE compliant.

The new Muraspec Mural Book also includes a curated set of standard wallcoverings for every mural design. muraspec.com

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HARRIS REED COLLECTION F R O M E N TA L Fromental has introduced an exclusive collaboration with BritishAmerican designer Harris Reed, launching in spring 2026. Evolving from bespoke wallcoverings created for Reed’s London home, the partnership expands into a bold interiors collection spanning wallcoverings, cushions and throws. Blending couture fashion with HIGSVEXMZI EVXW XLI VERKI JIEXYVIW ǻZI HIWMKRW GVEJXIH YWMRK techniques such as hand-painted silk, bruised velvet and intricate embroidery. Inspired by Reed’s SS26 collection, the pieces embrace a maximalist aesthetic, rich in texture, colour and narrative. Each HIWMKR VIǼIGXW E WLEVIH ZMWMSR SJ MRXIVMSVW EW I\TVIWWMZI ERH theatrical, pushing traditional craftsmanship into new territory. The GSPPIGXMSR JSVQW TEVX SJ +VSQIRXEPƶW TIVQERIRX SǺIVMRK FVMRKMRK fashion-led drama and detail to contemporary interior spaces. fromental.com

B E LT R A M I LA BOTTEGA COLLECTIVE Beltrami, a member La Bottega Collective, brings over 60 years of Italian craftsmanship into the realm of in-room guest amenities through bespoke luxury linens.

Crafted from Autentica Fibra di Legno, a sustainable birch-based yarn, Beltrami’s Fibra di Legno linens embody understated luxury and feature in select destinations including The Arts Club Suites and The Corinthia London. As quality sleep becomes an essential pillar of guest wellbeing, particularly for frequent travellers, these linens play a vital role in supporting rest and recovery. Beltrami HIQSRWXVEXIW LS[ VIǻRIH GVEJXWQERWLMT ERH QEXIVMEP MRRSZEXMSR can elevate everyday moments into luxurious experiences rooted in softness, quality, and care. beltrami.it

PROUD TO BE INDIAN OBEETEE Obeetee's Proud To Be Indian sees the heritage carpet maker GSPPEFSVEXI [MXL ǻZI SJ .RHME W QSWX GIPIFVEXIH GSYXYVI HIWMKRIVW – Abraham & Thakore, Tarun Tahiliani, JJ Vallaya, Shantanu & Nikhil and Raghavendra Rathore. Each designer's signature aesthetic is translated by Obeetee's master weavers into rugs that feel as QYGL EX LSQI SR XLI [EPP EW SR XLI ǼSSV 'PYVVMRK XLI FSYRHEVMIW between fashion and interiors, the collection turns every piece into a modern, unapologetically Indian heirloom. obeetee.com

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AD INDEX Aqualisa ................................................................................. 131

Hector Finch ........................................................................135

Pooky Lighting ................................................................... 117

Catchpole & Rye ...............................................................127

HD Brit List Awards............................................................ 13

Sanipex ...................................................................................129

Chelsom ..................................................................................53

La Bottega S.p.A.....................................................................2

The Decorative Panels Group...................................119

Design Centre Chelsea Harbour ...............................25

Lemi Group ......................................................................... 136

Victoria & Albert ................................................................133

Elstead Lighting .................................................................... 9

Oliver Hemming ..................................................................39

ADVERTISING

PRODUCTION

MANAGEMENT

Craig Nickeas c.nickeas@forumevents.co.uk Tel: +44 (0)1992 374069

DESIGN Carla Duaso Senesteva c.duasosenesteva@forumevents.co.uk Tel: +44 (0)1992374084

PUBLISHER Katy Phillips k.phillips@forumevents.co.uk Tel: +44 (0)1992374050

PRODUCTION MANAGER Charles Dragazis c.dragazis@forumevents.co.uk Tel: +44 (0)1992374070

COMMERCIAL DIRECTOR Carly Walker c.walker@Forumevents.co.uk

EDITORIAL EDITOR Jess Miles j.miles@forumevents.co.uk Tel: +44 (0)1992666729 CONTRIBUTORS Zana Wilberforce Karen Bamford Meghan Taylor Emma Kennedy Andrew Wakem Nicola Kent Stuart O'Brien Lisa Carter

MANAGING DIRECTOR Sarah Beall s.beall@forumevents.co.uk

Space Subscriptions Forum Events & Media Group, Forum House, 71 Mead Lane, Hertford, SG13 7AX E-mail c.dragazis@forumevents.co.uk

Subscription rates 1 Year (6 issues) UK: £144 +VAT Europe: £204 RoW: £265

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© Forum Events & Media Group 2026. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means electronic, mechanical, photocopying, recording or otherwise without prior permission of the publishers. Although every care has been taken to ensure accuracy, the publishers cannot accept responsibility for any errors or omissions that may occur in this issue.

5&(* MW TYFPMWLIH F] +SVYQ *ZIRXW 2IHME ,VSYT 1XH 7IKMWXIVIH MR *RKPERH 7IKMWXIVIH 3YQFIV 7IKMWXIVIH 4ǽGI +SVYQ *ZIRXW 2IHME ,VSYT +SVYQ -SYWI 71 Mead Lane, Hertford, SG13 7AX United Kingdom

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Strong, durable and unique brushed metal surfaces

Kronospan Brushed Metal HPLs combine real aluminium with premium MDF to deliver strong, durable and tactile metallic surfaces. Available in six contemporary colours, these boards bring stylish visual impact to residential, commercial and hospitality interiors. Easy to machine and ideal for high-traffic environments, boards are supplied in 3050 x 1310mm on 15mm or 18mm MDF. Scan the QR code to order samples or learn more about the collection.

WELCOME TO

QU S

tep into any well-considered hotel room and it’s often the bathroom that quietly makes or breaks the stay. Subtly, it has the power to elevate a guestroom from somewhere to simply rest your head into a genuinely luxurious experience.

Removed from the familiarity of home, it becomes a space loaded with expectation. Guests look for something that feels instinctive yet elevated beyond the everyday – whether a futuristic toilet tailored to their preferences or a statement bath carved from solid marble.

And yet, it’s surprising how often this is where hotels fall short. A bland, soulless bathroom can undo all the beauty and intrigue of a well-designed guestroom in an instant. Get it right, however, and it becomes a subtle but powerful expression of care – where design, detail and functionality come together to genuinely look after the guest and deliver those moments of well-earned R&R. So, welcome to AQUA, where we turn our attention to this often unsung hero of the hotel experience. Despite the sense of calm the ‘spathroom’ imbues, they remain some of the most complex spaces to execute, balancing tight footprints, plumbing, accessibility and aesthetics all at once. Treading that line is no small feat, and here, we commend those who do it with beauty and grace.

In the following pages, we highlight the manufacturers leading the way in bathroom design and innovation, ƵŅųĩĜĹč ÏĬŅŸåĬƼ ƵĜƋĘ ÚåŸĜčĹåųŸ ±ĹÚ ŅŞåų±ƋŅųŸ ƋŅ ųåĀĹå ƋĘå language of the space through material sensitivity and technical precision, quietly elevating one of hospitality’s most essential spaces.

Jess Jess Miles, Editor

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Romègas Hotel in Valetta, Malta

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DESIGNING THE LUXURY HOTEL BATHROOM

The Details ʱƋ %åĀĹå Five-Star Interiors From Palm Jumeirah in Dubai to New York’s Equinox Hotel and the iconic Claridge’s in London’s Mayfair, LUSSO Stone explores how luxury hotel bathrooms have evolved into indulgent sanctuaries, shaped by sculptural design, natural materials and considered layouts

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AQUA

I

n the world of luxury hospitality, the bathroom has evolved far beyond its traditional function. Today, it is often considered the emotional centre of a hotel suite - a private sanctuary where guests can relax, recharge and experience a deeper sense of indulgence.

For leading interior designers and hospitality brands, the bathroom is no longer an afterthought. Instead, it has become a HIǻRMRK JIEXYVI SJ XLI KYIWX I\TIVMIRGI [MXL carefully considered layouts, statement pieces

and tactile materials working together to create a space that feels both restorative and memorable.

1Y\YV] MRXIVMSVW FVERH 19 4 LEW WIIR XLMW WLMJX ǻVWX LERH XLVSYKL MXW [SVO [MXL TVIWXMKMSYW hospitality and residential developments around the world, including Palm Jumeirah in Dubai, New York’s Equinox Hotel and the iconic Claridge’s in London’s Mayfair. These projects demonstrate how thoughtful design and elevated materials can transform a functional space into a focal point of modern luxury.

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The rise of the bathroom as a centrepiece In many luxury hotels, the bathroom now rivals the bedroom as the most impressive room in the suite. Travellers increasingly look for generous layouts, spa-inspired features and sculptural design elements that elevate their stay.

“A hotel bathroom is where guests begin and IRH XLIMV HE] ƹ WE]W 2MOI ;LMXǻIPH SJ 19 4 “It’s a space that has the power to restore, rejuvenate and elevate the entire experience of the room.”

Freestanding baths have become one of the most recognisable symbols of this approach to design. Positioned to take advantage of natural light or scenic views, these statement pieces act

as

both

functional

elements

and

architectural features.

Within hospitality settings, a sculptural bath or oversized rainfall shower can instantly signal luxury, encouraging guests to slow down and enjoy the ritual of bathing.

Elevated materials and timeless design The use of exceptional materials is another HIǻRMRK GLEVEGXIVMWXMG SJ PY\YV] LSXIP bathrooms. Designers increasingly prioritise surfaces that are not only visually striking but also tactile and durable.

XSRI ERH QEVFPI VIQEMR XLI QEXIVMEPW SJ GLSMGI SǺIVMRK FSXL PSRKIZMX] ERH E VIǻRIH aesthetic that ages gracefully over time. Their natural veining and texture create subtle variations that ensure every space feels unique.

19 4ƶW WMKREXYVI WXSRI FEXLW GVEJXIH JVSQ MXW proprietary Cortese® stone composite, are often chosen for hospitality environments due to their sculptural quality and durability. These pieces combine modern silhouettes with the tactile richness associated with natural stone, creating focal points that complement both contemporary and classical interiors.

Left and opposite page Whitworth Hall, image credit: Lusso

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XEXIQIRX TMIGIW XLEX HIǻRI XLI WTEGI Beyond materials, luxury bathrooms often rely on carefully chosen statement pieces to establish visual impact.

Freestanding baths, expansive vanity units ERH ǼSSV WXERHMRK FEXL XETW JVIUYIRXP] anchor the room’s design. These elements create a sense of scale and drama, even within more compact suites.

At New York’s Equinox Hotel, the bathroom experience is designed to mirror the property’s philosophy of high-performance living and wellness. In one of the hotel’s suites, the spa-grade bathroom features a mirrored dressing area alongside its most striking element - the Vetrina freestanding FEXL JVSQ XLI 19 4 GSPPIGXMSR Chosen by the Rockwell Group design team, the Vetrina bath’s deep curves, smooth matte FPEGO ǻRMWL ERH GSRXIQTSVEV] WMPLSYIXXI complement the hotel’s sleek aesthetic. The sculptural bath creates a focal point within the space while providing guests with the ultimate environment to unwind and recharge.

Designing within iconic hospitality spaces Luxury bathroom design becomes even more nuanced when integrated into historic or heritage hotels, where interiors must respect architectural legacy while still delivering modern comfort.

At Claridge’s in Mayfair, one of London’s most celebrated hotels, this balance between tradition and contemporary design is particularly evident. Known for its timeless elegance and Art Deco heritage, Claridge’s has long set the benchmark for luxury hospitality.

To ensure guests can relax and unwind in VIǻRIH WYVVSYRHMRKW IEGL WYMXI JIEXYVIW E beautifully appointed bathroom designed to echo the hotel’s understated glamour. In one of these spaces, the Picasso freestanding bath JVSQ 19 4 XEOIW GIRXVI WXEKI With its deep curves and timeless design, the Picasso bath sits comfortably within the classic interior, complementing marble surfaces and IPIKERX ǻXXMRKW 8LI WGYPTXYVEP JSVQ TVSZMHIW guests with the perfect place to indulge in a long, restorative soak during their stay at the legendary hotel.

In developments such as the residences of Palm Jumeirah in Dubai, bathrooms often mirror the grandeur of their surroundings. Expansive layouts, dramatic stone surfaces and statement baths help create spaces that feel both opulent and calming - an approach that aligns with the Middle East’s distinctive expression of hospitality luxury.

While each project varies in aesthetic, the fundamental principles remain consistent: generous space, exceptional materials and carefully curated focal points that encourage relaxation.

Global perspectives on luxury Across the world, luxury hotel bathrooms VIǼIGX FSXL MRXIVREXMSREP HIWMKR WXERHEVHW ERH VIKMSREP MRǼYIRGIW

1E]SYX ERH WTEXMEP ǼS[ While aesthetics are essential, the most successful luxury bathrooms are also defined by thoughtful spatial planning.

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Designers focus on creating distinct zones for bathing, grooming and relaxation while ensuring the space remains intuitive to navigate. Even within compact hotel suites, subtle zoning can make a FEXLVSSQ JIIP STIR ERH IǺSVXPIWW “A luxurious bathroom should feel generous and uncluttered,” Mike Whitfield explains.

“Every element needs to work in harmony so the guest experience feels seamless.”

Lighting that shapes atmosphere Lighting is another crucial component of luxury bathroom design. Rather than relying on a single overhead source, designers typically layer several lighting elements to shape the ambience of the room.

Ambient lighting creates a warm and welcoming

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Here and left LUSSO's Vetrina bath at Equinox Hotel, New York

glow, while accent lighting highlights mirrors, artwork or architectural features. Backlit mirrors and dimmable switches allow guests to adjust the atmosphere according to their mood or time of day.

SJX PMKLXMRK GSQFMRIH [MXL VIJPIGXMZI WYVJEGIW such as marble and polished metals helps enhance the overall sense of calm.

subtle signature fragrances all contribute to a sense of comfort and indulgence.

Guests often remember the softness of the linens, the scent of the bath products or the satisfying weight of a beautifully crafted tap.

These seemingly minor details reinforce the perception of quality and help create a memorable stay.

8LI WIRWSV] HIXEMPW XLEX HIǻRI PY\YV] While statement features set the stage, the smallest details often leave the most lasting impression.

Luxury hotel bathrooms frequently incorporate sensory elements designed to elevate everyday routines. Plush towels warmed on heated rails, carefully selected toiletries and

Bringing hotel luxury into the home The growing influence of hospitality design has also shaped residential interiors, with many homeowners seeking to recreate the indulgent atmosphere of five-star hotels.

Freestanding baths, walk-in rainfall showers and layered lighting are increasingly common features in contemporary homes.

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“Hotel design focuses on balance, precision and emotional impact,” Whitfield says. “Those same principles can easily be applied to residential interiors.”

By combining thoughtful spatial planning, natural materials and carefully curated details, everyday bathrooms can become restorative spaces that feel closer to a private spa than a purely functional room.

9PXMQEXIP] XLI FIWX LSXIP FEXLVSSQW succeed because they elevate simple routines into meaningful moments transforming an ordinary space into one that feels quietly extraordinary.

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British Manufacturing Meets Bespoke Luxury

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atchpole & Rye is a familyowned luxury bathroom brand proudly committed to British manufacturing — one of the few companies that can genuinely make this claim.

Every piece is designed inhouse and meticulously hand-finished at our workshops in the heart of Kent, ensuring a level of quality and craftsmanship that is felt the moment a guest steps into a room.

For over thirty years, we have been creating exceptional bathrooms for some of the world’s most discerning hospitality projects. From the considered coastal interiors of Host in St Ives to the five-star Arijiju Retreat set within Kenya’s 126

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Borana Conservancy, our freestanding baths, double washstands, and high-level cisterns have served as the defining pieces of spaces designed to leave a lasting impression.

What sets us apart is our ability to deliver fully bespoke solutions. Thanks to our in-house manufacturing capabilities, interior designers and architects can personalise our products in countless ways, from custom finishes and colours to the incorporation of crests, logos, or monograms. The result is a bathroom that feels not only luxurious, but strikingly unique.

As an independent, family-owned brand, we take pride in the relationships we build.

Every project we are involved in benefits from dedicated support from initial consultation

through to installation and beyond. This includes support from our in-house technical team, who ensure each product is seamlessly integrated into its setting and performs to the highest standards.

With showrooms in London and Kent, and private workshop tours available by arrangement, we invite clients to experience our collections in person. We welcome you to get in touch with us to start a conversation about your next project.

Contact details www.catchpoleandrye.com info@catchpoleandrye.com London Showroom: 0207 3510940 Kent Showroom: 01233 840840 spacedesignmagazine.net

S P E C I A L F E AT U R E | S A N I P E X

GINZA: The Art of Playful Living in Bathrooms

O

ffering the opportunity to create memorable, design-led moments in the bathroom, BAGNODESIGN introduces its latest Ginza collection, which brings bold creativity, urban energy and expressive individuality for any project.

Inspired by Tokyo’s iconic Ginza district, the collection captures the spirit of a city defined by movement, culture and design. From its historic roots to its modern status as a global hub of style, the collection translates this duality effortlessly into home and commercial interiors.

At the heart of the collection is the concept of “the art of playful living”, introducing a fresh and youthful approach to bathroom design. Moving

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away from conventional neutral schemes, Ginza embraces colour, contrast and personality, making it suited to boutique hotels, lifestyle-led developments and design-conscious residential and hospitality spaces.

A defining feature of Ginza is its palette of finishes. From the understated warmth of Armour Truffle to the contemporary Brushed Nickel and the bold Armour Lip Gloss, each finish works harmoniously across the collection.

Paired with natural oak furniture, stone-effect surfaces and concrete basins, the result is a layered, tactile aesthetic that adds depth and authenticity to any space.

Versatility is key to its appeal. Encompassing brassware, showering solutions, basins, furniture and accessories, Ginza enables designers to

create fully coordinated bathroom schemes with ease. This is valuable in hospitality projects, where a consistent design language reinforces brand identity and enhances the guest journey.

Extending the concept further, Ginza Junior introduces playful pink and grey finishes designed for family-friendly and inclusive spaces, reflecting a growing focus on balancing safety, functionality and aesthetics within the bathroom.

Ultimately, Ginza redefines the role of the bathroom across multiple sectors and environments. Suited to the demands of hightraffic environments, this collection empowers designers to push boundaries and shape spaces that are as memorable as they are functional.

For further information please visit https://bagnodesign.it/ spacedesignmagazine.net

S P E C I A L F E AT U R E | A Q U A L I S A

Aqualisa S Range The Next Generation of Smart Showers

S

mart technology, long established in entertainment, lighting and climate systems, is now extending into luxury bathrooms to support immersive, wellness-led design.

In response, British showering specialist Aqualisa has introduced its new S Range, a next-generation smart shower collection developed for specification across boutique hospitality, high-end residential, and wellnessfocused projects. Designed to integrate discreetly within contemporary interiors, the range combines connected technology with minimalist aesthetics for a personalised and memorable experience.

At the heart of the collection is Aqualisa’s SmartValve, engineered to check and regulate 130

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water temperature ten times every second, while allowing the core technology to be positioned up to ten metres away from the visible shower interface. This enables architects and interior designers to achieve uninterrupted wall finishes and streamlined wet room schemes without compromising functionality or maintenance access, aligning with the wider hospitality shift towards invisible wellness technologies.

The collection comprises three models – S1, S2 and the flagship S3 – each offering varying levels of interaction, from intuitive analogue-style controls to fully customisable HD glass displays with integrated mood lighting. Remote activation via app, wireless controls or voice assistants including Google Assistant and Amazon Alexa reflects rising expectations for integrated smart

living across hospitality and residential sectors.

Importantly, the S Range also addresses sustainability targets increasingly shaping specification decisions. Features including eco mode technology can reduce water flow by up to 33%, while app-based monitoring provides users with visibility over water consumption and duration.

Available in four contemporary finishes – Brushed Brass, Chrome, Matt Black and Gunmetal Grey as well as multiple configurations, the collection has been developed to coordinate effortlessly with wider bathroom schemes, enabling designers to create cohesive, design-led environments that balance wellbeing, efficiency and advanced technology. spacedesignmagazine.net

THE S RANGE T H E N E X T GEN ER AT I O N O F S M A RT S H OWE RS

www.aqualisa.co.uk

S P E C I A L F E AT U R E | LU S S A R I C O L L E C T I O N

Victoria + Albert Lussari Built-in Baths %åŸĜčĹåÚ ƋŅ ĀƋ Æå±ƚƋĜüƚĬĬƼ

I

n response to growing demand from the hospitality sector and residential developments, Victoria + Albert has expanded its Lussari collection to include built-in bath options in 1600mm and 1700mm sizes. The new drop-in or undermount additions retain Lussari’s signature sculptural form, while offering greater flexibility for a wider range of projects.

The launch also supports demand from designers for alcove bathtubs in a luxe material, which can be clad in marble, stone, antique mirrored glass or high-polished tiles for a striking design. Named after the majestic Mount Lussari, the collection offers an ergonomic design that 132

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encourages relaxation, while also providing a comfortable showering experience.

With an elegant, oval shape, the new builtin baths can be paired with classic brassware, such as Perrin & Rowe’s Traditional collection or contemporary Smart showers from Aqualisa. A Victoria + Albert bath filler and overflow can also be specified to negate the need for bath taps.

Available in a gloss or velvety matt finish, the new built-in baths feature levelling feet for precise installation.

For larger multi-room hotel and residential projects, Victoria + Albert offers custom options to suit the specification, including an anti-slip safety coating. Available across all baths, the

coating features an antibacterial active surface that conforms to ISO 22196. The surface can be applied in various patterns and placements and is easy to clean.

Victoria + Albert is a pioneer of contemporary freestanding bath design, having developed its own proprietary material, Quarrycast™ 30 years ago. Made from a blend of Volcanic Limestone™ and high-performance resins, the material is more than twice as hard as acrylic with no creaking or flexing and is easy to keep clean. Scratch, stain and UV resistant, the material is also a natural insulator helping bath water stay warm for longer.

While the material is hardy, it is surprisingly lightweight for easy installation. spacedesignmagazine.net

PERSONAL SPACE

OBJECTS OF DESIRE Rachael Gowdridge, Founder & Creative Director of her eponymous design studio, shares her latest obsessions and inspirations; from innovative materials and slow hotel stays, to a mouthwatering graphic design book

1. WHAT I’M READING Jim Heimann’s Menu Design in Europe is one of those books you can dip in and out of endlessly – it’s as much about graphic design as it is about food. Each menu really captures a moment in time, and I love looking at the detail. t’s a reminder of how much, beyond the interior design, it’s the smaller elements shape the overall experience.

2. HOTEL DREAMING

2.

1.

We spent a couple of days at Les Roches Rouges after a [IHHMRK PEWX WYQQIV Ƴ MX [EW XLI TIVJIGX TPEGI XS W[MXGL SǺ listen to the sea, eat really good food and properly slow down.

The design is simple and unfussy, which makes the setting do all the work and gives the whole place an easy, calming feel.

3. TOOL OF CHOICE Linolie is a linseed oil product and can be used on most indoor absorbent surfaces. It comes in a range of bright colours – we used it throughout our recent hotel project The Dean Berlin (read the SPACE review p54), as a contemporary, colourful interjection to the rest of the architecture.

4. THE FINISHING TOUCH What draws me to Heath Wae’s work is the depth you get from the natural pigments – there’s a richness and softness that feels

3.

4.

The Dot Project

ZIV] HMǺIVIRX XS ER]XLMRK W]RXLIXMG .ƶQ EPWS VIEPP] HVE[R XS XLI circular, almost portal-like forms; they give the pieces a quiet rhythm and make them feel calm but still full of energy.

[Image credit: The Dot Project] 5. MATERIAL OF THE MOMENT We’ve long admired the Tazarine by Pierre Frey graphic Jacquard – it’s got beautiful tones running through it, and it’s VIEPP] XEGXMPI MR JIIP ;IƶVI I\GMXIH XS ǻREPP] FI YWMRK MX MR ER upcoming hospitality project.

6. BRIGHT IDEAS What I love about the Soom Ash lamp by Hun Lee is the way it plays with wood and paper, treating them through the same QEOMRK TVSGIWW WS XLIMV HMǺIVIRGIW VIEPP] GSQI XLVSYKL ;LIR it’s lit, you notice the texture and character of each material,

5.

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which makes it feel simple but really considered.

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