Nยบ4 | INSPIRING HOSPITALITY INTERIOR DESIGN
INDIVIDUALISATION . FOR YOUR BATHROOM . IN PERFECTION. FOR 25 YEARS.
FORM FOLLOWS PERFECTION axor-design.com
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FOREWORD THE COVER Follow me to… Hospitality, it all starts at the beginning with the welcome. You’re inviting them to follow you and lose themselves, in all you have to offer. Design evokes passion and excitement, it’s silent yet still the most powerful voice in the room. Sparking imaginations, triggering memories – creating memories, communicating hidden hopes and even desires. Time has no concept, it simply melts away. A big thank you to British designer Beth Travers, Creative Designer at BOBO1325, for our excellent cover. www.bobo1325.com
Welcome to the second in our series of hospitality supplements for 2018. Continuing with a focus on how innovative architecture and design can transform the guest experience, we’ve gathered
impact is now considered through the design process. In this issue, the International WELL Building Institute’s Victoria Lockhart explains how sustainable green building practices can enhance
a range of different perspectives from professionals across all parts of the industry. From designers of world-class restaurants to operators of leading hotels, it takes many individuals from across the property food chain to produce a great hospitality experience. Having learned more about the hospitality investment scene at this year’s MIPIM, the four-day real estate exhibition in Cannes, we spoke to Jochem-Jan Sleiffer, Senior Vice President at Hilton Europe, to further explore the changing face of hotel investment, the hot-spots and the main drivers for the hospitality sector moving forward. As we discovered in the last issue, there’s no denying that sustainability is closer to the core of the hospitality sector than ever, meaning the environmental
wellbeing and the human experience – and we take a look at some of the world’s most sustainable hotels to explore what might be next when it comes to environmentally-conscious design. With Mixology18 only a month away, we thought it would be prudent to find out how to create perfect guest experiences to award-winning standards, so we’ve asked a panel of award judges to see what hospitality jurors look for in awards submissions. Finally, based on the suggestions of our supporters, we’ve interviewed the one and only Jean-Pierre Biasol (as our ‘most admired’) about the driving force behind the interior design firm responsible for some of the most talked about hot-spots in the UK’s cities. email@example.com
A MIX GROUP PUBLICATION
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The hotel investment scene
07 PERFECT HOTEL The Tech Junkie
09 PERFECT HOTEL
The Hopeless Romantic
The hospitality and wellness agenda
12 THE GREENEST ESCAPE The best of environmentally conscious design
14 A WINNING MIX
Future Feasts (for the eyes)
18 ASK THE DESIGNER
Katie Edgar, Associate Designer, Space Invader Design
19 ASK THE OPERATOR
Ursula Schelle-Müller, Head of Marketing and Design, Motel One
20 FIVE MINUTES WITH... Jean-Pierre Biasol
24 ART & THE GUEST EXPERIENCE Katie Terres, Head of Operations for Art Consultants ARTIQ
27 ASK THE OWNER
Josefin Baff, Commercial Manager, Belvar
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30 PLACES 30
St Pancras Renaissance, London
32 The Cookie Jar, Alnwick
34 The Daisy, Manchester
One Twenty, Wembley Stadium. London
38 The Lowry, Manchester
De Vere Beaumont Estate, Berkshire
The Donovan Bar At Brown’s Hotel, London
THE MIX TEAM
+44 161 946 6262
S&G Print ISSN 1757-2371
Rebecca Sabato Gary Williams CONTACT firstname.lastname@example.org
TWITTER @mixinteriors INSTAGRAM @mix.interiors
Unit 2 Abito, 85 Greengate Manchester, M3 7NA
WHERE ON EARTH
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is a real estate exhibition and conference in Cannes that welcomes more than 24,000 international property professionals to the French Riviera every year. Its content, discussions and conclusions have wide implications for the property world. Impression looks back at the four-day event and reflects on some of the key lessons for the hotel and leisure sector.
Cannes do attitude According to international property firm JLL, the global hotel real estate market has an estimated value of £570 billion. This makes it a hugely important slice of the overall global property market. With travel and tourism now thriving, hotels have become one of the top options for property investors. A recent survey by online real estate investment platform, BrickVest, in fact, found that more than a third of UK institutional investors believe the biggest property investment opportunities lie in the hotel and hospitality sector. In recent years, however, a new player has emerged that threatens the dominance of traditional hotels, in the form of online platforms that offer short-term lodgings. Airbnb, undoubtedly the most famous of these new companies, today has close to 5 million listings in approximately 81,000 of the world’s cities. Recent estimates place its value at more than £22 billion. The company is disrupting the traditional hotel space by keeping rates in line with the market and making additional rooms available in in-demand destinations in peak periods – thereby challenging the conventional hotel model of increasing margins during busy months.
In one of the stand out panel discussions at MIPIM, Amal Del Monaco, Head of Sector Specialists at AXA Investment Managers – Real Assets, said it was essential for investors to learn about key drivers in the hospitality sector to generate the income and opportunities forecast. Del Monaco claimed that people are becoming more comfortable with the property business, while management contracts are opening up. She said that the rise of services like Airbnb is putting more focus on the guest experience, changing customer expectations and highlighting the need for more sophisticated regulations. Despite their surge in popularity, however, she told delegates that this had not slowed down investment in hotel real estate – with cities like London, Paris and Berlin presenting investors with the most exciting opportunities. On that same panel, John Ozinga, Chief Executive of AccorInvest Group SA, the hotel investor business, echoed Del Monica’s points. He claimed that there is a real opportunity to invest in hotels – more so than workplace, – because it is an area where there is a genuine opportunity for ‘uplift’. He said that Airbnb is giving far more capacity to travellers, including
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One session at MIPIM offered a look at the changing face of hotel investment – is there still an appetite to invest? Appetite for investment into hotels as an asset class across Europe is growing, and this is reflected in the popularity of Hilton brands and our development pipeline. Across eight brands operating in Europe, we have nearly 200 hotels and more than 30,000 rooms under development. We partner with a range of owners, including local and national operators, high net worth individuals, and family and institutional investors – and their interest in collaborating with Hilton and investing in hotels is stronger than ever. The result is that a more diverse pool of investors is looking at hotels as an asset class for investment.
Impression sat down with Jochem-Jan Sleiffer, Senior Vice President, Operations, Continental Europe, Hilton, to find out how the hotel giant is responding to increasing demand and building a business fit for 21st century travel and tourism.
What are the main drivers for the hospitality sector? Each year more than a billion people travel internationally, and in the next decade that figure is set to double – while travellers’ appetite for quality accommodation and Hilton’s world-renowned hospitality is not showing any sign of abating. Our strategy is to seek to develop everywhere our guests want to be, and we are expanding into new locations all the time. In France, for example, we are opening new hotels in six new locations, and Hilton is set to open hotels in three new countries in Eastern Europe this year – Albania, Macedonia and Serbia. What would you say are the top three investing hotspots? It is hard to select just three. Central and Eastern European markets are active in terms of development, particularly in Poland and the Baltic states. More established markets such as France, Germany and Italy are performing well. Further afield, Africa offers so much potential. Last year, we launched our Hilton Africa Growth Initiative, committing $50 million over the next five years towards the expansion of our Sub-Saharan African portfolio – which is expected to add up to 100 hotels in the next five years to our portfolio.
65,000 units in Paris; and although it is a cool new trend that has many positives, it is creating new challenges that are fiscal and social in nature. Ozinga claimed, however, that big cities are now aware of these problems – putting limits on how often a landlord can rent out a space in an effort to curb illegal lettings, for example. Jochem-Jan Sleiffer, a Senior Vice President of Operations, full-service hotels, continental Europe, for Hilton, said that the world was now in a ‘golden age of travel’, with 1 in 10 jobs in travel and tourism and 1.3 billion people travelling each year, and reminded delegates that all of these people will need to stay in hotels. Sleiffer named Eastern European cities like Bucharest and Warsaw as the top investing hotel and leisure hotspots, where there is a growing market for hotels. As a leader for one of the biggest and most prestigious hotel brands in the world, Sleiffer said that he is yet to see any notable impact from the disruptive Airbnb threat.
There have been whispers about ‘the death of the hotel’ in light of Airbnb’s popularity. What is your take on that? Our industry is competitive, dynamic and growing – as the number of global travellers grew in 2016, we added more than one hotel a day to our network on average. We also welcomed a record number of guests. Home sharing has been around for decades, but the fundamental difference is that these sites are lodging companies and Hilton is a hospitality company. In some markets, we have seen unregulated commercial operators taking advantage of short-term rental platforms to run illegal hotels without adequate public health or safety standards. Concerned communities and private property owners are rightly responding. At Hilton, we take pride in offering our guests consistent, safe and secure accommodations, on top of exceptional hospitality. We are also proud to contribute to the economic and social fabric of the communities where we operate, by opening hotels that create real jobs and have a positive impact on local economies.
n the last issue, we explored how and why perceptions of perfection vary for THE BUSINESSPERSON and THE PARENT, and what designers need to consider when designing a personalised guest experience for these characters. This time, we turn our focus on THE TECH JUNKIE and THE HOPELESS ROMANTIC.
For the tech junkie, it is all about control and connectivity. Many hotels have already started to move towards the ‘smart’ room. Everything is about the guest’s experience and choice; offering them the environment and opportunities to create their own personalised stay. The smartphone/device, already at the heart of modern life, will become more so in the hotel environment, capable of remote checking in, becoming your room key, controlling lighting, temperature, blinds, room service, offering local guides, operating TV and sound systems and streaming content to your bathroom mirror. Also, remember the tech junkie loves all the latest devices, but these need not be limited to tech, so impress them with innovative furniture and layouts and don’t forget they also want the same as everyone else: comfort, ease, and plenty of power points! NICK WILLS, FOUNDER OF BUSBYWEBB
Everyone is a tech junkie. You can find them everywhere, and hotels should be prepared for them. We think the best technology is the tech you don’t see – you just realise it’s there in the precise moment when you need it. It’s key to be able to use the hotel’s content in terms of music and films but also crucial to offer the right platform to stream your own content from a physical device or from the cloud. Connectivity everywhere is crucial. JAIME OLIVER, DIRECTOR OF OHLAB / OLIVER HERNAIZ ARCHITECTURE LAB
THE TECH JUNKIE “I can’t go anywhere without my portable iPhone X charger (20,000 mAh, of course), a spare pair of earphones and my beloved downloaded iPad edition of “Edge”. I expect no less than 100mbps Wi-Fi in the lobby, the gym, the restaurant and my room so that I can finish my Slack conversations on my smart watch with the speed of light.”
Business or pleasure, nobody’s got the time to check settings, set things up or mess around with wires. Just make it work. Instant connectivity, no logins, and no failures. Power is attractive, so socket-to-me, for my iPad; iPhone; battery back-up; laptop – but don’t give me an electrical socket, give me USB. And even better, wireless charging is here, get into it. Let me control the light, but make it simple; lamps by the bed, separately to the ones in the hall. Give me WiFi and make it free and make it FAST. I don’t have time to write out code to get on it, just connect me. JULIA FEIX, DIRECTOR OF FEIX&MERLIN ARCHITECTS
A tech junkie’s room must have smart lights with pre-sets dependent on the type of tech junkie living in the space. The sound system can be controlled via personal smartphone, or the Sonos app. Alexa or an alternative voice-controlled device with an area guide and a chat bot – which would answer all the common questions, order room service, set an alarm and so on – is also a must and allows the tech-savvy guest to control all technology within the room (smart lights, Spotify, Bluetooth, noise cancelling headphones, gaming devices, on demand). PËRPARIM RAMA, CEO OF 4M GROUP
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INTRODUCING THE EXCLUSIVE HOSPITALITY FURNITURE COLLECTION FROM KNIGHTSBRIDGE. www.knightsbridge-furniture.co.uk
THE HOPELESS ROMANTIC
The moment you open the door to your room can set the tone for your romantic getaway. The room should smell naturally fresh, not sprayed with room fresheners. Cleanliness is next to godliness – one tiny hair and its game over for me. There’s nothing better than a cute French door onto an even cuter Juliette balcony with just enough room for two people to stand side by side for that first hug. TAREK MERLIN, DIRECTOR OF FEIX&MERLIN ARCHITECTS
People travel to escape reality. A hotel can be a lot more than a comfortable place to sleep, bathe, eat and work. With the right atmosphere and visual cues, bolstered by excellent service, walking in can be like crossing the threshold into another time, place or universe. This kind of experience is perfect for the hopeless romantic, whether traveling with a lover or simply for a solo escape.
“I’ve been whisked away with my partner and I’m looking forward to spending long hours lounging around on the super-King-sized bed, relaxing in each other’s company. While comfort is obviously a priority here, I lust for luxury and a little decadence to make this treat feel extra special.”
It goes without saying that the service and environment need to be of the highest quality and there are clearly a number of prerequisites that are an absolute must – like a fabulously comfortable bed, the best linen sheets, the most amazing shower. Beyond this, in my opinion, it is very much each to their own. The idea of telling the hotel what you ‘personally’ would like and them then curating this experience and importantly delivering beyond one’s expectations would be the best setting for a romantic liaison. JANE LAWRENCE, DESIGN CONSULTANT AND HEAD OF INTERIORS FOR KNIGHT DRAGON DEVELOPMENTS LTD
ADAM GRECO, HEAD U.S. DESIGNER AT SOHO HOUSE GROUP
For the romantic kind – imagine a swift arrival. The ability to pre-check-in, no waiting around in the reception area. You have the immediate ability to walk straight into your love den. Your favourite music plays. A large bouquet of roses and bottle of champagne rests beside a bathtub filled with bubbly water. Windows frame scenic vistas of the river, or skyline, or landscape, depending where you are. Wherever it is, the views are breathtaking. The bed is royal, plush, and surrounded with silk pillows. The lighting system creates an atmosphere in tune with the sounds of your playlist. Look up, there is a large mirrored ceiling right above your bed. PËRPARIM RAMA, CEO OF 4M GROUP
A romantic experience is all about creating the right atmosphere at every single moment of the day. The power of maximising pleasure by engaging each of the five senses should not be underestimated; textures, scents, lighting, sounds and flavours are all important and need to be kept at the forefront of the designer’s mind throughout the process. I think the hotel design should also be connected to its unique site, in each location, to find an authenticity that is specific to its context. JAIME OLIVER, DIRECTOR OF OHLAB / OLIVER HERNAIZ ARCHITECTURE LAB
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SUBSCRIBING TO THE HOSPITALITY AND WELLNESS AGENDA Victoria Lockhart explains how sustainable green building practices can enhance wellbeing and the human experience within the hospitality world.
At International WELL Building Institute we are focused every day on our mission to transform our buildings and communities in ways that help people thrive. We believe the ultimate goal of our buildings and communities is to create a positive human experience. And we are not alone in our thinking that the wellness agenda can help unlock both human potential and financial performance.
Wellness has been touted as the next trillion-dollar industry and is increasingly the focus of architecture, design, construction and operations decisions. The conversation taking place to incorporate health and wellness into the sustainability movement is now happening across the spectrum of places where we live, work, learn and relax. The physical workplace has undergone significant changes in recent years, with companies recognising how human-centered design can positively contribute to their employees’ health, happiness, satisfaction and productivity, and therefore to a business’s bottom lines. Financial groups are also moving to include health and wellness into their portfolio evaluation criteria. At the same time, public awareness is growing around the ways that buildings can affect our health, motivating consumers to take responsibility for their wellbeing, even while traveling for work or pleasure. When it comes to advancing human health and happiness through our buildings, we are seeing tremendous progress from across the design world, which has huge relevance to the hospitality sector. This extends beyond the gym and spa and into the entire guest experience, from the building core to the guest rooms, restaurants, leisure offerings, and wider communal amenities.
“ WHEN IT COMES TO ADVANCING HUMAN HEALTH AND HAPPINESS THROUGH OUR BUILDINGS, WE ARE SEEING TREMENDOUS PROGRESS FROM ACROSS THE DESIGN WORLD, WHICH HAS HUGE RELEVANCE TO THE HOSPITALITY SECTOR ”
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The WELL Building Standard takes a holistic, evidence-based approach that integrates design features with improvements to operations and cues to promote behavioural change. WELL addresses the seven core concepts of building performance that have been scientifically proven to affect human health and wellness: air, water, nourishment, light, fitness, comfort and mind. A good night’s rest is often a high priority for travellers, and light is a critical factor for healthy sleep. Light is the primary driver that aligns our body’s biological clock – our circadian rhythm – with the sun’s 24-hour day. Circadian lighting provides optimum light exposure for different times of day, such as energising light in the morning and an evening ambience that prepares the body for rest – and therefore can help improve one’s energy, mood, productivity and overall sleep quality.
People often use travel to relax and recharge, and we know that physical and mental health are intertwined. The emerging field of biophilia – the idea that humans have an affinity towards the natural world – helps us to understand why access to nature and other natural elements are linked to a range of positive outcomes, such as mitigating cognitive fatigue, lowering stress and improving mood. When it comes to promoting mental health, incorporating beauty and mindful design through artwork can create a calming environment and positively impact mood. Incorporating biophilic design through environmental elements, light, patterns and colours of nature, as well as connection to the outdoors, are key to supporting positive mental health and happiness. An overall people-centric approach to architecture can be used to inspire and delight, while promoting health and wellbeing. Soaring ceilings, natural light, views that elicit a sense of awe and connections to nature can have a psychologically calming effect, as part of biophilic design. The techniques that draw us to visit architectural wonders when we travel can also be integrated into the hotels and facilities that serve as our on-the-road retreat. The hospitality sector can also draw from WELL by promoting healthy behaviours among guests, such as physical activity, nutrition and hydration. Staircase design, as well as natural lighting and aesthetically pleasing views of nature or landscapes within stairways or walking routes, has been shown as an effective strategy to increase physical activity and make movement and fun part of daily routines. Restaurants and in-room food offerings play a major role in making healthy eating the easy and attractive choice when away from home. What we are learning from our WELL projects is that it is not a one-size-fits-all option in terms of design solutions. Healthy workplaces, hotels, homes and communities come in all different shapes and sizes. What is most important is that the industry at large is creatively responding to the needs of the people who use these spaces, and collectively helping to push the boundaries of what is possible in regards to advancing human health through better buildings.
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The Greenest Escape H
otels offer some of the most beautiful and luxurious spaces in the world, often at the expense of the environment. According to online travel fare aggregator Booking.com, however, more than a third of holidaymakers are now looking for more ecofriendly travel options. This means hotel and leisure providers must now pay more attention to the sustainability credentials of their accommodation. While encouraging guests to reuse towels has become commonplace, hotels can also get greener by switching to energy saving technologies, saving water, improving recycling processes, and supporting local, sustainable businesses. The recent surge in popularity of eco-boutique hotels is a sign of these changing times. In this supplement, we take a look at some of the great green hotels in the world, featuring destinations in Amsterdam, Costa Rica and Kenya and the UK.
C O E S FA E N LO D G E , SNOWDONIA
The concept of Coes Faen Lodge Spa BB and Restaurant welled up from the imagination, professional skills and experiences of owners Richard and Sara Parry-Jones. Their aim at Coes Faen Lodge has been to create calm, peaceful spaces that promote relaxation and wellbeing, delivered with discreet, contemporary luxury, referencing bioarchitecture and building in sustainability. Each room has its own unique character and features, yet all are unified by an underlying platform of quality and comfort. Six guest rooms all offer a sense of intimacy and peace. Each is decorated with sophisticated simplicity, with the colour schemes chosen to complement the breathtaking views of the estuary and the mountains. Tactile and high quality natural materials are used extensively, including stone from their own land.
C A M P I YA K A N Z I , K E N YA
Swahili for ‘camp of the hidden treasures’, Campi Ya Kanzi is the dream come true of Luca Belpietro and Antonella Bonomi. Situated on 283,000 acres of a Maasai reserve at the foothills of Kilimanjaro, between Kenya and Tanzania, Campi ya Kanzi is a 100% carbon neutral eco-lodge, offsetting all of its emissions in the REDD+ Chyulu Carbon Project, created by Maasai Wilderness Conservation Trust. The entire camp has been planned and built with the goal of having the lowest impact on the environment. Local building materials have been used (lava rocks, thatch, lumber from a reforestation programme). Hot water is supplied by solar boilers; electricity, by solar systems; food is prepared with eco-friendly charcoal produced by a UN project; waste is collected, properly recycled or incinerated or used as compost for a small organic vegetable garden. All water needs are covered through rain cropping; the black and grey waters are purified through natural filtration and recycled into a pond for wildlife.
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H O T E L P U N TA I S L I TA , C O S TA R I C A
Hotel Punta Islita’s design was a collaboration between owner Harry Zurcher and his brother, architect Ronald Zurcher. Constructed with energy-efficient architecture and lighting, Hotel Punta Islita follows a Require, Reduce, Re-use, Recycle principle. Requiring that all purchasing orders comply with sound environmental standards, in an active effort to reduce environmental footprint. The hotel holds the maximum sustainability rating of Costa Rica’s Certification of Sustainable Tourism programme. The standout feature of Hotel Punta Islita’s Responsible Model is that it has been a pivotal catalyst for a collective sense of possibility, hope, and entrepreneurial enthusiasm. This has enabled a formerly depressed isolated region to thrive, underscoring local culture and traditions.
The QO wants to prove that embracing a sustainable, circular approach is the only way to create a genuinely positive impact – for both people and planet. This is the way for the future of hospitality. The concept means more than just ticking a few eco-friendly boxes: it runs throughout the building, products and operations. Conran and Partners was selected for the bedroom design, while Dutch firm, Tank, created the public spaces that the local community would love. A classic external-grade brick has been employed for the bathroom walls to reference the most prominent building material used and offer a visual connection between external and internal surfaces in every room. The use of brick hints at the wider concept of ‘textural materiality’, and the use of materials in their original form – including natural oak and leather – can be found in the design of other features in the room. The basic principle in the public areas was to use the rough building itself as a carrier and add the interior as a jewel, proving that sustainable interiors don’t have to be stuffy. The design comprises a variety of ingredients that, taken together, express the chief principle of QO: sustainable luxury.
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A WINNING MIX With Mixology18 only a month away, we thought it would be prudent to find out what a winning mix looks like. It would, in the majority of cases, be impossible for a team of judges to physically visit every project that entered an awards programme. In most cases, the judges’ decision rests on the quality of information contained in the awards submission. Pulling together an award-winning presentation can be the difference that elevates the status of a project to new heights. Conveying the story of the design process and convincing the judges that yours is worth the acclaim isn’t easy to achieve – it takes careful planning, the best images, and tapping into that ‘special something’ that has successfully created the ultimate experience for the discerning traveller. We’ve asked a panel of award judges to see what hospitality jurors look for in awards submissions in order to reveal what makes a particular hotel ‘award-winning’ worthy…
Creative Director, Benedict Wilhelm Design
Director, Interior Design – Europe, IHG
‘The first and most important tool to describe any project would have to be imagery. But, of course, it’s difficult to experience a living space through just images and some text. Quality of light, senses such as smell and touch, along with materiality are tricky to capture perfectly, so choosing the right combination between relevant shots and information to not only describe but sell these aspects is critical. It’s all about
‘It’s important to convey the ambience and feel for the hotel from the guest point of view – from the entry experience and impact of their first impression, through to the style and comfort of the guestroom. Even from a design point of view, the functionality of the guestroom is
explaining the overall concept and how it’s been translated throughout the design. A complete design needs to include everything from layouts and details, right down to the choice of artwork — it needs to read as one and feel complete. ‘Context should always feature. Was the historical and cultural context part of the brief and the concept, and has this been addressed and included in any form? If yes, tell us how. I like to find evidence of local craftsman, architectural references, local art and furniture being included. When I stay somewhere I like these ideas to be reflected in the design. ‘Knowing the budget is key to understanding what the designers or architects were working with and how they have made use of resources. Does the design demonstrate quality? Even in a budget hotel, detailing is key to the aesthetics but also to demonstrating a creative edge. Clever detailing and considered design enhances the customer experience, making it stand out. It’s also worthwhile including a note about any challenges and restrictions the designers faced and how, through clever design solutions, these have been overcome.’
important, and a well-considered room design will take ease of use into account as well as appearance and atmosphere. ‘For a presentation, I would initially look to understand the story behind the design – the thought process and key detailing that the designer has initiated into the schemes. An ideal presentation should show ambient images of an area at different times of the day as the mood and use of a space can change dramatically from morning to night. It is also good to see close up details of key design features to get a better understanding of the quality and finish.’
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MARIA KATSAROU VAFIADIS
Founder and Managing Director, MKV Design
Design Consultant, sjjdc limited
‘The most difficult part in winning over a competition jury panel lies in giving them a full understanding of the project from a written and visual presentation without the authors physically being able to argue their case. Clearly, presentation is of paramount importance and should be executed in such a way that it does the project
‘The unfortunate reality is there’s never quite enough time to substantially review award submissions, so it’s often the seductive imagery that gains immediate attention. I, for one, am a stickler for digging deeper into each submission’s content. Understanding the requirements and strategic response plays more to my desire to grasp the solution to the problem given.
justice in terms of clarity, structure and, of course, visual impact and quality. ‘When I am asked to judge competitions myself, I always look above all for two things; firstly, the extraordinary, something that I have not seen before. This can be either a redesign or the design for a brand-new space but the point is that there should be something especially thoughtful and innovative – perhaps the unexpected use of certain materials or a spatial solution, for example. ‘But physical design and architectural features are not enough. I also look for a strong and coherent narrative. In hotel interiors, where one must create memorable experiences, I always look for the thread that unifies the design into a compelling story.’
‘Interior design is in the top 4% of professions that can positively affect behaviour and impact business strategy. To me, telling the story is key, and including graphic content to assist the storytelling helps enormously. I love to see images of approach and methodology and early concept sketches that depict the thought process and development as ideas mature. ‘Hospitality design, we often say, is about creating dreams but should be much more than that…. what wide ranging impact did the design solution bring to developer, operator and staff, their processes and procedures, as well as the emotional impact to the people lucky enough to enjoy and fulfil their dreams?’
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espite the recent rise of app-based food delivery services such as Uber Eats and Deliveroo, the UK’s restaurant scene is thriving. A foodie revolution since the turn of the millennium has reinvigorated the sector, waving goodbye to the boring, tasteless food and uninspiring spaces of yesteryear. Nevertheless, restaurants now have to meet a range of new demands encompassing greater choice, convenience, quality and consistency. UK consumers are more sophisticated, seeking out specific dietary requirements such as veganism and gluten-free foods as well as the casual dining offered by night markets like London’s Street Feast. In this section, we showcase some of the most exciting restaurants to open in the UK in 2018 to see how they are adapting to these trends and adding their twist to what is a hugely exciting space.
THE BEECH HOUSE, AMERSHAM
Harrison were approached by Oakman Inns and Restaurants to convert a large retail unit in Amersham into a new generation Beech House. The Beech House concept is a ‘family’ of bespoke venues, each of which has its own personality, always linked to the local community. The design needed to reflect the brand personality, which is confident, unconventional, intelligent, relaxed and trusted. Having opened in March 2018, The Beech House has already established itself as the destination in Amersham, attracting custom from a wide catchment area, delivering a warm and friendly welcome to all.
T H E D O R M Y C L U B H O U S E AT GLENEAGLES HOTEL, SCOTLAND
The Clubhouse and Dormy Restaurant has reopened at Gleneagles following a complete redesign by interior architecture and design studio Macaulay Sinclair. Taking care to retain the traditions of the prestigious Gleneagles estate, the design team was challenged with creating an interior that evoked a sense of nostalgia for the clubhouse that was originally built in the 1920s.
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D U C K & WA F F L E LO C A L , H AY M A R K E T, L O N D O N
Set in the recently redeveloped St. James’ Market, the décor of the 120-cover restaurant reflects the playfulness of the menu. Designed by O1 Creative, featuring lighting by Enigma, the interior takes inspiration from farm-to-table dining – with a twist – merging polished concrete flooring and timber fittings with contemporary sculpture and handmade bespoke glazed tiling. The curved corrugated metal ceiling and red open kitchen offer a subtle nod to the original restaurant, while sculptural farm machinery hanging overhead reinforces the casual eatery’s playfulness.
Famously the winner of Gordon Ramsay’s the F Word in 2009, Lasan has been delighting Birmingham diners since 2002 from its home in the historic Jewellery Quarter. The agency responsible for its recent transformation is Faber Design& Architecture. A key part of this customerfocused metamorphosis was a total rethink of the bar area. Originally located in the main dining room, the layout gave the impression it was for diners only. In its new position, the dramatic U-shape design with nostalgic brass detailing has become a real focal point.
G L O V E R S A L L E Y, DUBLIN
The beginning of February saw the much-anticipated opening of Glovers Alley, a brand-new restaurant located at 128 St Stephen’s Green in Dublin. The design of the restaurant is by award-winning London based Project Orange, led by Christopher Ash. The design concept for the new restaurant reimagines Pullman Class dining through a contemporary lens. Fluid lines and luxurious materials unite a sequence of intimate spaces in an elegant whole.
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ASK THE DESIGNER Hospitality design projects often carry with them pressing timescales for both the design teams involved and their clients. Coordinating a project that runs smoothly, without unforeseen setbacks, often hinges on a number of things going exactly as planned. Since that scenario remains something of a unicorn, it takes a mixture of successful collaboration and careful planning to execute a project on time. Continuing from our last edition, we asked a designer and an operator to respond to each other’s question on the subject, to find out what both sides believe is important to keep in mind.
“HOW DO YOU WORK WITH OPERATORS TO ENSURE A DESIGN PROJECT RUNS SMOOTHLY?”
KATIE EDGAR Associate Designer, SpaceInvader Design We engage with operators as early as possible in the design process to ensure their needs are met. Through regular communication, workshops, presentations and information reviews, we take them on a journey to ensure a project runs smoothly. We ask questions throughout the design process to prompt operators to consider all requirements from the start of a project, so we can provide something that is beautiful and, most importantly, operational by the end. The briefing is the most important part of any project. We take the time to fully understand our operator and their objectives to develop a response that is inspired by their brand. We replay our research to our operators to demonstrate that we share their vision and to illustrate the design direction we recommend. Gaining sign off at the briefing stage is crucial to the success of any project.
“ WE ASK QUESTIONS THROUGHOUT THE DESIGN PROCESS TO PROMPT OPERATORS TO CONSIDER ALL REQUIREMENTS FROM THE START…” Although budget is always important, early on we are usually thinking about the story we want to create. There are many ways to deliver a concept but managing operator’s expectations is key.
At concept stage, our proposals need to align with the operator’s requirements. Taking the lead from our ‘briefing bible’, we present our concept to the operator through a series of workshops and visually walk them through each space via sketches, CGIs and supporting physical samples. Overall, we find these workshops very successful, with attendees ranging from owners and general managers to maintenance staff and chefs. At this stage, we update our information to incorporate any operator requirements from our concept workshops. Before we submit for costing, another series of workshops will take place with our operator (usually focused with particular individuals) to ensure we have captured everything. Our technical department is fully engaged. They will already have an understanding of the design intent and be closely involved throughout the project. At the technical design stage, we run through the coordinated information from all disciplines, including designer, specialist joiner and M&E, to ensure the operator’s needs are met. This can be anything from ensuring kettles fit in credenzas to which lights come on when a guest enters the rooms. During the construction stage, it is important to respond quickly to any queries. Whether new build or refurb, adaptability to unforeseen site conditions is crucial. At handover, we walk the course with individuals to ensure they know how the design should be and answer any questions. And our operator relationship doesn’t end there. We are always available to answer any questions when they are up and running.
ASK THE OPERATOR “COLLABORATION” MIGHT BE AN INDUSTRY BUZZWORD, BUT WHAT DOES TRUE COLLABORATION LOOK LIKE TO YOU WHEN YOU ARE WORKING WITH DESIGN TEAMS? Christophe Herr, one of the most famous clock carvers in the country, made a selection of 13 pieces especially for us by hand, which take pride of place in the hotel lounge. This collaboration is a wonderful example of how Motel One likes to collaborate with brands, and we love that the hotel reflects the traditional heritage of Freiburg but in a truly contemporary setting – bridging the past and present.
URSULA SCHELLE-MÜLLER, Head of Marketing and Design, Motel One For Motel One, true collaboration means working with designers and brands in our locations to create hotels that truly reflect the cities they are located in. We believe a great collaboration brings authenticity and ensures we are at our most creative when designing the interiors of our hotels. Before we even start working on a new opening, we like to brainstorm as a team to think of ways we can collaborate with local artisans and brands to create a space that brings together the location’s unique heritage in a contemporary way. For example, when designing Motel One Freiburg, which opened last year, we wanted to ensure our One Lounge reflected the character of the German city and its location on the edge of the Black Forest. Freiburg and the Black Forest are famous for their ornate, hand-crafted cuckoo clocks. Our design team conducted lots of research and discovered the local family business of Christophe Herr, which has been crafting cuckoo clocks in its Black Forest workshop for five generations.
“ WE TRY TO PARTNER WITH A LOCAL ARTISAN OR DESIGNER FOR EVERY NEW HOTEL OPENING TO ENSURE THE NEW PROJECT INTEGRATES INTO THE COMMUNITY AND FOSTERS THE TALENT OF LOCAL CREATIVES ” For us, a true collaboration also means building a longterm partnership with a brand that goes beyond a one-time project. For example, we have worked with the famous German lighting designer Ingo Maurer on several of our hotels, who we know we can always rely on for stunning lighting installations, and also our regular partner Baxter, the Italian furniture designer Collaborations are incredibly important to Motel One. We try to partner with a local artisan or designer for every new hotel opening to ensure the new project integrates into the community and fosters the talent of local creatives – and ultimately creates an engaging and interesting space for guests to drink, work or relax in our One Lounge.
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FIVE MINUTES WITH… JEAN-PIERRE BIASOL
Jean-Pierre Biasol by Ari Hatzis
Since founding Biasol in 2012, you’ve come a long way. Where did it all start? From an early age, I was always driven and inspired by design. The studio concept came about when I continued my studies in Italy, where I was exposed to a high-level of design thinking and quality craftsmanship. Over there, the commonality was that designers weren’t just architects or interior or product designers – their work expanded and merged across different disciplines and industries, which was something that truly resonated with my understanding of design and background in product design. Even then, I knew the challenge for me was to bring that concept of integration to Australia, our team and our approach to design across all our projects worldwide. Who are your greatest design muses and how did you learn about them? My personal influences are Philippe Starck (probably up there as number one). I think he has captured interiors, architecture, product and branding well throughout his entire design career. There are a lot of others as well – Patricia Urquiola, Carlos Scarpa, Massimo Vignelli (who is more branding orientated) and Louis Kahn. Collectively, they capture different disciplines and influences from across the globe, which we often like to reflect on for inspiration.
n the last issue of Impression, Biasol was hailed as one of our ‘most admired’ in the world of hospitality design. Chris Gwyther, Managing Director of Phoenix Wharf, praised Biasol, the award-winning Melbourne interior design studio, for ‘drawing inspiration from international cultures, being playful with the spaces they design and the materials they use and adding little details that make their designs their own’. Here we talk to Jean-Pierre Biasol about what it takes to deliver compelling interiors, buildings, products and branded environments. You’re a small team creating a big impact – what’s your secret? We can’t share that! Honestly, our greatest asset is our team: the way we work together, the way we integrate our passions and love for design. We all love what we do, and there’s never any segregation. We are vertically integrated across interiors, building, product and branding. It’s when these disciplines come together that some of our best designs are realised. Everyone wants to do great work and the results definitely shine through in our projects. What are the key considerations when designing ‘beyond expectation’? Strong foundations and clear intentions. It starts with establishing great relationships with our wonderful clients and being clear and transparent on our design intentions. Our ability to understand and interpret briefs, as well as people, also helps in the process. It’s important for us that we’re constantly evolving as a team and in the way we work together, getting better as we go. We are also attentive to providing the right kind of environment and motivation to deliver greater outcomes for the client, the project and our studio. You’ve completed your first project in China, the Budapest Café, tell us more about this and how it has been received. Yes, that’s right. The Budapest Café is our first project in China. We couldn’t be more grateful for all the support and recognition we’ve received as a studio and for the client who we’ve developed a great relationship with. She’s young and has an impressive sense of determination. She’s travelled the world and visited over 1,000 cafés to refine her brief and find an Australian design studio to make it happen.
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Biasol team. Image by Ari Hatzis Washroom at the Budapest Café. Image by James Morgan i
h Biasol designed No.19 café in Victoria, Australia for husband-and-wife team Domenic and Diana Caruso. Image by Ari Hatzis
h The entrance to the Budapest Café in Chengdu, China. Image by James Morgan
For us, it was refreshing and humbling to see someone with an appreciation for authentic design and a passion to bring international appeal to her hometown of Chengdu. Originality and authenticity in China can be difficult to find so, for us, as designers who support other designers, it was definitely a great first experience, with more to come this year – stay tuned! Your Grind projects are some of the most recognisable coffee shops in London. How do you come up with these distinct concepts for such a specific brand? We’ve been really fortunate to be able to work with such great clients as Grind and go on this journey together as their business and our business grow. We’ve developed a great working relationship with the Grind team, and since their first site in 2011 we’ve now completed over 10 Grind venues (with an additional six this year) so understanding their ‘coffee, cocktail and good vibes’ ethos evolved quite effortlessly as the brand matured and their business goals have been achieved. It also related back to understanding the local demographic and environment of each site. The design intention was always brand-related however, tailored to integrate seamlessly to the local neighbourhood. For example, Royal Exchange Grind is in the business district of central London, so the design naturally evolved to deliver a modern, elegant experience around coffee, cocktails and good vibes. In contrast, our first Grind in Shoreditch embraced the locality and characteristics of the area with a more casual, laid back experience, yet still designed all around coffee, cocktails and good vibes.
IT’S ABOUT UNDERSTANDING THE BRIEF FROM A UNIQUE PERSPECTIVE AND APPLYING WHAT WE KNOW AND LEARN FROM ONE DISCIPLINE TO ANOTHER f Royal Exchange Grind, London. Image by Paul Winch Furness
Clerkenwell Grind, London. Image by Paul Winch-Furness i
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How important is it to have an integrated approach to your work? It’s the foundation of our studio, so it’s extremely important to how we design as a studio and how we deliver to meet our client’s expectations. We often discover new perspectives on design and detailing by working in a vertically integrated way. It’s about understanding the brief from a unique perspective and applying what we know and learn from one discipline to another. There’s an evolving cycle with the intention of extracting the very best outcomes across all of our projects — it’s also an approach that has facilitated the design diversity across our portfolio. And from a client’s perspective, it streamlines the process and ensures everyone across those disciplines is working towards the same project expectations since we work without divisions. Your Little Hugh project features impressive tessellated panels. Is new design technology playing a bigger role in your design process? We are always trying to embrace new technology, new materials and new methodologies in our designs. Specific to Little Hugh, it was a great exploration opportunity to integrate technology, particularly given the site is in an industrial area, so we thought it was very fitting. It really depends on the project and relativity of integrating new technology, if the right opportunities are present, we’d definitely consider more of it.
You’re known for delivering beautiful colour palettes in every project. What are some of your favourite colour combinations and styles? We love a marriage of great materials and colour. It’s important for us that we achieve balance, harmony and timelessness across our selections, regardless of the project type or size. Our style is quite diverse, but I guess united in the way we detail materials and colour, the relationship of these and how they merge or integrate with and relate to the brand. How important is ‘context’ to creating enduring design, and can you give an example? It’s extremely important, stemming from a strong brief — it allows us to understand and interpret the project objectives, so we are clear on our design intentions and direction from the very beginning. An example of this is in The Budapest Café. The client was extremely clear on what she wanted to achieve by drawing inspiration from filmmaker Wes Anderson and The Grand Budapest Hotel movie. We like to think our approach was an abstract interpretation fusing modern materiality and style with the eccentric film set and peculiar details captured in specific frames of the movie. There’s a playful interpretation of the arches and step details from the film re-imagined through form, function and branding throughout The Budapest Café. You received the IDEA Emerging Designer award last year, what do you hope to achieve in the future? We’re still so thankful for the recognition, and grateful to be part of an industry with such a high calibre of talent. For Biasol, there are always big plans happening in the background. This year, in particular, we are focusing more on collaborations with our clients and suppliers, and something we’re passionate about is also finding ways we can give back to the industry through the way we work as a team and our network. We are also developing new products and hope to expand into other industries whilst applying the same integrated working method. There’s a lot more to come!
Middle South East, Melbourne. h Image by Ari Hatzis i Gwynne Street Studio. Image by Ari Hatzis
ART OF THE MAT TER
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HOW ART IS HELPING HOTELS EMBRACE SUSTAINABILITY & BIOPHILIA By Katie Terres, Head of Operations for art consultants ARTIQ Architects and designers are increasingly using biophilia, as here at The Principal Edinburgh Charlotte Square, designed by Goddard Littlefair. Photo credit: Gareth Gardner
Architects and interior designers have offered hoteliers many ways to practice sustainability and embrace biophilia in recent years including: constructing porous buildings, using renewable energy sources or low-energy and recycled materials, employing intelligent planting strategies and creating large-scale windows that dissolve indoor–outdoor boundaries, as well as employing local craftspeople and suppliers. But how does art fit into this spectrum of futureproofing and responsible development? The great historical argument – namely, that art is autonomous from real lived experience and should remain so – is being successfully challenged by the call for sustainable thinking and ethics. Sustainability is core to business and government strategies and to the wider social consciousness. Today’s hospitality guests respond to and engage with sustainability because they are already actively doing so in their everyday lives. It certainly wouldn’t be outrageous to suspect that art with a sustainable ethos might look something like a child’s school project – but, in reality, sustainability and biophilia in art are more about conceptual frameworks and processes than a home-brewed aesthetic. Arts Council England has made it a key focus to get ‘arts and cultural organisations to engage with sustainability in such a way that they start the process of transforming themselves into a low-carbon, sustainable and resilient sector’. Art practice historically used toxic pigments, solvents, petrochemicals, formaldehyde and other ecologically-destructive preservatives. Many cadmiums, cobalts and lead-based paints are now banned, and artists have been gravitating for quite some time towards natural materials, such as beeswax and organic linseed and flax oils for mixing paints, along with eco-friendly fine-art paper either recycled or made from bamboo fibre and cotton and free from optical brighteners. In Europe, there is a preponderance of imported ready-made frame mouldings, with a large array of woods and frame finishes imported from different continents. Hotels can ensure briefs include stipulations for local companies to use sustainably sourced materials and natural paints, stains and finishes. Recycling vintage frames is also a favourable aesthetic and on-trend method of practicing sustainability.
“ THE GREAT HISTORICAL ARGUMENT – NAMELY, THAT ART IS AUTONOMOUS FROM REAL LIVED EXPERIENCE AND SHOULD REMAIN SO – IS BEING SUCCESSFULLY CHALLENGED BY THE CALL FOR SUSTAINABLE THINKING AND ETHICS”
The Garden, The Principal Edinburgh, Charlotte Square, designed by Goddard Littlefair. Twelve bespoke artworks add to this biophilic F&B area. Photo credit: Gareth Gardner.
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Part of Mix Week Manchester 4th - 6th December 2018 INNSIDE Manchester
Mix Design Collective is a brand new, must-attend, three-day design experience created as part of Mix Week Manchester. The event will celebrate the best national and international design experiences. For more info and to register: www.mixdesigncollective.co.uk
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ART OF THE MAT TER
26 | Impression Nº4•May 2018 For Marriott Regents Park with Anita Rosato Interior Design, artworks by Joana Ham and Margaux Carpentier reflected proximity to ZSL London Zoo. Photo credit: Alastair Lever Vintage and recycled frames are sustainable and aesthetically on-trend. Photo credit: Gareth Gardner
Dominic Harris - Jungled
Artist Peter Matthews, for example, works on un-stretched canvases in an easy-on-the-eye visual language of abstracted forms. But his process
Beyond the canvas, artists are exploring mediums and materials such as digital art, 3D printing (using recycled plastics), found objects, biodegradable materials, and even more irregular resources. One example is art world darling Rashid Johnson who has, over the past five years, created a portfolio that more closely resembles architectural planting strategies than traditional painting or sculpture. Several metre-high metal casings create supersized shelving systems for large interior spaces, filled overwhelmingly with potted plants. At an aesthetic level, his installations – part-interior scheme, part-art – harness that other hot topic associated with green living: biophilia. Biophilia, a term first used in 1973 by German-American psychoanalyst Erich Fromm, is a hypothesis that humans have an innate propensity to connect with the natural world. However, this doesn’t preclude non-living mediums. Artist Dominic Harris’s preferred medium is digital renders of plants, birds, feathers and fish (anything from the natural world), which appear as static representations at a standstill, but suddenly burst forth in response to interact with the viewer’s movement in approach. This is the natural world repurposed for cool urban folk. There are also many artists whose practice asks questions of the viewer. As well as providing art for sale or rental, we are finding an appetite on the part of hoteliers for year-round art programmes, including shorter-term art exhibitions. Biophilia and sustainability are perfect exhibition subject matter and artists working in this area have fascinating stories to tell.
Peter Matthews Atlantic Process 1 Chile Process 5
Dominic Harris Baby Flutter Photo credit: Ian Scigliuzzi
subscribes to an environmentally-sound philosophy. The artist eschews the traditional studio space, currently under threat by high rental value in cities, and instead camps out in coastal locations in the UK and further afield. ‘Immersion with the ocean and nature is central to my practice, as is the notion and experience of the journey,’ Matthews explains. ‘Since 2016, I have been taking my paintings to a larger scale and incorporating found objects into the making process, visually and materially, and also sewing pieces and fragments of paintings made in different countries and ocean bodies together into one painting.’ Choosing local, sustainably-grounded art is the essence of a contemporary attitude towards development. Hotel investors, operators and interior designers should be encouraged, for many reasons, to patronise local artists and art institutions. The guest experience is always enhanced by a strong narrative context; and if a hotel can engage its local community to use its food and beverage facilities through the work of artists and makers, it not only has a message, but it is also going to see a sustainable return on investment.
MEETING THE VANGUARD
elvar is the hotel management company behind Moxy, a range of hotels designing unique interiors and bringing their own signature approach to hospitality. We talk to the business’s Commercial Manager, Josefin Baff, about adapting to changing trends and attracting a new generation of traveller.
Tell us more about Belvar. Belvar is a global hotel management company with its head office in Norway. We currently operate 13 Moxy hotels and three Courtyard by Marriott hotels. In the coming years we will also add the ‘extended stay’ brand Residence Inn by Marriott to our portfolio of hotels. To cater for the food and beverage needs at our locations, we have also developed our own restaurant brand called Gård Nordic Kitchen, which will enter the UK market at the newly opened Moxy London Heathrow later this year. Belvar will open six new Moxy Hotels in 2018, while another 20 newly-built hotels are planned to open between 2019–2020. Currently the business has approximately 10,000 new hotel rooms under development in England, Scotland, France, Germany, Norway, Italy, Belgium and Poland. Why have you launched Moxy? The Norwegian owners of Belvar had an idea of launching a hotel that was a game changer in the hospitality arena. Together with their real estate partner, Vastint Hospitality, they presented the idea to Marriott, who loved the concept. Moxy was born, and Belvar became the preferred operator of Moxy in Europe. Since 2014, Belvar has been opening Moxy hotels all over Europe. What do you think is underpinning this fast growth? When Belvar’s owners thought up the concept they saw a gap in the market for something very different. We think there is a demand for a hotel aimed at the budget savvy traveller where Moxy has redesigned the traditional economy hotel experience. Since launch, the demand for the hotels have proved to be strong, hence the fast growth.
“THE HOSPITALITY SECTOR IS ONE OF THE BIGGEST AND FASTEST GROWING INDUSTRIES IN THE WORLD AND HOTEL ROOMS TEND TO BE A LOWERRISK, HANDS-FREE INVESTMENT”
ASK THE OWNER
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ASK THE OWNER
28 | Impression Nº4•May 2018 You are due to open hotels in Glasgow, Edinburgh, and York. Can you tell us more about the projects and what makes them special? We choose locations that we know will have high traffic, such as town centres and airports. Our hotels in Glasgow and York will be in the city centres and our Edinburgh location will open at the airport. Regardless of which Moxy you visit, you should feel the local touch of where you are. We always decorate each hotel to be unique for its location, using locally sourced pieces that are retro and vintage. Moxy sees itself as a different player in the market – how so? Our hotels are aimed at the new generation traveller who is looking for a unique and fun experience, design, the latest technology, comfort and value for money all under one roof. All Moxy hotels have a funky bar with a playful crew (staff) and a food and beverage concept that is a nod to the local location. We give the guests the chance to ‘break the rules and play on’. It’s just a way of doing things differently in the hotel arena. How are the interiors different? We partner with an interior design firm called APTO. The Belvar Development team works closely with this partner on each new location to find the ultimate design and operational solution according to the Moxy brand standards as well as our company standards. All of the interiors are fun and eclectic with bold design and communal areas. Concrete floors and walls lined with intriguing art and fun references to local culture are complemented by ambient lighting and accents of colour. There are bright and buzzy entrances with a Moxy library, and tech areas with abundant USB ports, where people can connect and catch up with friends and family. Most hotels have a gym, where you will find our signature pink punch bags. Bedrooms are fitted with sound-reducing walls, 42” LCD flat screen televisions and floor-to-ceiling art pieces. They are uncluttered and simple with stylish bathrooms. In the living room (lobby) of our Moxy Hotels you will find unique signature items. This week Moxy London Heathrow opened with a full-size Mini Cooper car in the lobby, and later this week Moxy Milan Linate enters the market with an Italian cathedral-style domed entrance, which you won’t find in many hotels.
What was involved in launching your own signature restaurant? Our signature restaurant, Gård Nordic Kitchen, is more to do with Belvar’s Norwegian roots than Moxy as it is a Nordic fusion restaurant. The concept works very well in our three Courtyard hotels – Amsterdam, Brussels and Gdynia – and at our Convention Centre X Meeting Point in Oslo, where it is already in operation. It will roll out for the first time at Moxy London Heathrow later in the summer. Since Moxy arrived in 2014, what have been some of the biggest disruptors in the hotel and hospitality sector? The sharing economy has vastly increased since we opened. The continuous growth of Airbnb gives more alternatives but has also made the consumer think differently about the hotel product they want. We are definitely getting demand in this segment because of what we are offering. New brands are rapidly changing the face of the industry, leading to a wave of innovation. It’s interesting that established chains are now introducing radically different concepts and launching millennial-focused offerings in the economy portfolio.
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“OUR HOTELS ARE AIMED AT THE NEW GENERATION TRAVELLER WHO IS LOOKING FOR A UNIQUE AND FUN EXPERIENCE, DESIGN, THE LATEST TECHNOLOGY, COMFORT AND VALUE FOR MONEY ALL UNDER ONE ROOF” What are some of the hard truths and immediate opportunities for the sector? People looking for accommodation now have more choice than ever on how to spend their money. But if you stand out from the crowd and offer something really different and unique, you will do well. People don’t want to pay for the swimming pool if they are not going to use it. They want somewhere where they can chill out, that is tech savvy, with a great atmosphere, a bar that serves great drinks, food if they want it and a great night’s sleep without all the fuss. Moxy ticks those boxes and there are plenty of people looking for it. What is fuelling the appetite from investors to the hotel sector? The opportunity to invest in hotel real estate with a globally recognised and established brand behind it. The hospitality sector is one of the biggest and fastest growing industries in the world and hotel rooms tend to be a lower-risk, hands-free investment. People are also travelling more. Therefore, there is strong growth in this market in general and investment companies are increasing their exposure to hotels.
ST PANCRAS RENAISSANCE
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KINGS CROSS, LONDON G.A Design has recently completed a renovation project of the St Pancras Renaissance hotel, which first opened in 1873 under the name of the Midland Grand Hotel, originally designed by Sir George Gilbert Scott. As a Grade I listed building, the renovation posed many challenges and restrictions, as Su Doggett, Executive Director G.A Design explains: ‘The Grade I listing meant that stringent rules and restrictions had to be considered throughout the design process. The starting point was to acknowledge and appreciate the original architectural layout and design and to utilise the existing geometry as a basis to work around.’ The predominant arches of the existing façade of the station entrance were used as a backdrop to the new reception desk positions.
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The freestanding desks were deliberately designed more as ‘pieces of furniture’ to sit comfortably amongst the other furniture within a ‘grand room concept’. This also allowed for a more residential approach to the design of the space that helped soften the impact of the previously external and somewhat austere space between the two hotel buildings. In the Lobby Lounge, the selection of colours, fabrics and furniture also had to work hard to soften the impact of the rich red brick walls either side and distinctive blue steelwork and glazed roof above. As the name suggests, the Booking Office Bar was originally used for the procurement of tickets for rail travel. The original timber paneled ticket office was
Top left clockwise: The Victorian Gothic vernacular designed by Sir Gilbert Scott Bathrooms include period features such as original fireplaces and free-standing baths Junior Suite bathroom, Suites feature contemporary openplan bathrooms, featuring hansgrohe products, located directly behind the bed or else they are afforded luxurious large rooms of their own 1 bed suite bathroom Lobby, The distinctive blue steelwork replicates the original colour which was introduced to lessen the impact of the steelwork against the sky Booking Office Bar, The layout itself was developed around the location of the existing grand arched stained-glass windows that look out over to the platform
retained to be used both as a back office for reception and also as a background to the bar area and the space itself was kept as one space without subdivision, either on the ground or within the vast ceiling void. In contrast to the dark timber panelling, a white Calacatta bar wraps itself around the ticket office following its contours and thereby establishing the focal point of the room. The previous hotel contained only two communal washrooms per floor (as was the standard for hotels at the time), and so one of the biggest tasks was incorporating ensuite bathrooms into each of the guestrooms and suites. The solution was to position the bathroom centrally along one of the existing walls and in doing so creating spaces either side that could accommodate either a dressing space with wardrobe or study space that could be used for ladies’ make-up. The new bathrooms, featuring hansgrohe products, are deliberately contemporary and understated to avoid competing with the heavy ornamentation of its gothic surroundings. Within each of the bathrooms the guest is treated to luxurious white Calacatta lined floors and shower enclosures with matching vanity tops and bath tops.
THE COOKIE JAR
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ALNWICK, NORTHUMBERL AND
hotel with a setting as unique as The Cookie Jar in Alnwick required only the most stylish products to match its exquisite surroundings. When interior designer Matt Hulme of Dynargh Design was tasked with transforming the décor, he called upon Johnson Tiles’ Bevel Brick range in White for the bathroom walls and Antique in Cedar for the floors. Undoubtedly the most show-stopping room at the hotel, The Chapel Suite, with its original features including stunning stain glass windows, boasts an open plan bathroom. Located behind the bespoke super king size bed, the walk-in shower, copper freestanding bath and double vanity unit are set against a glossy backdrop of glistening tiles.
Further highlighting the space, the lighting was key to creating the ambience of the room. Bespoke pendant lights helped with the illusion of a lower ceiling height and the handpainted bedside lamps complement the fabrics of the bedding and seating area. In addition to The Chapel Suite, there are 10 other rooms at The Cookie Jar. Interior designer Matt Hulme was dedicated to ensuring each space was unique – something he achieved through creating a number of warm and inviting schemes, each with an emphasis on texture and pattern. He explains: ‘We wanted the rooms to be classic with a contemporary twist, which we achieved through the use of a number of different patterns in each room and statement wallpapers.’
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For the bathrooms, the intent was to implement a design that is classic and timeless – something that wouldn’t date or look too trend-led. This was achieved by specifying Johnson Tiles’ Bevel Brick range for the walls and its Antique range in Cedar for the wood-effect flooring. The accompanying sanitary ware is in keeping with the overall heritage of the building. This is also illustrated in the cast iron roll top baths situated in The Mother Superior rooms. Continuing the luxurious theme, the bar, reception and Bistro all reflect a combination of pairing high-quality products with historically sympathetic design – something that Dynargh Design has become renowned for.
Top left clockwise: The Chapel Suite at The Cookie Jar, Alnwick, boasts heritage features and a contemporary twist. A key feature of The Cookie Jar’s luxurious rooms is provided in the seamless transition between spaces. Here Johnson Tiles products are complemented by patterned fabrics and a palette of blue hues. To complement the heritage features of The Cookie Jar, Alnwick, Matt Hulme of Dynargh Design specified timeless, classic products. Johnson Tiles’ Bevel Brick range in White is set against neutral wood panelling for calming bathroom interiors.
Interior Design by Dynargh Design, Photography by Anthony Greenwood (https://anthony-greenwood.com/).
For the bathrooms of The Cookie Jar, Alnwick, Matt Hulme of Dynargh Design specified Johnson Tiles’ Bevel Brick and Antique ranges. An added pop of colour is provided through this freestanding bath.
“The feature room of The Cookie Jar is, without doubt, The Chapel Suite,” comments Hulme. As the name suggests the room is located within the old Chapel of the Convent, with as much of the original features of the existing space left exposed. We ensured that the stain glass windows were retained and repaired, together with the existing ceiling and beams to show the beauty and grandeur of the room MATT HULME Dynargh Design
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NORTHERN QUARTER, MANCHESTER
oChintz, Manchester-based interiors and branding studio, transformed an unused basement space in the city’s Northern Quarter into a comfortable and luxurious, yet raw and honest, neighbourhood hangout. Opening as a member’s lounge and cocktail bar, the 145 sq m space is a new destination on the Manchester scene. The concept for The Daisy takes reference from New York speakeasy’s blended with Parisian chic for a relaxed and effortlessly stylish vibe. Industrial and raw finishes are complemented by plush upholstery, whilst organic curves contrast clean lines in the finishes and furniture. Nude tones, rich greens and polished concrete/plaster finishes sit effortlessly together, creating a casual and sophisticated scheme. The large bar with cold rolled steel front, terrazzo top and bespoke brass lights adds theatre in the space as bartenders create irresistible cocktails before you. Feature neon’s and ceiling mirrors with brand details add playful touches to the space and dimmable perimeter tube lights provide washes down the walls, giving control to the seductive atmosphere. The Daisy exuberates effortless style, delivered with meticulous detailing and consideration to every aspect of the special experience. From the texture of the walls to the scent of the candles; the touch of the upholstery to the character of the vintage pieces – The Daisy is a space where you can truly escape, forget time, and socialise in style.
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Top left clockwise: Chequered tiles wrap up the petrol blue wall zoning areas and holding lounge sets A terrazzo topped, raw steel fronted bar spans the with of the room with flowing pink namesake neon located next to wall fixed wine rack Glazed and mesh wall creates an entrance to The Daisy and divides the cocktail lounge from Evelyns cafe and bar upstairs Red fluorescent strip lights with signage illuminating the restroom corridor. A high table hinges off a central column with reclaimed industrial pendants hanging overhead. Raw finishes of polished plastered walls and a passivated zinc cable tray contrasted by plush velvet upholstery and relaxed lounge sets
With The Daisy, part of the brief was to deliver a space that feels welcoming to all genders. The palette of petrol blue complemented the touches of pink, which is inherent in the plaster itself, and further intensified by the neon daisy installation on the wall. Owing to keep within the strict budget, we needed to be smart about our choices of materiality in creating a highly refined finish, that celebrated what was already there. We used a cost-effective passivation technique on the brass metalwork to pick up those beautiful pink and purple tones within the brassy finish. We reimagined elements that would usually be disregarded, like LED strip lighting from the corridor, to deliver something that felt on-trend and new KATIE LEA Head of Design, NoChintz
ONE TWENT Y, WEMBLEY STADIUM
36 | Impression Nº4•May 2018 g The restaurant is designed to keep the feeling of intimacy, with small, intimate dining ‘rooms’ divided by screens and booths, with private reservable dining areas.
i The lounge furniture and styling allows guests to define their audience, privacy and sculpt their own experience.
rom the beginning, KSS engaged in extensive consultation with Club Wembley to design a space that takes the traditional hospitality experience to a new level. KSS have produced a bespoke club tailored for limited members in one of the most extraordinary stadiums in the world. The new exclusive private entrance will see guests pass through a sculptural oversized angular canopy. This dedicated entry point has an air of mystique and a hint of subtle extravagance, providing the perfect arrival space for members and their guests to enjoy. Ascending an illuminated staircase past a double-storey smoked oak panelled wall, guests will be greeted by a visually stimulating array of colours and features in the lounge. The unique spaces create intimate areas and group networking opportunities where guests can relax amongst contrasts of light and dark with a bold tapestry of furniture and a quirky use of materials. In partnering with Enigma, lighting is used playfully with lamps and hidden washes from the floor accompanying stylish glass raindrop pendants that juxtapose the dominant timber
raft. The panelled feature wall is the stunning central backdrop to the lounge area and includes a recessed ‘snug’ banquette, deep pile upholstery with recessed bookshelves where guests can browse the famous Wembley archives. The bar area is the stand-out feature for its scale and presence, with a spectacular brass chandelier that floats up to the exposed panelled petrol ceiling. The restaurant ceiling lattice breaks the traditional grid system, by redefining a new patchwork pattern that adds originality to the environment. The movement and energy of the game is injected with line work that rushes across and often over-sails the ceiling itself. In the restaurant space, small, intimate dining ‘rooms’ have been created through dividing screens and booths for different dining styles. The design integrates sensitively proportioned TV screens to create a personal feel and ambience. A refined and elegant colour palette uses smoked oak, pearlised metallic, marble, olive, taupe, purple and turquoise upholstery. Frosted windows within the signature bar visually connect the restaurant to the lounge.
Impression Nº4•May 2018 |
The design brief was to create an exclusive members’ club experience within Club Wembley at England’s national football stadium, delivering a new benchmark in football hospitality. This exciting project offered a unique opportunity to curate the complete guest experience – right down to the menus and coat tags. One Twenty brings together a selection of high quality finishes, fine joinery detailing, contemporary furniture upholstered in luxurious fabrics, and bespoke feature lighting to create an elegant environment with just a hint of extravagance DEBBIE BRANT Associate Director, KSS
h The stand out bar has super scale and presence, a brass chandelier floats up to the exposed petrol colour ceiling. f Attention to detail, at every point of the journey, focusing your eye to the private dining booths.
f The flash of gold set on brand pearl, with intriguing colour reveals, the range of menu portray understated extravagance with a quirky edge.
THE LOWRY, MANCHESTER
38 | Impression Nº4•May 2018
he five–star Lowry Hotel is an independent luxury hotel located on the Salford-Manchester boundary, and is the only hotel in the region to be part of the prestigious Leading Hotels of The World. Since first welcoming guests in April 2001, the hotel remains a landmark of fashionable hospitality by absorbing the city’s present energy and exuberating a sense of fun and glamour. The hotel is both contemporary and comfortable, offering the largest rooms in the city, as well as six suites and the Charles Forte Presidential Suite, which oversee the Irwell River. Arney Fender Katsalidis has collaborated with celebrated Manchester-born painter Alan Rankle to deliver six bespoke suites, creating unique interiors, which are inspired by the paintings of the internationally acclaimed artist. The boutique riverside rooms each feature a unique artwork by Rankle, elegantly complemented by the designer’s custom colour scheme of the textiles and furnishings and impressive space planning. Each room contains a unique overscaled headboard, which wraps slightly around the bed, depicting original artwork. The art has been printed onto a 4m x 2.5m (13ft x 8ft) upholstered headboard and is reflected into two mirrored doors opposite, allowing guests to view the artwork from either end of the room. A harmonious collaboration between creatives, the rooms distil a moment of luxury in the busy lifestyle of their eponymous guests and the regular visitors of Manchester. Being a nationally renowned hotel, The Lowry hosts a diverse demographic of visitors including celebrities from the entertainment, music and sports scenes. This boutique art hospitality space is a regular destination for eclectic tourists and business travellers. The refurbished riverside suites have created an artistic and colourful environment through the use of key design finishes and details including brushed brass, soft drapery and polished surfaces in contrast with bespoke pieces, luxe textiles and pops of colour.
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Top left clockwise: Each suite’s over-scaled 4m x 2.5m upholstered headboard curves slightly around the bed, and depicts an image of an original Alan Rankle abstract artwork Each suite features a carefully choreographed sequence of colour The abstract artwork in each suite provides the inspiration for the colour schemes of the textiles and furnishings The artwork printed on each suite’s oversized headboard is reflected into two mirrored doors opposite, allowing guests to view the piece from multiple vantage points The colour schemes found in each abstract art piece are carried throughout each suite
We wanted to design a beautiful space that not only enhances the artwork by Alan Rankle - which was the conceptual inspiration for the interiors – but that also elevates the experience of staying in these glamorous bespoke suites. What makes
these rooms so unique is the way the paintings, materials and colour schemes intertwine, allowing guests to really feel embraced by the art VERONICA GIVONE Associate Director at Arney Fender Katsalidis:
DE VERE BEAUMONT ESTATE
40 | Impression Nº4•May 2018
OLD WINDSOR, BERKSHIRE
e Vere Beaumont Estate, in Old Windsor – part of the De Vere portfolio of country estate hotels and modern event spaces - has unveiled the results of its £12million refurbishment, which includes the creation of new luxury bedrooms and a top-to-toe refurbishment of much of the property, including its unique Grade II listed 19th century chapel. As well as crafting 15 stylish new bedrooms out of what were seven meeting rooms in the property’s Wessex Old School House, work has included the meticulous restoration of the unique chapel which has been returned to its former glory, providing a striking and highly unusual backdrop to events, from weddings, to celebratory dinners and business meetings. The main reception area, 220 bedrooms and all communal areas have also received a thorough refurbishment to bring them in line with the recently re-launched De Vere brand.
Throughout the refurbishment of De Vere Beaumont Estate we wanted to ensure that we retained the original character, period features and grandeur of the hotel, whilst sympathetically enhancing the venue with a new injection of luxury. Due to the size of the venue, we also felt that as much as the individual spaces within the hotel were important, the corridors and breakout areas should also be addressed, so that the design seamlessly continued throughout the hotel. Along with an eclectic mix of artwork, we added historic photographs and artefacts, such as rowing boat oars and typewriters, to help tell the history of De Vere Beaumont Estate and give a nod to its previous time as a public school STEVE MURRAY Head of Design, Principal Hotel Company
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Interiors throughout De Vere Beaumont Estate have been transformed and are a masterclass in understated luxury, with a distinctly British aesthetic. In bedrooms, tan leather furniture, warm tweeds and a muted heritage colour palette combine with contemporary lighting and sleek bathrooms to create spaces that are restful and calming; perfect for a country retreat. The 1705 Restaurant & Bar, communal areas and meeting rooms continue the theme, punctuated by a pop of complementary colour through soft furnishings and finished with quirky vignettes, showcasing the building’s rich history. In March, four brand new luxury bedroom suites were unveiled in The White House, the historic heart of the hotel, which also houses a selection of highspec boardrooms and three characterful lounges – The Larder, a new Burr & Co coffee lounge, The Parlour, a beautiful dining room where afternoon tea takes centre stage and The Pantry, an executive lounge area. Steeped in history, the original house was built for Lord Weymouth and then served as a public school from 1854 – 1967. The building’s rich history is evident throughout, from the stunning original features to quirky decor, which includes art installations comprising of everything from original straw boaters from when the building was a school, to replica typewriters, to oars. The 44-acre grounds have been enhanced with beautiful sculptures by local artist Emma Stothard, landscaping and natural ponds which draw on its scenic Georgian history and promote positive mental wellbeing. Top left clockwise: Exterior with signature De Vere sculptured hares. The White House Reception Area with soft furnishings complemented with a pop of contemporary colour. Parlour Lounge with contemporary features and soft furnishings. 1705 Restaurant & Bar with contemporary features including comfortable sofas and feature lighting. Wessex Bedroom Suite with tan leather furniture, warm tweeds and a muted heritage colour palette. 1705 Restaurant & Bar finished with quirky vignettes showcasing the building’s rich history.
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THE DONOVAN BAR AT BROWN’S HOTEL
i The Donovan’s new entrance on Albemarle Street
n April this year, the iconic Mayfair institution at Brown’s Hotel officially re-opened following a complete redesign by Olga Polizzi and Inge Moore. Residing in one of London’s most iconic hotels, the Donovan Bar has long been known as one of the most intimate and sophisticated drinking dens in the city, playing host to gatherings of the most glamorous faces of Mayfair’s elite fashion and art scene. The redesign of the Donovan Bar is the work of acclaimed interior designer Inge Moore, who has collaborated with Olga Polizzi, Director of Design for Rocco Forte Hotels, bringing new levels of glamour to the space, emphasising Terence Donovan’s reputation as one of the 20th century’s most revered fashion photographers and bringing to the fore the largest private collection of his work in existence, including a photograph of Lady Forte herself. Working within the hotel’s classically English architecture, the colour palette combines British racing green with tones of Donovan’s signature white and grey and touches of gold throughout. A balance of reflection and shade, shimmering surfaces and matt finishes recall the camera lens, with the glass bar top sitting atop a bronzed panel reminiscent of a photographer’s wet tray.
As well as an extensive refit of the interiors, the main bar now takes centre stage as you enter, and has doubled in size to seat eight people, whilst the space itself can hold up to 100. The striking bar frames the original 19th century stained glass window of St George as well as displaying the impressive collection of both vintage and non-vintage spirits, wines, champagnes and other tipples. Set to be the most sought-after seat in Mayfair, the ‘Naughty Corner’ has also been luxuriously revamped and offers an intimate, semi-private area for up to 12 people, amidst some of the most iconic photography from Sir Terence. The newly renovated Donovan Bar is integral to Brown’s Hotel’s ongoing dedication to elevating its guest experience. Under the direction of Olga Polizzi and her design team, the hotel has undergone extensive renovation of its suites over the past year, including the creation of the iconic two-bedroom Kipling Suite and the addition of two new Brown’s Suites with a unique, spacious apartment feel. Inge Moore comments: ‘We love working in existing buildings seeped in history, where we can draw on a story from the past and combine this with modern elements to keep the experience relevant. The legacy of Terence Donovan was fabulous to work with, not just in terms of the exclusive collection of his photography that we had at our fingertips but in the narrative it lent to our design concept.’
h The main dining area f Imagery throughout references one of the 20th Century’s most revered fashion photographers
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The main bar at the Donovan i
British racing green with tones of Donovan’s signature white, grey and gold i
We love working in existing buildings seeped in history, where we can draw on a story from the past and combine this with modern elements to keep the experience relevant. The legacy of Terence Donovan was fabulous to work with, not just in terms of the exclusive collection of his photography that we had at our fingertips but in the narrative it lent to our design concept INGE MOORE Interior Designer
44 | Impression Nº4•May 2018
The collection of profiles on these pages are the supporters of this supplement. They are absolutely committed to this sector and we thank them for their valuable support of Impression.
With its brands AXOR and hansgrohe, the Hansgrohe Group, based in Schiltach, Germany, enjoys a reputation as a leader in quality, innovation and design within the bathroom and kitchen industry. In over 140 countries worldwide, Hansgrohe products have defined comfort and experience through design in world renowned hotels, cruise ships, luxury yachts and homes since 1901. We have helped reshape the modern bathroom since pioneering the hand shower in 1928. Our visionary concepts have not only changed the look but also the whole culture of the bathroom.
Once you find our name, you’ll discover its presence in many of the finest bathrooms across the UK. Hansgrohe is synonymous with innovation, design and quality – this is our DNA. We lead the market, not follow it and work closely with renowned designers from all over the world. Our award-winning products are designed and engineered in Germany. Our philosophy revolves around the creation of long-lasting and reliable products crafted with meticulous attention to detail to deliver the highest levels of quality and function. But always with people and your experience in mind.
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Johnson Tiles is the UK’s leading manufacturer and importer of ceramic and porcelain wall and floor tiles. A trading division of Norcros Group (Holdings) Limited, the company has over 100 years experience and produces wall and floor tiles at its Stokeon-Trent headquarters to the highest standards. It operates in both residential and commercial markets and its product ranges are recognised by the industry not only for their eco-friendly properties but excellence in quality and design. Through the company’s extensive expertise in hospitality interiors, especially in the hotel market, each project is guaranteed to achieve the ‘wow’ guest factor. To find out more about Johnson Tiles visit www.johnson-tiles.comz
Knightsbridge Furniture has been designing and manufacturing quality British furniture from its site in Yorkshire for almost 80 years. From the timber mill to the customer’s doorstep, the company takes enormous pride in facilitating the entire production and delivery of its products and is dedicated to quality and design excellence. This has inspired customer loyalty and ensured Knightsbridge’s place at the forefront of its industry. Knightsbridge Furniture develops and manufactures all of its products from its factory in Bradford. Combining traditional woodworking skills with the latest manufacturing techniques, Knightsbridge’s in-house team of skilled craftsmen, designers and R&D specialists deliver furniture suitable for a number of industries, including hospitality, workplace and healthcare. www.knightsbridge-furniture.co.uk
Enigma Lighting has firmly established itself as one of the leading suppliers of light fittings and lighting equipment in Europe. We have produced an extensive collection of wellengineered and competitively priced light fittings targeted at the workplace, leisure and retail markets. Our range of fittings are designed around the latest LED light sources to provide the appropriate solution for any application. We strive to deliver excellent quality light fittings on budget and on time and tailor our services to each specific client’s needs. Our new lighting design studio and showroom in central Manchester is now open to visit. www.enigmalighting.com
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This month’s moodboard is looking at a Bohemian restaurant and bar, put together by the interior designers NoChintz. Inspired by stories and memories of times abroad, bohemian interior creates vibrant looks, featuring vivid colours, ethnic prints and embroidered floor cushions. The main influences are from different corners of the world, namely North Africa, Turkey, the Middle East, India, South America, China, and Japan.
Impression Nยบ4โขMay 2018 |
MATERIALIT Y BOLD COLOURS COMBINED WITH DELICATE PAT TERNS, HESSIAN FABRICS AND MAT TE BLACK DETAILING FOR A SIMPLE YET ELEGANT BOHEMIAN INTERIOR. 1. KVADRAT FOREST NAP 0782 // FOREST NAP 0250 2. KNIGHTSBRIDGE FURNITURE // ALFIE CHAIR 3. JOHNSONS TILES // MILTON HOLLINS COLLECTION 4. ENIGMA LIGHTING // BALLOON CAGE PENDANT 5. HANSGROHE // AXOR Citterio E
WHERE ON EARTH
48 | Impression Nº4•May 2018 Thanks to submissions from our lovely readers, Impression took you on a short ‘n sweet world tour back in February. We can finally reveal where on earth we landed… Well done if you guessed that the last issue’s travel adventure covered South America and Europe. (see below) From the curious architecture of The Marble Caves (also known as Cuevas de Mármol) in the Patagonian Andes region of Chile, to the colourful streets of La Boca on the outskirts of Buenos Aires, Argentina, we then returned to this side of the Atlantic to take a peek at a quiet fishing village on the west coast of the UK, before taking in a fantastic light show that illuminated the main Piazza in Lake Como, Italy. Now it’s time for a new game. Where in the world are these – ?
2 Photo credits 1 Vicki Brand, Hertford 2 Micha Baltman, Toronto, Canada 3 Gerard Roberts, Durban, South Africa 4 Lukas Becker, Kassel, Germany
Patagonia Marble Caves, Chile - Vicki Brand, from Hertford. La Boca, Buenos Aires, Argentina - Jo Sutherland, from Brighton. Crumplehorn, Cornwall - Steve Penney, from South Africa. Lake Como, Italy - Steve Penney, from South Africa
Surrender to natureâ€™s own sensation Experience a new dimension in showering with hansgrohe PowderRainÂŽ. The fine droplets inspired by the rainforest provide a deeply relaxing showering experience. hansgrohe. Meet the beauty of water
Inspiring Hospitality Interior Design