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HOSPITALITY STYLE SUMMER 2011 / HOTEL COUTURE

HOTEL COUTURE

SUMMER 2011 HOTEL MISSONI AND OTHER FASHION STATEMENTS ROCKWELL GROUP’S SILVER RESTAURANT PARIS’ HOTEL SEVEN Q+A WITH MICHAEL GRAVES & ASSOCIATES HOSPITALITYSTYLE.COM


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Hosptality Style Summer Issue Ad full bleed 1-8-final.pdf 1 5/11/2011 1:17:54 PM

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/ / / CONTENTS HOSPITALITY STYLE / VOL. 4, ISSUE 2 / SUMMER 2011

/ / / FEATURES

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A PASSION FOR FASHION An iconic fashion house, an inventive hospitality designer and a seasoned operator set a new collaborative style in the Hotel Missoni Kuwait. 18

HEAVY METAL Rockwell Group mixes metal, mohair and memorable accents in Park City, Utah’s Silver restaurant.

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THE LONDON LOOK By day, London’s all pinstripes and sensible shoes. At night, anything goes as long as it’s original. W London captures both sides of this swinging city in its 24-hour interiors. 28

DRESSED TO THRILL Four Parisian designers interweave innovative materials and technology into signature suites for Paris’ Hotel Seven.

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ACE OF CLUBS Tom Dixon uses walls and ceilings as his primary canvas to make room for dancing, socializing and a cool game of pool or pingpong at Hong Kong’s Tazmania Ballroom. 40

/ / / DEPARTMENTS 4

FROM THE EDITOR/ ADVISORY BOARD

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FURNITURE SHOWROOM

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FLOORING SHOWROOM

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ADVERTISING INDEX

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Q+A Michael Graves and Patrick Burke, Michael Graves & Associates

/ 34 / / ON THE COVER / Designer Tom Dixon uses faceted mirrored walls to take the idea of the “man cave” fashion forward in Hong Kong’s Tazmania Ballroom. All that’s needed to finish off the look is a little sheen of gold and one strong jolt of color. / COVER PHOTOGRAPHY / COURTESY OF TAZMANIA BALLROOM

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HOSPITALITYSTYLE.COM / SUMMER 2011


/ / / from the editor

Fashion Show Many of the attempts at cross-overs that link haute couture and hospitality end up as fashion disasters. As Rezidor Hotel Group’s Kurt Ritter points out in our special report (p. 18), those failures come down to one thing: hotels that are about style without substance. The hotels and restaurants featured in this issue show much that’s changing. Rezidor’s in the vanguard with products like its new Hotel Missoni brand. What’s new is not only the fresh look, but the process. Ritter didn’t just slap a famous name over the door. He networked with trusted collaborators such as Italian architect/designer Matteo Thun to find a fashion house with a track record, a clear style and a willingness to be a team player—one that would listen not only to the investors and the operator but also to a hospitality designer who knew the ropes. “Missoni knows fashion. Rezidor knows hotels. Graven Images knows hotel design,” says Ritter. “Each of us brought what he/she knows best to the project, and that helped us avoid a lot of common mistakes.” That’s a message more owners and operators need to hear, especially in terms of respecting the essential role hospitality designers play in the success of any project. Paris’ Hotel Seven borrows directly from the idea that, just as people wouldn’t dress the same every day, they don’t want to have

the same ambience every day. Once guests close their suite door, they can try on the world of international espionage or escape into a natural retreat complete with tree trunks. It’s not only great design; it’s great marketing. Who wouldn’t want to try out all seven suites? The beauty of the creative statements made in Hotel Missoni and the other projects shown here is that they’re not fast fashion. Installations such as Silver, W London and Tazmania Ballroom share classic fundamentals. It’s how the designers build out the basics with new shapes, textures and accessories that elevates these spaces from the equivalent of pearls and the little black dress to interiors that demand a second look. Often, it‘s all in the details: the choice of mohair for the banquettes in Silver or the use of faceted mirrors for the walls of the Tazmania Ballroom. Clearly, hotel design has to have a lot longer shelf life than clothing. But as Patrick Burke of Michael Graves & Associates says, “In today’s hotel and restaurant market, when visitors seek new and intriguing places to go, operators often want to try new things. Like fashion, interior design tends to be more trend conscious than architecture. It’s what people remember.”

11262 Cornell Park Dr. Cincinnati OH 45242 p: 513.421.2050 / f: 513.421.5144 www.HospitalityStyle.com

/ / / Editorial Editor

Mary Scoviak senior Art Director

Kimberly Pegram

/ / / sales Publisher, Hospitality Products

Michael Schneider michael.schneider@stmediagroup. com p: 513.263.9379 Business Development Manager, West

Gerry Kreger gerry.kreger@stmediagroup.com p: 323.999.0991

Business Development Manager, Southeast

Scott Rickles scott.rickles@stmediagroup.com p: 770.664.4567

Business Development Manager, Southwest

Stuart Freeman stuart.freeman@stmediagroup.com p: 972.782.2584

/ / / corporate President

Tedd Swormstedt Design Group Director

Kristin D. Zeit

Audience Development Director

Christine Baloga

Production Coordinator

Keri Harper

Senior Event Manager

Kristy Lohre

Director of Book Division

Mark Kissling

Reprint Information

800.925.1110, ext. 399

EDITOR

subscription services

P.O. Box 1060 / Skokie, IL 60076 P: (847) 763-4938 F: (847) 763-9030 HS@halldata.com

/ / / advisory board MISHA BEDNER project director HBA/Hirsch Bedner Associates ALISA CHODOS director of interior design Cheryl Rowley Design RONEL CORBIN U.S. corporate director of spa operations ESPA International



ERIC DANIEL prototype director WD Partners JAMES DILLEY associate director Jestico + Whiles JP FORD senior vice president Lodging Econometrics EDWIN FULLER president and managing director Marriott International

KELLY GONZALEZ associate vice president, new-build design Royal Caribbean International

TED JACOBS vice president, luxury brands Starwood Hotels & Resorts Worldwide Inc.

GEORGE LAGUSIS senior vice president, design and construction Fairmont Hotels & Resorts

RAMSEY MANKARIOUS chief executive officer Cedar Capital Partners LLC

ED GRUN principal and leader of hospitality practice Gensler

JENNIFER JOHANSON president/ceo EDG

WILLIAM LANGMADE president Purchasing Management International

WENDY MENDES vice president RTKL Associates

LIANA HAWES senior project designer Wilson Associates

HO KWONCJAN managing director, design services Banyan Tree Hotels and Resorts

M. ALEJANDRa LILLO partner and ceo, Los Angeles office Graft

hospitalitystyle.com / summer 2011

TIM MURPHY vice president of sales and marketing Interbrand Design Forum

ROBERT PUCCINI president/ceo Puccini Group CLAUS SENDLINGER president/ceo Design Hotels THOMAS SPRINKLE principal and vice president SB Architects JAMES STAPLETON vice president/ operations manager FRCH Design Worldwide

DAVID SUSSMAN senior vice president, hotel development and design Kimpton Hotel & Restaurant Group ADAM d. TIHANY founder and principal Tihany Design SVEN VAN ASSCHE vice president, design MGM Mirage Design Group

PATRICIA WALKER senior interior designer Studio GAIA GLENN WILSON vice president, international interior design Marriott International HOWARD J. WOLFF senior vice president WATG


息 2011 OSRAM SYLVANIA

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3/9/11 9:06 AM


The event that brought hospitality design back to New York returns this fall with a fashion-forward lineup of exhibitors and events.

It has a European feel. It’s not overwhelming, yet has attracted everyone from the East Coast to Israel, from big hotel chains to independent hoteliers. 30(&3563/#08tWJDFQSFTJEFOUPGTBMFTBOENFSDIBOEJTJOHt.JUDIFMM(PME #PC8JMMJBNT


BDNY will once again showcase unique, trend-setting designs seldom seen at other FF&E trade fairs. See new introductions from 200 exhibitors—an edited mix of established suppliers and emerging vendors. Hear from trailblazers in hospitality design at the BDNY Educational Forum. And network with fellow designers at the opening kick-off party, the Boutique Design Awards celebration and other events on the show floor. Get email updates as 2011 show details are finalized. Subscribe to bdnyNEWS at bdny.com . To exhibit contact: Michael Schneider at 513.263.9379 or michael.schneider@stmediagroup.com or Alex Cabat at 914.421.3372 or acabat@glmshows.com.

Presented by

In Partnership With


/ / / showroom

furniture

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Material Whirl 

hospitalitystyle.com / Summer 2011

Furniture is showing the hospitality world what it’s made of. In addition to some pretty glam metals, there are lustrous woods such as rosewood, alder and walnut. Clear plastic can support a vanity table or star as a side table or coffee table. Acrylics are taking over as the materials of choice when a space demands something fresh and modern. To go natural, think about furniture fashioned from rubber or cork. Or go for an out-of-this-world look with glittering crystal accents and composites streaked with vivid dyes.


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/ 1 / Phillips Collection

/ 2 / Creazioni

/ 4 / Dar En Art

www.phillipscollection.com Crafted by designer Jason Phillips, River Stone tables are made from metal leaf and lacquer. Available in two sizes, the range offers a choice of metallic or glossy (shown) finishes.

www.stile-creazioni.com Amanda sideboard showcases a glossy white finish.

www.darenart.com Designed by Oriane Dambrune and Mostapha el Oulhani, Nej features laser-cut steel trestles instead of legs. The removable glass top allows the folded metal supports to be rearranged.

/ 3 / Eurotrend www.Eurotrendusa.com Designed by G. Vigano’ of Porada, Saturnia offers wood frame (shown) and close-pore lacquer frame options. Thirtythree inches high, the chair is suitable for high-traffic areas including restaurants.

/ 5 / Hellman-Chang www.hellman-chang.com A glass sheet covers Swarovski crystal mesh in the Z side table. Available in black or white.

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/ / / SHOWROOM

furniture

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/ 6 / Diane Paparo Studio

/ 8 / Calligaris

www.dpstudiousa.com Constructed of solid maple, the Vine chair is 32 in. high. Available in wood finishes or aniline dyes (shown).

www.calligaris.com The Pininfarina-designed Orbital extends to seat 10. A polyurethane base supports two metal arms that open the extra-clear glass top.

/ 7 / John Beck Paper & Steel www.johnbecksteel.com Desk features quarter-inch steel-plate construction with brass hex-head fasteners. The piece measures 66 by 30 by 30 in.

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/ 9 / Samuelson Furniture www.invincibleipf.com The 41-by-24-by-25-in. 7821 armchair has options with or without arms.

/ 10 / Global Allies www.globalallies.com The leather Barcelona task chair features adjustable seat height and multiple arm options. Variations include a metal frame and a frameless style.


Eventually, she’ll have to return those calls.

www.tropitone.com


/ / / SHOWROOM

furniture

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/ 11 / Hancock & Moore

/ 13 / Turri

www.hancockandmoore.com The handcrafted Mood sofa (shown) is bench-built to the designer’s specifications. Like the matching Mood chair, its lines are accentuated by Callisto nails. Collection features Java wood finishes.

/ 14 / Jonathan Charles

/ 12 / Vaughan Benz www.vaughanbenz.com Tray tables stand on alder wood legs with a walnut stain. Table tops are available in a range of custom colors, including citrus orange and lemon yellow (shown).

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www.turri.it The hand-decorated Arcade Royale collection features a dark-brown, polyester gloss finish. Collection includes a headboard and mirror (shown).

www.jonathancharlesfurniture.com The Santos rosewood writing desk stands on ebony legs. Brass hardware accents the three drawers.

/ 15 / Rowe Furniture www.rowefurniture.com Designer Karim Rashid’s Infinity sofa is built on a hardwood frame. Fifteen fabric selections are available.


Signature Looks

for

Hospitality

Patterns and colors combine with high performance backings and yarn systems to create distinctive styles that enhance your HOSPITALITY PROJECT 7ITH TIMELESS DESIGNS AND LASTING DURABILITY Signature Hospitality Carpets provide you with the elements of style for your guestrooms and suites. Manufacturing sustainable carpets that perform continues to be OURGOAL7ASTERECYCLING ENERGYMANAGEMENT lBEROPTIONSAND virtual sampling are only a few of the ways we’ve become your green choice for hospitality flooring.

www.signaturehospitalitycarpets.com 3(AMILTON3Ts$ALTON '!s


/ / / SHOWROOM

furniture

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/ 16 / Promemoria

/ 19 / Corque Design

www.promemoria.com The Peggy bookcase is handmade from wood and leather.

www.corquedesign.com Puf String chair’s rubber cork construction utilizes steel joint screws. Continuous strips of rubber cork reduce manufacturing waste.

/ 17 / Plexi-Craft www.plexi-craft.com The hand-fabricated King George vanity has slide-out drawers and tapered acrylic legs. Custom sizes are available.

/ 18 / Olollo www.olollo.com The Ronchamp gallery bench, designed by Hun Aw and Joyce Wang of WAAW Design, features oil-rubbed bronze accents.

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/ 20 / Silik www.silik.com The Baroque-inspired Adone collection includes an end table and an armchair trimmed in a double row of satin. HS


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Close-knit fashion, interior and operations teams are setting a successful new style for couture concepts like Rezidor's Hotel Missoni Kuwait. BY MARY SCOVIAK

/1/

GERRY O’LEARY, DUBLIN AND DUBAI

/ / / Glasgow’s Graven Images knew when it accepted the commission for Rezidor Hotel Group’s new Hotel Missoni brand that the Italian fashion house would be the one with its name over the door and in the headlines. It was equally clear that the creative work would start in Missoni’s headquarters north of Milan. Rosita Missoni, who cofounded the knit-

wear/luxury goods legend with her husband, Ottavio Missoni, and her team would be developing “the whole environmental experience,” from the macro elements and set pieces, colors and fabrics, to the micro pieces, such as cutlery and table linen, with some initial introductions from Italian architect/ design star Matteo Thun. So, after winning hotel design awards and

becoming an overnight sensation (after a quarter-century of work), why would Graven Images take a supporting role—especially in support of a firm that had never designed a hotel? The main reason, says William Nolan, design director of Graven Images, is that brands like Hotel Missoni are changing the process of collaboration among couturiers,

/ 1 / Encaustic cement floor tiles in the Choco Café is matte-finished to downplay glare from the wash of natural daylight.

SUMMER 2011 / HOSPITALITYSTYLE.COM

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TREND / FASHION

hospitality designers and hotel operators. “The opportunity to be involved in strategic design work, to be part of the establishment and delivery of a new hotel brand, is as good as it gets,” he says. “For me, it’s an overriding sense of anticipation about collaborating with intelligent, creative, energetic people, utterly committed to the quality of their product. In this context, it’s not about where you draw the line; it’s about not being afraid to blur it. “Normally, we wouldn’t be looking to deliver someone else’s concepts, but we figured we could learn something,” adds Nolan. “It helps that we like what Missoni does. There’s a sense of humor that we always recognized in its clothing and its products for the home. It’s no secret that the fashion industry contains some precious divas and some prickly egos. Rosita is entirely removed from such buffoonery.” High style without high drama was one of the mandates issued by Kurt Ritter, Rezidor’s president and ceo, before the three companies sat down for the first time. “Past attempts at fashion hotels

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often failed because they were all style and no substance,” he charges. Other mistakes included a poor vetting process, with some owners and operators depending on designers who were just blips on the radar or dress designers who wanted to dictate, air kiss and run. What attracted him to Missoni was the staying power and clear identity of the brand as well as Missoni herself. “She’s personally involved in and committed to bringing the Missoni family’s lifestyle to the hotel experience. This is not just a licensing agreement; it’s the embodiment of that lifestyle,” Ritter says. Coming to the table as equals, first for the brand’s 2009 debut in Edinburgh and again for the March 2011 opening of the Hotel Missoni Kuwait, allowed each of these specialists to play on their own strengths while learning something from their colleagues. “The gamut of the construction process has been a learning curve for the Missoni team, from the pragmatics of the building regulations and planning laws—especially in Kuwait—through to the foibles of

FASHION TIMELINE FASHION DESIGNERS HAVE BEEN FLIRTING WITH HOTELS FOR A LONG TIME. HERE’S AN OVERVIEW OF SOME OF THE COUTURIERS WHO’VE DRESSED HOTELS IN RECENT YEARS.

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/3/ / 2 / Shimmering strands of light in the chandeliers add a jewel-toned sparkle to the entrance lobby. All of the textiles are custom-made Missoni fabrics. “I wanted some way of saying Missoni without putting a big sign above the door,” says Rosita Missoni. / 3 / “If you want beige, look for another hotel,” says Rosita Missoni. Her vibrant palette for the Grandiosa Suite is an interpretive view of the sea, sand and desert gardens on view from the interiors.

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Vivid colors and bold but comfortable lines make Diane von Furstenberg’s DVF Suites for Claridges, London, the hospitality equivalent of the iconic wrap dress.

2010

Soaring lines and a restrained yet chic palette connect Giorgio Armani's timeless women’s wear and the Armani Hotel, Dubai.

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trend / fashion

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/ 4 / Simple square tiles make this suite bathroom look as good as gold.

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building contractors,” says Nolan. That was made even more complex by the fact that the seafront building that houses Kuwait’s first Missoni hotel has an irregular footprint and sweeping curves. So while Missoni and her team were thinking pattern, color and texture, Graven Images was tapping into a new outlet for its creativity. “It was a great opportunity to explore how to exploit the visual

 ike his opulent runway creations, Christian Lacroix’s L designs for Le Petit Moulin, Paris, are defined by wild prints and worldwide inspiration.

hospitalitystyle.com / Summer 2011

connections, particularly between the public spaces, using both built form and the patterns and colors of Missoni,” says Nolan. That included ideas the firm had never addressed, such as the requirement to have a separate women’s entrance to some of the public spaces. “There was a significant period of debate and compromise on the initial materials palette, arising from local cultural perceptions,” Nolan says. “But once the

2006

scheme was approved by the developer, CRC, they pretty much deferred in later aesthetic discussions. They showed great faith in the vision of the Missoni brand.” Hospitality firms working on fashion hotels can expect to have to build out their skill set. Initially, Graven Images was to deliver the interior finishes package within a tightly defined scope and timeframe. That grew to position the firm more as the executive architect, requiring significant input in the works packages for building services, building structure, statutory utilities, back of the house, environmental and landscaping works and branding responsibilities. Ross Hunter, managing director, Graven Images, and Nolan agree that it was critical that Rezidor and Missoni were available for program meetings, not only in Milan, but in Kuwait as well. “It helped that we all had so much common ground, right down to sharing respect for the quality of craftsmanship and enhancing the environment,” says Nolan. Missoni and the Scottish architecture/design studio were also aligned in the way they work.

 hilip Treacy’s taste for theatrical drama is translated P from heads to beds at the G hotel, Galway, Ireland.


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They collaborated on the mockup sample rooms built in Missoni’s studios. Both wanted the operator, developer and investors to have a hands-on review of the color and materials selections—as well as to generate some pre-launch publicity buzz. “It was a lot of fun setting up mock-ups on a kitchen floor in Milan,” says Nolan. “The conversations darted around from fashion to horticulture, from ceramic ware to furniture. They usually ended up around a large wooden table covered with fabric swatches, mosaic tiles, an RAL [European color matching] chart, a few bottles of family-label wine, some bread and a cartoon-sized wheel of

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Parmigiano-Reggiano. It was a fabulous environment.” Rosita Missoni also saw the upside. “We need to be able to work with an interior design firm that can take our ideas and work closely and openly with us to translate them into the right architectural language. Graven Images does that very well,” she says. “Having worked with them for several years, I know they have a true understanding of what I like and don’t like and what I’m trying to achieve. They have an open, down-to-earth way of working.” This kind of professional-toprofessional working relationship will increase the cross-pollination

 scar de la Renta’s blend of well-groomed O sophistication and stylistic flair takes a trip to Puntacana Resort & Club, Dominican Republic.

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of design disciplines and create new job opportunities for hospitality designers willing to give up the starring role. “Every design job is collaborative because we work with huge teams of specialists. It’s a way of working we’ve become very familiar with over many years,” Hunter says. It’s one all design firms might be learning. Currently, Graven Images is looking at building out the Missoni chain with Michael Graves & Associates in Oman, and the Rezidor connection has introduced the firm to projects in Chicago and Minneapolis with Radisson. Clearly, playing well with others has its own fashionable and financial rewards. HS

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/ 5 / In the Cucina restaurant, the continuous strip along the back of the banquettes gives seating a secondary role as an architectural element. “Pattern is a catalyst to resolving how the environment comes together,” says Graven Images’ William Nolan. / 6 / “Guest rooms must be perfectly fresh and clean, with all of the details that make life pleasant,” says Rosita Missoni. For this suite, that means cool wood, a friendly color palette, and signature accents, like the rolled chairback.

 lean, tailored Americana marks Ralph Lauren’s C collections and his RL Restaurant, Chicago.

Summer 2011 / hospitalitystyle.com

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BY MARY SCOVIAK

HEAVY METAL Rockwell Group forges Park City’s mining past and its indie film capital present into the brilliant restaurant Silver.

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HOSPITALITYSTYLE.COM / SUMMER 2011


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/ / / In a world in which Burberry

Courtesy of Rockwell Group

can make a trench coat a 20something hipster’s object of desire, it’s no surprise there’s a restaurant like Park City, Utah’s Silver. Designed by the New Yorkbased Rockwell Group, Lisa Barlow and Mary Lisenbee’s newest dining venue shows why unexpected accents and scintillating materials are making classic spaces so cool. The 1926 building had all the right fundamentals thanks to its two-story brick construction and a generous supply of original wood. It also had a great pedigree, a legacy from its first tenant, the Marsac Silver Mining Company. Silver’s owners could have stopped the design brief right there and had a ruggedly handsome vintage concept for the ski and Sundance Film Festival sets. Instead, they tasked the design team with finding features that would preserve this Main Street landmark’s heritage but dress it up with a modern, urban vibe. In a word, their goal was: “Dazzle.” Layering gets the balance right. Rockwell Group brought the past front and center with veins of silver interpreted in various materials. “We tell the building’s story by

/ 1 / Rockwell Group riffs on the metallic theme in the varying textures of the upholstery on the chairs, the gossamerlike chain link curtains and the cerused veining in the central tables. / 2 / A set of Andy Warhol-inspired lips adds some visual pizzazz to the restaurant’s maitre d’ stand.

Summer 2011 / hospitalitystyle.com

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/ 3 / The glass backdrop on the floorto-ceiling wine wall continues the theme set by the elevator surround.

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the use of silver as the underlying color in the materials, textures and patterns throughout the restaurant,” says Rockwell Group principal David Mexico. “It’s unique because it offers a design solution and an experience that’s more modern than rustic.” Rivulets of what looks like molten metal spill over the walkways and down the walls. Exposed brick walls get a futuristic edge with an overlay of rosegold, custom chain link curtains lit dramatically from the front and the

back. Strategic swaths of wood are stained to match the theme, as in the silver leaf ceiling. The elevator bank that links the restau-

its silvery envelope of custom Maya Romanoff wall covering and sparkling set of Andy Warholinspired lips. “We liked that piece

“We wanted Silver to be a fresh, modern, glamorous destination.” rant’s three levels is clad in etched glass with a pattern in liquid silver vines. Even the maitre d’s stand shines like a precious nugget with

because it represents an attitude that supports the personality of the space,” adds Mexico. Since Park City is busiest during the chilliest months, the restaurant couldn’t be perceived as a steely or cold. The design team introduced contrasting colors such as deep blues and gold to warm up the silver elements. “These colors added a beautiful distinction against the brick walls, wood floor and oversized windows,” Mexico says. The furnishings also add a note of intimacy. A signature banquette upholstered in richly textured, cobalt blue mohair with buttontufted silver accents rises from the entry floor into the second level of the restaurant. “We felt that dramatic banquette seating would help convey a sophistication and warmth through its character, fabric and line,” says Mexico. “Trends aside, there are certain colors and shapes that are timeless. Clean, modern lines work well when they’re offset by organic or earthyfeeling objects and palettes.” That’s why he integrated ribbons of silver in the main dining room’s communal walnut table. “The design references silver mining and the way that veins of silver are found naturally in the earth. We embodied that spirit in the design of the table using cast aluminum,” says Mexico. A gentlemanly walnut wood bar provides continuity as guests move into the mezzanine lounge. Low cocktail tables make it easy to mingle. There’s also a cozy fire in the suspended fireplace. On the lower level, the mood turns more sensual, more New York. Glass-covered brick walls, backlit and etched with graphics, transition away from the 1920s feel.


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However, the cobalt blue mohair banquette motif continues, along with silver alligator bolsters also used for the mezzanine bar. For Silver, as for most projects, lighting is one of the most important accessories. Three chandeliers, reminiscent of jewel-toned Venetian glass, anchor key spaces over the reception desk and in the main dining area. They’re complemented by a complex lighting program that flows around form and function. “Light levels were

very important,” says Mexico. “The lighting needed to enable the guest to see the food the way the chef envisions it, to emphasize the room and to add just the right amount of sparkle. The designers used cross-lighting and other techniques that took advantage of the mixed materials.” Mexico likes the “unexpected collisions and visual intrigues” that lift this solid building out of the realm of the predictable. “We wanted Silver to be a fresh,

modern, glamorous destination in Park City; it’s a new type of restaurant on Main Street for Park City residents and visitors,” he says. “One restaurant trend is more intimate dining experiences. We’re moving away from large, anonymous restaurants. Although Silver is a three-level restaurant, it represents this trend. Each floor only has 30-40 seats, and design elements were selected so that each floor provides a small, comfortable dining experience.” HS

/ 4 / Guests can shelter in under the arch of this cobalt blue mohair banquette to warm up after a day on the slopes.

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The London Look

Part stiff upper lip, part social butterfly, W Hotels’ first UK locale celebrates the dual culture of the British capital.

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By Mary Scoviak

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Ewout Huibers, Amsterdam

/ / / Few cities have a reputation for working and partying harder than London. The Dutch design firm Concrete wholeheartedly embraces that duality in the new W hotel on Leicester Square. “We wanted to show guests the real London and what Londoners are all about,” says Ulrike Lehner, Concrete’s project architect. “The interiors are a public and private tour that guides people through

the day and night of a quintessential Englishman and Englishwoman.” Both product choices and the space plan play with the British character’s inclusiveness and exclusiveness, the businessclub-and-party culture, reserve and outrageousness, the day persona and night persona. “We wanted to challenge guests to change their expectations and tempt them to push boundaries into unforeseen

behaviors,” she says. Lehner and her team envisioned the hotel “getting dressed” throughout the day. The public spaces literally reference the looks that crowd the Tube and the streets in the city during business hours. Upholstery fabrics for the W’s lounge cushions, seats and stools borrow from the traditional textiles and patterns associated with Saville Row suits. Like British

/ 1 / The lounge is as proper as high tea, with buttoned seating, clean lines and warm, rich colors.

Summer 2011 / hospitalitystyle.com

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/2/

/3/ / 2 / Shiny mirrored spheres dress up the Ewow suite’s living room for a night out and echo the disco ball motif throughout the hotel. / 3 / The spare architectural style of the entrance might seem like it means business, but flights of disco balls lead guests straight to sparkling silver check-in stations. / 4 / A giant disco ball gets the party started in Wyld. The curves of the bar and sofas intensify the social mood, while hot pink lights turn up the visual heat. / 5 / A cool neutral palette transitions the eye to the white serenity of the Away spa.


/4/

/5/

woolens, there’s also functional warmth in the W’s public spaces, including the open fireplaces that give the lounge the handsome sobriety of a gentlemen’s club. The tailored furnishings are classic with a twist, as in the double-depth, black Chesterfield sofas. “Every sofa is its own social landscape where guests can meet, mingle and flirt,” says Lehner. So each of the furniture islands has its own take on the lounge’s style accented by serial changes in the lighting. After the sun goes down and the laptops hibernate, a different side of Londoners comes out, and it’s definitely bright and highly social. “That’s what made us think of the disco ball as a signature. Who doesn’t think of a party when he or she sees that sparkly globe?” says Lehner. It would have been too simple to suspend just one in the middle of a club space. “So we decided to exaggerate the statement by using a cloud of hundreds

of disco balls that create a transition from the hectic London street life to the lounge. Follow them and they’ll lead you to where the action is,” she adds. The design doesn’t shy away from the over-the-top aspects of London nightlife and the whole entertainment scene of the hotel’s neighborhood in Soho. That’s part of the creative driver for Wyld, run by bar/club/restaurant specialist Ignite Group. Named for Sir John Wyld, a Victorian entrepreneur who specialized in larger-than-life entertainment projects, this rock-androll haven set out to re-energize the area’s music scene. Concrete stays true to the club’s namesake and mission by making a 3.2-ft. diameter disco ball the focal point. “We liked the idea of taking a very clear idea like this and executing it with dramatic proportions,” says Lehner. Scale continues to provide continuity moving into the Spice Market, one of the latest offers by Michelin-starred chef Jean-

Summer 2011 / hospitalitystyle.com

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/ 6 / With its gold and black accents and ultramodern lines, Spice Market evokes a high-end Asian grocery. But scale and number add drama in the form of a two-story spice rack and hundreds of lights made out of woks. / 7 / At just 301 square feet, the hotel’s guest rooms are substantially smaller than the W’s standard 376 square feet, so Concrete’s designers melded the bedroom and dressing area. Mirrored walls and ceilings add to the illusion of space.

/6/

/7/ Georges Vongerichten. Concrete imagined the space as a cabinet of spices reaching two stories high. Along the walls are the colors, flavors and fragrances of Asian cuisine. “We wanted to reveal every ingredient the chef would require for Spice Market’s signature dishes,” says Lehner. Accessories are an integral part of this fashion statement. That’s obvious in the 600 lighting fixtures fashioned from woks custom made for the Spice Market. But it also shows in subtle touches, as in the silver and gold mirrored strokes that form patterns on the backlit glass core that unifies the public spaces. Guest rooms look more like dressing rooms, anchored by a desk and vanity table combined into a signature piece. To make both getting ready and coming back to the room more fun, guests can choose one of three lighting scenes. “A hotel room shouldn’t be just a place for a good night’s sleep. It should be a space to explore,” says Lehner. “We wanted to create an ambience in which changing for a night out in the West End would be a red carpet event in itself.” HS

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/ / / Every fashion season has its

Dressed to Thrill Bespoke suites in Paris’ Seven Hotel invite guests to try on a wardrobe of experiences. By Mary Scoviak

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breakout collection, the one that seems to capture the right lines, shapes and colors and weave them into the look that makes anyone who wears it feel fantastic. That’s what the new suites at Hotel Seven in Paris are doing for hospitality style. The work of four different design firms, these seven “experiences” take the old-fashioned idea of theming in a fresh, new direction. They’re not just welldecorated stage sets. Backed by inventive construction techniques and innovative technology, these one-of-a-kind spaces allow guests to try on different identities—James Bond, Marie Antoinette, Wonderland’s Alice—or just play with futur-

istic features, as in a room that shifts from a cool, white library to a crystalline forest at the flip of a light switch in the On/Off suite. Like the best of haute couture, Hotel Seven’s suites have an air of fantasy and privilege. But behind the flashy aesthetics, there’s a lot of discipline. The special effects may be over the top; the budgets weren’t. “Philippe Vaurs [president and managing director of Hotel Seven’s parent, Elegancia Hotels] asked each studio to design something unique that would elicit emotion, surprise, a feeling of novelty,” says Sylvia Corrette, who heads her own design/interior architecture practice. “There were no constraints on our imaginations.

Serge Ramelli Photography, Paris

/1/


/2/

/ 1 / Mirrors placed behind and above the bed set a sexy mood but also help to visually enlarge the footprint of the Spy suite. Another witty touch: the lamp base shaped like a golden gun. / 2 / Fiber optics installed in the Black Diamond suite’s floors, walls and ceiling make the entire space glitter like a gem. So as not to disturb the effect, the “mirror television” blends into the glass wall when it’s turned off.

/ 3 / For the Marie Antoinette suite, Sylvia Corrette researched Marie Antoinette’s handwriting and copied passages in her own hand to create the motifs on the curtains surrounding the bed. Other curtains featured screened images of photos taken at the Palace of Versailles.

/3/

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/ 4 / In addition to the designer suites, Hotel Seven offers Levitation rooms where suspended beds hover above a starlit floor. As in the suites, acrylic furniture makes a big impact.

36

/ 5 / The effects of curves and a rich blend of different textures play with whiter shades of pale in the Sublime suite. Even the round bed gets a bit of an edge thanks to the bands of light in the oculus overhead and the backlit curtain panels.

hospitalitystyle.com / Summer 2011

Still, we had to stay within reasonable budgets without making concessions that would undermine the project. So we had to be very precise in the technical aspects.” “Technical” is the design driver of the year. The real creativity of Corrette and fellow Paris-based interior architects Paul-Bertrand Mathieu, Vincent Bastie and Virginie Cauet is part and parcel of the construction and installation. For example, for Corrette’s

Black Diamond suite, LEDs were embedded in the black carpeting to give it a jewel-like shimmer. She sloped the black glass walls to resemble gem facets, reflecting and refracting strategically positioned lighting. Mirrored walls in the Marie Antoinette suite offer a fairly literal take on the Palace of Versailles’ Galérie des Glaces. “The craftsmen who worked on this project helped us troubleshoot difficult elements such as

mounting the glass behind the bed in the Marie Antoinette suite to get the right effect for day or night and laying the false plastic ceiling at the right angle over the Black Diamond suite bed,” Corrette says. In the On/Off suite, Mathieu and his studio, PBM Design Studio, collaborated with Priva-Lite de Saint Gobain to create a doubleskinned glass wall that presents two different decors. The glass can be opaque or transparent, thanks


/4/

/5/

to a current that runs over a liquid crystal film. In Version On, the glass is opalescent. The space could be a library, living room, bedroom or work space. Switch to Version Off and the room becomes a fantasy forest, with the images revealed in the glass suggesting a cabinet of curiosities. “I did not want to tell guests how to use the room,” says Mathieu. “As in all of my projects, I sought to use the latest technology to tell a story that is a little surreal.”

Summer 2011 / hospitalitystyle.com

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/6/

/7/ / 6 / A glass wall that changes from this frosty imagery to a stylized cabinet of curiosities at the flick of switch gives a spacious feel to the narrow On/Off suite. / 7 / A crackling fire stands in the middle of the Lovezvous suite. The natural mood continues throughout the room with its timber accents and cowhidewrapped soaking tub. / 8 / Alice may not live here anymore, but she’s left reminders of her travels in the Alice in Wonderland suite­­—from the March Hare coming through the wall to the chess pieces that form the lamp’s pedestal.

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/8/

He pushed even further outside the box for the Alice in Wonderland suite. All of the walls and the ceiling “come alive” in a choice of 10 psychedelic color washes (thanks to the liquid-crystal filmed glass). Within this framework of optical illusion, Mathieu intensifies the trip into Alice’s world with clocks of varying sizes, some with no hands and some that move counterclockwise, and a patchwork rabbit whose head, arms and legs emerge from the wall above the dresser. As with the best minimalist clothing, these designers elevate the essentials into some of the most memorable design statements. Cauet positions a slate brick fireplace in the middle of the Lovez-vous suite, then suspends

a flat-panel television on a glowing rectangle just above it. She keeps the intimate, back-to-nature feel from becoming saccharine with bold accents. There’s the cowhide wrap on the freestanding bathtub, for instance, and the tree trunks that double as decoration and legs for a stool. Line and proportion are other key terms. Agence Bastie plays with both in the Spy suite and the Sublime suite. For the former, the repetitive wood arches draw the eye toward the mirror above the bed. A mix of retro and modern, this cool bachelor pad has not only all the black and gold guests would expect, but subtle amenities any spy would appreciate after a long day— like a private Turkish steam shower

or a TV screen that diffuses four separate mood-enhancing aromas. The Sublime suite demonstrates just how much shape alone can contribute to design. White is usually cool, even cold. Here, Bastie plays against that by making the bed a soft round swirl, curling the bathtub into a cocoon and specifying ultra-thick carpet. The sparkling ceiling twinkles with spotlights and crystals. Even this Bauhaus perspective signals a shift in the approach to design. “The brief was to make magic,” says Mathieu. “We each did that according to our own sensibility. This was the first time I’d worked on a hotel. I loved having the opportunity to create a narrative, not just decorate.” HS

Summer 2011 / hospitalitystyle.com

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By Mary Scoviak

Ace of Clubs

Hong Kong’s Tazmania Ballroom trumps the usual late night scene with a mix of retro tech and cool contemporary design.

/ / / Stylistically, Hong Kong’s Tazmania Ballroom has about as much in common with Starbucks as Vivienne Westwood has with Gap. Gilbert Yeung’s newest private club is a high-end hangout where martinis are shaken, not stirred, and the heavy, golden oak entry doors remain firmly shut unless everyone knows your name. But, underneath all that, this Tom Dixon-designed nightspot distills retro tech with bespoke elegance and modern metallics into a thirdplace space where A-listers can mix, match and pound out a mean game of pingpong. “I wanted something like the nightclubs I went to in Toronto when I was at university there in the 1980s,” says the Hong Kongborn Yeung, one of the kings of the local entertainment/dining scene. “Back then, my friends and I were looking for places where we could

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enjoy the music, play pool, meet girls and just chill. People still want to have different activities available in a club. I asked Tom Dixon [head of Design Research Studio, an arm of Design Research Group] to create interiors that would be versatile and flexible enough to accommodate that and still be hip, on trend and glamorous.” Dixon had no trouble sussing what style-setters want. His S chair (manufactured by Italy’s Cappellini), stints with furniture power brands such as the U.K.’s Habitat and Finland’s Artek, and product placement in the permanent collections of major museums on three continents made the self-taught designer a superstar in his own right. Not surprisingly for an industrial designer turned interior designer, Dixon uses the basic components—the walls and ceilings—to frame each experience. Guests

/ 1 / Tom Dixon transforms a dead corner into a VIP space by creating this elevated platform and positioning a tufted banquette in back.


Photo Credit: Dragon-I Concepts Team, Hong Kong

/1/

Summer 2011 / hospitalitystyle.com

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/3/

/2/

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hospitalitystyle.com / Summer 2011

enter through the speakeasy ambience of a bronze, mirrored staircase with its lighted risers ascending to the club level. Once inside, they can choose their mood. In one area, plaster, floor-to-ceiling faux bookshelves suggest the leatherbound, smoke-filled intimacy of a British gentlemen’s club. In another, faceted metallic walls create a shimmering, craggy cavern. Then there’s the drama of vertical surfaces patterned with geometric diamond buttresses. “Hong Kong is a city with limited space. Finding the right building was difficult,” says Yeung, who launched his empire with Dragon-I, just down the street from his new club. “We were fortunate to find a space with such high ceilings and no columns.” Dixon works from macro to micro to shape the visual context for the zones within Tazmania Ballroom. He plays out the traditional theme with masculine elements— from the expected leather armchairs to the somewhat provocative animal trophies mounted on the walls and the jolts of neon light in the games room. He looks to the future with big statements such as his Copper Shade lights clustered above the dance floor, angled mirrors that


/4/

/ 2 / A cluster of bronze globes creates high drama. Despite the vertical reach, the warm, plush sofas keep the overall feel comfortably residential.

/ 3 / All that glitters is gold—or at least the Illusion is—as guests climb the entry stairs. The passage was kept narrow to heighten the mood of exclusivity.

/ 4 / The GIlded Age continues with goldplate wraps on the pool tables.

Summer 2011 / hospitalitystyle.com

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/5/

/ 5 / A nod to the libraries in British gentlemen’s clubs, this glass wall is etched to look like floor-to-ceiling bookshelves.

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hospitalitystyle.com / Summer 2011

splinter reflections into op-art shards and details like the goldplated sides of the billiard tables. Plush striped armchairs are just around the corner from a modern blue chalk reception station. While the lounge features an oversized black leather banquette that curves around half the room, other destinations have deep-cushioned blue and teal sofas accented with golden, goblet-shaped drink tables. Yeung also wanted his guests to have some fun with the design. Dixon obliged by working with his

client’s team on a cable system that would raise both the billiard tables and pingpong tables to the ceiling to clear and expand the dance floor. “That was really the biggest challenge of the project,” says Yeung. “But we set out to do something different, exciting— something that would show we believe nothing is impossible. It’s great to see some people dancing and some people chatting or playing pingpong, with the balls flying all over the room. That takes everything up a notch.” HS


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Pattern Makers After spending much of the early millennial years on the shelf, patterned carpets and rugs look fresh and modern. There’s a full menu of options, from swirls and leaves to exotic prints and bold graphics. Colors cover the spectrum, from soft neutrals used for natural motifs to pure brights and rich Venetian hues. Texture is a key factor that separates what’s new and now from what’s outdated. At the center of the style spectrum are high/low combinations, felted surfaces and hand-tufted construction. For hard flooring, the trend is toward noticeable effects—from obvious wood grains to tiles with unexpected surface treatments. It all works to make guests take a second look.

/1/

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/ 1 / Jamie Beckwith Collection www.beckwithinteriors.com Interlocking wood pieces merge historical and contemporary influences in Enigma. The collection features 14 different shapes, including Byte (shown).

/ 2 / Kravet

/ 3 / Fireclay Tile

/ 4 / Malene B

/ 5 / Durkan

www. kravet.com In-stock Tibetan collection offers 13 new designs. The 100-knot-count carpets are handcrafted in Nepal by Tibetan weavers using Tibetan wool and Indian silk.

www.fireclaytile.com Locally sourced preconsumer window glass is fused and fired to create the Crush collection. Range includes 40 colors, 17 different size formats and two finishes.

www.maleneb.com Made from semi-worsted wool, Shanghai highlights handtufted construction as in H450 (shown). Custom colors, shapes and sizes available.

www.durkan.com More than 10 bold graphic styles in the Steampunk line coordinate with textured base grades.

/ 6 / Shaw Hospitality Group www.shawhospitalitygroup.com  Designed for public spaces, Style Tribe sustainable carpets mix classic and contemporary motifs with global and familiar influences. This Eco Evolution print features computer yarn placement.

Summer 2011 / hospitalitystyle.com

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www.newravenna.com Designed by Sara Baldwin, the Silk Road collection, including Marabel (shown), is hand cut into mosaic tiles. Seamless repeat design is suitable for indoor and outdoor applications.

www.tamscarpets.com Swiss-dyed custom carpets such as Grounded (shown) utilize cut pile and loop. Dimensions are 6 by 9 ft.

/ 14 / Signature Crypton Carpet www. signaturecryptoncarpet.com Stain- and soil-resistant Yellowstone Collection incorporates 82 percent recycled material. Available in five styles, including Caldera (shown).

/ 15 / Johnsonite www.johnsonite.com The six Folio patterns offer contrast and depth thanks to 3D molding. The range has three texture options for coordinating rubber tiles.

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/ 17 / Diane Paparo Studio www.dpstudiousa.com Made from New Zealand wool, hand-tufted Lotus rugs are constructed in the U.S. Range features cut and loop and high and low pile.

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»To subscribe, visit HospitalityStyle.com/subscribe. ADVERTISING INDEX HOSPITALITY STYLE (ISSN 15546772) is published quarterly by ST Media Group International Inc., 11262 Cornell Park Dr., Cincinnati, OH 452421812. Telephone: (513) 421-2050, Fax: (513) 362-0317. No charge for subscriptions to qualified individuals. Annual rate for subscriptions to nonqualified individuals in the U.S.A.: $48 USD. Annual rate for subscriptions in Canada: $70 USD (includes GST & postage); all other countries: $92 (Int’l mail) payable in U.S. funds. Printed in the U.S.A.Copyright 2011, by ST Media Group International Inc. All rights reserved. The contents of this publication may not be reproduced in whole or in part without the consent of the publisher. The publisher is not responsible for product claims and representations. POSTMASTER: Send address changes to: Hospitality Style, P.O. Box 1060, Skokie, IL 60076. Change of address: Send old address label along with new address to Hospitality Style, P.O. Box 1060, Skokie, IL 60076. For single copies or back issues: contact Debbie Reed at (513) 421-9356 or Debbie.Reed@ STMediaGroup.com. Subscription Services: HS@halldata.com, Fax: (847) 763-9030, Phone: (847) 763-4938, New Subscriptions: www.hospitalitystyle. com/subscribe.

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/ / / Q+A

By mary scoviak

What’s the worst design you’ve seen? MG: Since I’m in a wheelchair, I find that hoteliers and designers don’t realize how best to accommodate people like me, whether providing a public entrance or a bed that’s at a height that allows a simple transfer. I can’t tell you how many times I’ve had to enter buildings through the kitchen or the loading dock. I recently stayed in a hotel room in which the hip designer thought that a bed very close to the floor would make a fashion statement. It took multiple hotel staff members in addition to my assistant and me to make the transfer in and out of the chair because of the inappropriate height of the bed. It was maddening, and stupid. That’s what I would call “design for design’s sake,” reflecting the arrogance of the designer. That bed probably wouldn’t be comfortable for many people, not just me.

Indianapolis native Michael Graves founded his design practice in 1964. More than 350 projects, 2,000 products and 200 awards later, few would argue with The New York Times’ Paul Goldberger’s comment that Graves is “truly the most original voice in American architecture.” Patrick Burke has overseen hotel and resort projects around the globe since joining Michael Graves & Associates in 1982. Here they offer their take on fads, fashion and the future of hotel design. Q Not every architect gets to design his eponymous hotel. How did that challenge you? How much of yourself did you pour into that design? A Michel Graves: It was flattering that our client [Genting Singapore] wanted to name a hotel after me. The client wanted Hotel Michael [part of the Resorts World Sentosa development in Singapore] to be a total Graves design statement, which is, for me, both personal and professional rather than one or the other. It was a challenge because it was such a comprehensive assignment. I was personally very involved in every detail of the interiors and don’t have a favorite space. That would be like saying I had a favorite child. I designed custom guest room furniture that incorporated paintings I created. My artwork appears throughout the hotel as well as in the casino and public spaces in the resort. We also named and designed the Italian restaurant Palio. The Michael Graves shop sells products and furniture that we designed. I even created the typeface for the signage. What projects are you working on? Patrick Burke: Phase 2 of Resorts World Sentosa in Singapore is under construction. This includes the

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Equarius Hotel, Beach Hotel Villas and an ESPA spa. In addition, the Missoni Hotel in Sifah, Oman, and the St. Regis Cairo are both under construction. We’re also working on new hotels in Switzerland, Saudi Arabia and India. We’re always looking for great projects. What recent projects posed the biggest challenges? PB: Resorts World Sentosa was a large, fast and intense project with a lot of stakeholders and an unmatchable schedule. We got the Central Zone open in three years following the award of the commission, which is amazing given how complex the backof-house services are. This area includes four hotels, the casino, a showplace theater, banquet hall and convention space, retail and the entrance to Universal Studios. The Maritime Museum is still under construction. Because Singapore’s time zone is offset from ours by 12 hours, we and our local associates, DP Architects (DPA), provided the client with 24-hour service. We used the clock to our advantage, and since we and DPA had a seamless relationship, we were able to deliver. We had to think through everything, from the largest building to the smallest scale of objects in the Michael Graves shop.

PB: Another example occurs in the bathrooms that offer only an overhead deluge shower. Not everyone wants to wet his or her hair when bathing, and a situation like that creates frustration. Bathroom lighting is usually pretty terrible, too. Which aspect of hotel architecture is due for revolutionary rather than evolutionary change? PB: Hotels need to keep up with what’s going on in the rest of society in terms of values, and I’m not talking about aesthetic trends. For example, integrating technology within hotels is now standard and it will no doubt continue to evolve with the technology. Also, as hotel architects and leaders of the design team, we can and should do our part to encourage environmental responsibility. MG: In terms of societal values, people are becoming more aware about accessibility issues and what’s called universal design, meaning design that works for all people. This should not be thought of as an add-on, but as a fundamental part of the design. For example, while I can’t climb them, stairs are great ceremonial devices in architecture. Rather than adding a ramp as an afterthought, you can incorporate it in the design. The same happens with bathrooms. Instead of adding a grab bar here and there, the entire bathroom can be reconceived to work for everyone, including those in wheelchairs. I personally am a big advocate for linear floor drains versus having a curb at the shower and a central drain. It’s so easy to do and it works for everyone. In a similar way, everyone, including those with low vision capacity, would be helped by better lighting and better signage fonts. HS / For more from Michael Graves and Patrick Burke, go to www.HospitalityStyle.com /

Barry Johnson, Courtesy of Michael Graves & Associates, Princeton, N.J. and New York

Michael Graves and Patrick Burke


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Hospitality Style - Summer 2011