As Manchester continues to turn heads on the hotel design scene, editor of Hotel Designs Hamish Kilburn checked in to check out Hotel Gotham’s bold and decadent interiors – all sheltered within a former bank…
Ever since its bold entrance onto the unapologetically loud Manchester scene in 2015, Hotel Gotham’s alluring charm has tantalised many senses of those who have passed through its spectacularly framed automatic doors. I, for one, am one of them, and I hold my hands up proudly to say that I have formed a lust for decadence and luxury since checking in.
Expect disruptive interiors that are balanced with effortless style and a narrative threaded throughout the whole building that will take you right back to ’20s glamour.
Manchester’s answer to Gothic-chic is often the heart of the action of the city thanks to the vivacious General Manager, Mario Ovsenjak. It’s this action captured within Hotel Gotham, almost on a need-to-know basis, that helped first raise the bar in hotel design in the North in order to compete not only against its London counterparts, but also against luxury hotels around the world. Because Hotel Gotham is, quite frankly, unlike anywhere else around the globe.
“Think Art Deco meets the Batcave.”
The concept was to create timeless luxury with the ability to take guests away from the city centre below they know and love and into a different universe entirely, all while remaining sensitive in restoring moments that capture the hotel how it used to be. Think Art Deco meets the Batcave.
The entrance, under the watchful focus of the building’s gargoyles, is surprisingly understated given its majestic shell. Designed to emphasise a theatrical greeting from magnificently dressed porters, as if themselves are part of wider performance or an extension of the interior styling, the doors to the hotel are more like a curtain to a stage. Look up and all is not what it first seems. The ceiling is made up of numerous upside-down umbrellas – not for the superstitious I must add – painted in black and gold. These elements are special because they didn’t quite work out according to the original plan. These items were supposed to arrive painted gold underneath and black on top, but it wasn’t until the interior designers erected the first one when they realised that they had been designed to be gold on top and black underneath. Today, the subtle reference to Manchester’s inevitable downpour is cleverly injected and hides the secret well.
Checking in on the sixth floor is an unusual experience to say the least, but an experience I have seen work before, at the W Amsterdam for example. Unlike the raucous, wild and fashion-forward W brand, though, Hotel Gotham’s lobby experience is private and provides and secluded and personal welcome. Just a few steps along and guests are greeted into a large and airy Honey Restaurant, with its own personality. The hotel describes this place as “Whatever Honey conjures up for you”, the 2 AA Rosette awarded restaurant offers guests to dine overlooking Manchester from an unmatched perspective.
Downstairs, the guestrooms and suites shelter the true character of Hotel Gotham. Disruptive interiors balance a seductive, playful misé en scene, yet still feel like a home from home – like a modern designer’s sanctuary… The zig-zagged, soft Newhey carpets and the striking pink accents in the furniture and the inside of the drinks cabinet add flair in all the right corners. Meanwhile, the oversized beds, complete with faux fur throws, make lying-in a privilege.
Challenging the convention of traditional luxury hotels, the most premium category rooms at Hotel Gotham do not boast the most premium views of the city – in fact they boast no view at all. Instead, cleverly I believe, the five Inner Sanctum Suites – each named after an iconic Manchester figure and featuring a huge ‘wonderwall’ screen – are vaulted within the core of the building. Windowless and worlds away from anything happening in the city below, the suites’ sharp cinema screen projections onto panelled wallcoverings offer various atmospheres, not just the one that Manchester wants you to see, including the intriguing narrative of Hotel Gotham characters.
The real showstopper is located on the top floor (floor seven), and is reserved for guests and members only. The history of the building is quite literally written on the walls in the bar. The surfaces are lathered in gold, giving more than just a subtle nod to the bank that the building used to shelter. The bar and lounge area naturally over-spills onto four separate terraces that together capture a jaw-dropping view over the city and beyond.
Bespoke Hotels recently announced that it was to open the 191-key The Brooklyn to Manchester, which will pay ‘homage to the Golden Age of New York City’. This follows Top Hotel Projects revealing a rather large development growth of luxury hotels in Manchester, with 18 first-class and luxury hotel projects listed for the city with 2,907 rooms in the pipeline – eight of which are slated to be unveiled in 2019. The Brooklyn, which will become the younger brother – or sister – of Hotel Gotham, is expected to share the same disobedience, and rightly so, as the hotel group arguably continues to lead the way in the city with endless possibilities that help to broaden the ever-changing landscape of hotel design in the North.
Design firm Goddard Littlefair injects golden-age glam into the former The Grand Hotel Imperial…
Hilton Imperial Dubrovnik, situated just above Dubrovnik old town, was originally built in the 1890s and went on to serve the great Mediterranean cruise liners docking in the city in the early 20th century. Then called ‘The Grand Hotel Imperial’, with a French Riviera feel and the glamorous cachet of an international clientele, the hotel was a roaring success for many decades, but, during the Yugoslav war, it was shelled and then used to house refugees. The hotel was subsequently brought back to active life in 2005, and most recently was renovated under the watchful eye of design house Goddard Littlefair.
“When we were first commissioned, the hotel was already very well established and incredibly popular, with a wonderful location overlooking the old fort and the Adriatic, right on the edges of Dubrovnik’s historic old centre,” commented Martin Goddard, Director and Co-founder of Goddard Littlefair. “Whilst it had been majorly refurbished in 2005, costly building works meant that the interiors weren’t the main priority at that time and were primed therefore for a completely new treatment.”
“The brief to the design team was to unlock the true potential of the four-storey hotel’s spectacular location, architecture, reputation and history.”
Goddard Littlefair was initially commissioned towards the end of 2016 for a phased set of redesign works, with the first two now completed and including the reception and lobby, The Lobby Lounge, The Imperial Bar, The Executive Lounge, all connecting and guest-room corridors and all of the hotel’s 149 standard and executive rooms and nine suites. A refurbishment of the hotel’s existing restaurant, Porat, on the lower-ground floor, will follow in late 2019.
The brief to the design team was to unlock the true potential of the four-storey hotel’s spectacular location, architecture, reputation and history. “Our inspiration lay in bringing back the romance of the hotel’s former glories,” Goddard commented. “Layering glamour into each individual space by means of a Riviera palette, soft detailing, a 1920s yachting influence and a subtle evocation of the hotel’s original elegance, whilst at the same time balancing that with clean and contemporary lines.”
Guests enter via a metal revolving door into a stunning, double-height reception, with tall, arched windows and cool ceramic flooring in a bespoke two-tone diamond pattern, created by Goddard Littlefair and inspired by the old stone streets of the city. The reception is spacious, soothing and calming, so that guests relax instantly, especially during the intense heat of the summer season.
The visitor’s eye is immediately taken by a spectacular central chandelier, made up of eleven, sculptural, globe-shaped and antiqued brass pendant lights, hanging from chains in rows of three on antiqued brass rods. Each individual pendant light within the chandelier houses seven fluted, ribbed glass tubes, concealing the bulbs, with the ribbed glass treatment used matching seven bespoke vertical wall lights in the reception’s waiting area. The feature light was designed by Jana Novakovic, Interior Designer at Goddard Littlefair and was manufactured by Croatian lighting company Dekor, who worked on most of the lighting on the project. The scheme’s overall lighting consultant, especially focusing on architectural lighting, was DPA Lighting Consultants.
The ceilings in the reception feature newly-instated decorative mouldings, whilst the walls are clad in inset dove-grey panels at the upper level, with feature areas of moulded timber panelling at ground floor level, located around and behind the reception desk and also enclosing the lobby waiting area opposite, where huge-scale arched windows – technically at first floor level – flood the space with natural light, with glare lessened by transparent sheer curtain panels and off-white blinds with a striking blue trim at the top of the windows.
A bespoke, three-person reception desk is to the left of entry. The desk features a Carrara marble top and dark-stained timber panelling to the front, matching the wall panelling behind, with sculptural brass desktop lights by Dekor at each end. Behind the desk, set within timber-panelled wall surround, is a triptych of artworks by Croatian artist Antonia Čačić, specially-commissioned for the project by the scheme’s art consultants ARTIQ. The 3m-long abstract triptych incorporates a palette of soft hues inspired by the colours of the Dalmatian coast.
Image caption: Reception desk with bespoke marble-topped and timber-panelled desk with rear artwork triptych by Croatian artist Antonia Čačić
The Lobby Lounge
Two lighting features immediately take the eye, one at the centre of each area. First, a bespoke chandelier in The Lobby Lounge, inspired by 1950s bathing caps, has cascading white porcelain petal shapes set on a brass framework and was made by Imagin. Secondly, The Imperial Bar meanwhile features a bespoke, six-armed chandelier in brass with spherical opal glass shades, designed by Goddard Littlefair and manufactured by Dekor. Wall lights in the space, with ribbed, cylindrical glass surrounds are identical to those in the reception waiting area.
The ceiling in The Lobby Lounge area is painted white with new added decorative mouldings. The right-side wall is painted a pale shade of blue, as are the inner arches of the French doors that line the wall and open out on the terrace. Pole-hung curtains line the French doors in off-white, with a blue leading edge.
The spaces feature three zoned seating arrangements, demarcated by individual rugs in blues and whites with a touch of coral, in a take on an antique Persian rug, set on top of timber chevron flooring that runs through the entire space. The three rugs were designed by Goddard Littlefair and made by Hotel Designs Recommended Supplier Brintons. The two end ones are identical, whilst the central one is subtly different. Each seating zone features a table, with a Carrara marble top and either fine brass legs or a more substantial dark-timber pedestal, and each has a different seating arrangement. Chairs at both the end-of-room set-ups are scoop-back armchairs in a blue-grey velvet with a woven pale grey fabric back, whilst the central chairs are all in grey with a contrasting dark blue piped edging and antiqued brass studs. Sofas are in upholstered in a linen fabric, whilst scatter cushions are either in blue with contrast piping or else in blue or rust, introduced here in small doses for contrast, with a central textile-design panel. A number of higher tables for dining line the inside wall of the space, in Carrara marble and brass, with peacock blue velvet-upholstered ‘shell’ design chairs with ebonised timber legs.
Image caption: The Imperial Bar
The Imperial Bar
The Imperial Bar has a pronouncded deco feel. Located at the far end of the space, the bar is announced via a demarcating, stand-out brass surround screen, featuring brass shelving and fretwork panels set within its side arches and across its top section, where LED lights are also concealed. The screen was manufactured, along with all joinery, mouldings, case goods and furniture on the project by Internova. Dark timber detailing links the screen to the dark timber used for the furniture legs. The brass screen was also specially-designed to house a spectacular art piece – a second commission by Croatian artist Antonia Čačić, which sits at the centre of the screen and is in fact a triptych once more. Two of its three sections sit within the screen, with one facing each way, with the third at the other end of the space, to the rear of The Lobby Lounge. Further artwork in the bar area includes a series of 12 specially-commissioned monochrome photograms of local flowers, printed as negatives and arranged on unique, vertical-rod brass picture rails.
The ceiling in The Imperial Bar is painted blue, for added drama and a moodier feel. The windows in the bar all have classic, white-painted shutters at their sides, for a subtly different feel from The Lobby Lounge. The bar also has its own table and chair arrangements with a more silky, cocktail feel to the furniture including a ‘love seat’ sofa, banquettes by the windows and small, round scatter cushions in gathered brown velvet with a trim and central large button either in the same brown or contrasting orange piping.
The Executive Lounge
Immediately beyond The Lobby Lounge and The Imperial Bar is the 88 sq m Executive Lounge, a further long and slim space, with entry through a double door. Hilton grades its rooms as standard, executive or suites and The Executive Lounge is for the exclusive use of guests who have booked executive rooms or suites. Essentially, rather like an airport lounge, this space offers a quieter area for guests, who can to use the space all day long and have breakfast here in the morning for example or make use of the complimentary afternoon wine and cheese served here.
The Executive Lounge features a refurbished white ceiling and applied mouldings to the walls, with inset panels in a rattan wall covering from Phillip Jeffries. Flooring, for the upper two thirds of the space, is an inset carpet with a timber outer layer and brass trim from Ulster Carpets. Two gilded mirrors at the far end are by Water Gilders, with a small salon-hang arrangement of art between the mirrors, once again curated by ARTIQ. Bespoke tables run along the far end and down both sides of the room, with table tops featuring two different designs in Carrara and Nero Marquina marble, with ebonised timber pedestals. Bespoke seating includes three sofa seats below the antiqued mirrors in a peacock-blue velvet with ribbed scroll backs, with chairs opposite featuring a pale blue leather seat pad, a dark timber frame and a cane back. Seats accompanying the tables down the sides are in a dove grey with an ebonised timber frame and scatter cushions feature fabrics from Tissus d’Hélène. Curtains on the outer side of the room are full-height in an off-white with a blue leading edge, featuring the same design used for The Lobby Lounge.
A long, thin island credenza runs down the centre of the space, with timber ribbing and brass detail shadow gap, a Carrara marble top and integrated timber trays, accessorised by a small terrarium of succulent plants set beneath bell jars, as well as a number of books and geometric objects of interest. Table lamps here have a brass stand and ribbed ivory shades. Armchairs to either side feature a dark timber frame and caramel leather upholstery, whilst small accompanying incidental tables have a Carrara marble and timber top with criss-cross brass and bronze legs. Above the central credenza is the room’s major lighting feature – a four-part brass ring chandelier with crystal elements and inset LED lights, bespoke-designed by Goddard Littlefair and made by Northern Lights.
Image caption: Each room features a bespoke Axminster rug from Brinton’s
Guestrooms and Corridors
The hotel features an Imperial Suite, together with eight other suites and 149 executive and standard rooms. Linking corridors are inset-carpeted with timber borders in light oak and carpet runners, with a bordered bespoke design in a subtle colourway running from greys to varying shades of blue, so that it seems to fade at the border, made specially for the project by Brintons. Walls are in a pale off-white wall covering from Muraspec. Room numbers are announced via bespoke wall lights in a brass finish, with layered bronze plates announcing the room number via a cut out number in the front plate, visible against the second plate thanks to a subtle shadow. These were made to Goddard Littlefair’s design by Dekor.
The design feel of all the rooms is light and fresh, with classical clean lines and a refined and elegant colour palette of blues and silvers, plus the sparing use of pale pinks. Flooring is a natural light oak, supplied by a local company in Dubrovnik and arranged in a herringbone pattern. Each room features a bespoke Axminster rug from Brinton’s, with two used for the suites. The rugs in the suites are in a pattern that suggests the Middle East, with a whipped-edge border and the colour palette inverted from one to the other in blues, turquoises and ivories, with a touch of gold, whilst the standard room rugs have a more abstract, floral pattern.
In the guestrooms hang a combination of prints by Raul Perčič and another local artist, Branka Ridicki. Hanging squarely above the bed, Branka’s paintings imagine townscapes in abstract composition and were selected for their success in capturing the feeling of Dubrovnik’s winding streets and undulating roof-scapes. Photos and prints of Dubrovnik centre on the sea and seaside life, with blues and oranges giving way to some hints of orange. The pictures hang in pairs with brass picture lights above, whilst the suites feature four works of art each.
The beds feature full-height panelled headboards with the panels arranged in a single ‘bird’s beak’ pattern, with a blue-painted frame and upholstered in a soft gold silk-linen. The bed linen is all in white and the bedside tables alongside are oval-shaped, with a small inset drawer and open shelf, in dark-stained timber with a timber top and drawer, along a laminate body in grey with a linen texture and timber plinth. The bedside lights are fixed to panels and are in a geometric leaf print on linen with antiqued brass, made by Dekor. A floor light has a metal base and is finished in bronze and a softly-curved geometric four-section shade in ivory linen. Some rooms alternatively feature a fully-metal, slightly shorter floor light with a demi-globe rounded head. The hotel bathrooms were also lightly refreshed in the scheme, with new wall-lights, mirrored panels and decorative mirrors with brass frames and leather-hooked top detail.
Circular dining tables/desks are in timber with a bell-shaped solid wood pedestal and additional gilding at the pedestal neck. The minibars are rectangular and panelled with chamfered edges, finished in dark-stained timber, together with a lacquered, low-sheen turquoise finish, with circular pulls for the drawer handles in a dark metal. Furniture in the rooms also includes an armchair and, depending on the room, a mix of other items including a stool, chaise or bench. The chaise, where present, is upholstered in a textured grey fabric with a ribbed back, a bolster and scatter cushions, which are made up of a variety of silk and linen materials with either geometric or abstract prints with a deliberately ‘worn-in’ look to the textile pattern. The bench is in a pinkish blush faux leather with tufted buttons and piping details, whilst the stool is in a turquoise faux leather with a turquoise top and piping and a base upholstered in a sandy colour. The armchair is upholstered in sky blue velvet, with ribbing to the inside of the back with a double-layered rear detail.
The Imperial Suite contains a living room, dining room, bedroom and bathroom and has great views out from the front second storey of the hotel, overlooking the town’s famous old fort and the sea.
For this and other suites, the design treatment links to the standard rooms, with subtle differences, including a marble-print fabric for the wall-lights, for example, and headboards with a padded chevron treatment in a light blue faux leather and a brass trim between the upholstery and the framing timber surround. Curtains in the suites uses the same fabric as the wall lights, coupled with white sheers. All suites have applied moulding and panelling featuring a pale grey wallcovering and a white paint surround.
All the suites also have sofas, upholstered in a very light off-white linen-type material with arms that splay outwards and a long and loose back cushion. Armchairs in the suites are slipper-style. upholstered in duck-egg blue velvet with a contrast trim. Bedroom armchairs are curved with vertical piping detail to the interior of the back panel that looks like ribbing and are upholstered in a grey woven material, whilst a rectangular ottoman features a turquoise faux leather top and fabric sides that match the textile used for the armchair.
Lighting for the suites includes four-armed chandeliers, suspended on a chain, with a linen shade. A table lamp has a faux-leather wrapped brown base, a linen shade and a contrast trim to the top and bottom in dark brown. A coffee table has a Carrara marble top and timber legs, whilst two side tables are black-lacquered demi-lunes. Bedside tables are in a linen-effect laminate with brass legs and handles and a timber trim.
Being the ‘first’ in international hotel design is a daring move, but one that carries ample rewards if conceived well. Editor of Hotel DesignsHamish Kilburn checks in to the newly opened New Road Hotel to explore what’s underneath the fossil that is a former textiles factory in London’s said-to-be up and coming neighbourhood of Whitechapel…
Knocking on the back door of the hipster neighbourhood of Shoreditch, the New Road Hotel shelters stripped-back luxury in a building that its history is as fascinating as the newly refurbished interiors. It is the vision of three brothers, Monsur, Masrur, and Moksud Malik, who decided to build the hotel on the site of the Service House textile factory. Originally designed by architect Hume Victor Kerr, the property has always been used as a garments factory up until the turn of the millennium, and since its closure in 2000 the building had remained empty and abandoned. However, in 2011 the Malik family decided to convert it into a hotel, with ambitious goals to reinvent the somewhat desolate Whitechapel area with new life and social space for both consumers and walk-ins.
Whitechapel’s first luxury design hotel is a modern abode with plenty of character and personality. The interior design by Nigel Howard Creative is thoughtful and clever with clear inspiration coming from the building’s former existence.
The plot thickens when checking in, as I learn quickly that the owner’s father used to work in the former factory. The clocking-in machine, which was kept is now placed appropriately above the check-in desk. To the right of it is the original flooring that is now infused to form a striking feature wall which frames the two lifts. That distinct reference to the original factory is met with a nod from myself. Further still, the fact that these small allusions are so subtle – so much so that many guests would walk past without noticing the significance – further adds to the charm, knowing that the story, which is literally written on the walls, is there to be explored.
Image credit: New Road Hotel
Upstairs, the corridors reflect the colour of the former factory, with strips of loud, floor-to-ceiling pieces of fabrics interrupting the walkways as guests navigate themselves to their rooms.
The 79 stylish guestrooms and suites have been inspired by a modern New York metropolis, created to keep the original factory features and to maximise space. The hotel’s slogan, “everything you need, nothing you don’t”, could not be more relevant when it comes to the beds. Hypnos beds were chosen and designed in such a way to eliminate the need for an in-room sofa. As a result, the rooms are cosy and feel unfamiliarly large considering that the hotel is situated a stone’s throw away from Shoreditch.
The bathrooms have been designed to further echo the hotel’s theme, which just so happens to sync up to the industrial-chic trend – with grey surfaces having a major moment at the moment – that our industry has enjoyed of late. Roca worked with London-based contract furnishing company Concept Contracts to deliver a complete bathroom solution. “New Road Hotel is a virtually unique space,” commented Warren Stimson, Director at Concept Contracts. “The Roca Group has an impressive portfolio and being able to combine both the Roca and Laufen brands within one space has created the perfect solution for The New Road Hotel,” added Warren.
Concept Contacts sourced The Gap wall-hung WC by Roca along with the Laufen Val basin for each room. The Gap range from Roca is a versatile collection that enables hotels to optimise the design and look of any bathroom space. Created by renowned industrial designer Antonio Bullo, The Gap features modern and stylish lines whilst delivering both a compact and functional bathroom collection.
The Val bathroom collection from Laufen has been designed for the Swiss bathroom specialist by star designer Konstantin Grcic from Munich. Simple architectural lines, extremely narrow edges and fine surface structures make the washbasins of this collection globally unique.
Downstairs, the public area is light, airy and lends itself naturally to members of the public using the space for themselves. The Marco Pierre White Chophouse restaurant, which gives a nod to tradition and centres on everything that chophouses are famed for: meat and hearty portions, is a blended in addition attached to the lobby and bar. The rustic furniture and exposed brick walls further adding to the industrial-chic vibe the hotel has mastered.
With the Elizabeth Line (Cross rail) expected to connect the somewhat forgotten district to the rest of London and beyond, the hotel’s opening is a sign for the future. With many other former factories standing currently as empty shells, there is potential that is waiting to be grasped.
Editor of Hotel Designs Hamish Kilburn joins Alexandra Champalimaud herself to take a closer look of the new London boutique hotel that is on everyone’s lips at the moment…
Located in London’s more literary neighbourhood of Bloomsbury, The Academy Hotel, has revealed details of its million-pound interior design refurbishment. The hotel, which is part of YTL Hotels’ UK portfolio, has been designed by Alexandra Champalimaud and her skilful team whose portfolio includes The Gainsborough Bath and Spa and soon-to-open Monkey Island in Berkshire. The team worked close with the hotel group to convert the five Georgian townhouses into a charming, sophisticated and historical experience for guests who are checking in.
Inspired by the Bloomsbury Set who lived and worked there in the early 20th century, the interior design of the newly completed hotel is a tasteful blend of modern and vintage. The design team have perfectly balanced giving a nod to the building’s past while also drawing on inspiration from modern-day London.
Each of the 50 elegant guest rooms have been designed to celebrate 240 years of the Georgian hotel’s history. High ceilings and sash windows give light-filled rooms an immediate sense of calm, which en-suite marble bathrooms and high king-sized beds (something I have noticed Champalimaud to love) add to the luxury. The soft furnishings of each guest room have been meticulously chosen to combine timeless glamour and fresh, contemporary city style. Statement walls feature fanciful wallpaper from Cole & Son, which arm chair, cushion and curtain fabrics have been sourced from Lee Sofa, a company that has been producing prints and fabric since 1823, and British brand Osborne & Little, among others.
Hamish Kilburn: What is your favourite colour this season? Alexandra Champalimaud: I favour classic colours that don’t abide by trends. Rust orange, rich shades of blue, and green. HK: What’s your advice to emerging designers? AC: Believe in everything that you do. HK: What is your number-one travel essential? AC: Floracopeia Aged Patchouli oil HK: What’s the secret to success in this world of hotel interior design? AC: Challenges are opportunities to create something more awe inspiring than you may have initially thought – there are always changes, change in budget, change in schedule, perhaps the entire project gets scratched – but these are opportunities to bring more to the table. Charisma and good humour will also take you far. HK: Biggest inspiration in your career? AC: My team. At Champalimaud we have an unparalleled group of individuals in our New York based office, they make coming into work an absolute joy.
Beyond the guest rooms the hotel is brimming with personality and thoughtful design touched. On the ground level, the cosy Alchemy Bar which feature stunning olive-green velvet armchairs, marble-top tables and statement Liberty wallpaper, which leads out onto a sunlit-flooded garden, a rare feature for a hotel located in the centre of London. “Tapping into Bloomsbury’s storied past, we were inspired to create a space that is intimate, fresh and rich with charisma and narrative.”
Editor of Hotel DesignsHamish Kilburn checks in to the only hotel in Bath that taps into the natural thermal springs of the city, designed by the one and only Alexandra Champalimaud…
“First and foremost, the location is what really sets this project apart,” says Alexandra Champalimaud who, to me, looks far too composed and relaxed for two reasons as we meet for breakfast. For starters, although her soft English accent would suggest otherwise, Champalimaud is actually based in the loud, sleepless city of New York. And secondly, we are catching up at the same time of London Design Festival, when more than 450,000 designers, architects and creatives from around the globe descend onto the capital to catch the latest trends, discussions and product launches. Never before has the analogy of a duck above water been so apt than in this situation right now, and it’s inspiring to watch. “Bath is an actual treasure, a world UNESCO World Heritage Site, and frankly I think it’s one of the most magical places in the UK,” she says passionately as we begin to talk about The Gainsborough Bath and Spa, the five-star hotel that stole both of our hearts.
A few weeks before, I was checking in to the hotel for the first time. The precious interiors and renowned spa that are housed within The Gainsborough Bath and Spa are on a need to know basis. Tucked away from the rest of the town, yet very central in its address, the hotel among the locals is known for its luxury edge over the rest of the hotels in the area.
Just a two-hour drive from London’s thick smoke (and even quicker on the train), the feeling of tranquilly is immediately apparent upon arrival. “I can always tell if a guest is from London,” said Brian Benson, the hotel’s general manager as I arrived through the doors and into the large, open lobby. “Our guests from London always arrive in a hurry and look stressed. What I love about my job, and this hotel, is that guests always leave calmer than when they arrived.”
Image caption: The lobby at The Gainsborough
Like many buildings in the hilly town of Bath, the hotel was once a Georgian-era hospital. The British painter Thomas Gainsborough had spent time there, which inspired the name. “The building itself looks grand, but it’s actually quite cosy,” says Champalimaud. “There’s an intimacy there that’s unmatched by other hotels in the area. The building is also Grade II listed; visitors will find that there are a lot of original details throughout the hotel.”
“Champalimaud and her team have created several dramatic scenes within the hotel’s public areas.”
The hotel’s look and feel is – like its staff – inviting, warm and naturally comfortable to be around. Deliberate attention to detail has been given to ensure that the modern hotel gives an appropriate nod to its storied past, with several references of traditional items evident in the public areas. Such as the Turin Portantina Seden Chair, which once in the 17th Century was used to carry royalty and now sits at the bottom of the main staircase in the lobby, creating a lasting first impression. The artefact is one of around 50 known to exist of its shape.
Image caption: -The Gainsborough restaurant
Champalimaud and her team have created several dramatic scenes within the hotel’s public areas. “We realised that we didn’t want to detract from the building’s historical charm, but simply enhance it,” says Champalimaud. “Whenever possible, we highlighted some of the hotel’s original features by employing design details that were reflective of the Roman and Georgian history of the city. Overall, the design is transitional – weaving in the classic English cosiness with a contemporary point of view.” One of these moments is the dynamically obscure chandelier that hangs in between the large main staircase. Another example of drama is quite literally written on the walls. Several pieces of contemporary art around the hotel, at first, look impressive and well placed. However, when learning that the artists are in fact local art students, the walls all of sudden have a different dimension. “What do you think it is,” said the waiter as I stood in front of a large abstract art piece which was full of dashes and colour. Tilting my head, I saw it. The piece of art, again imagined and created by local student artists was a contemporary representation of the restaurant we were actually stood in.
Image caption: The Canvas Room at The Gainsborough
On the lower level, the hotel’s main unique selling point is another classy reference to the town’s infamous past. The spa, which I have read about – and have wanted to experience – since it opened, is incomparable. It’s truly world-class, a feeling that has recently been shared by Condé Nast Traveller readers who have just voted it the second-best spa in the UK. That may well be because it is the only hotel spa in the city that actually taps into the natural thermal springs, meaning that the several therapy pools are all organically heated. “The spa is a dream,” says Champalimaud. “Located near one of the town’s thermal reserves the spa pool inside of the hotel contains the sought after precious healing waters that made Bath so famous.”
Image caption: The Gainsborough
Although much of the attention at the hotel in the press is focused on the spa, the guestrooms and suites are equally as striking and impressive. Dressed to feel appropriately residential, with a colour palatte of duck egg blue, white and soft browns. My suite (room number 310) was defined as a junior suite, complete with a large living area, modest bathroom and a large bedroom. “Georgian design references are very much present in the guestrooms,” explained Champalimaud. “We wanted the rooms to feel comfortable, yet rich, so we focused on creating delicate layers with the tones, textures, and furnishings within them. The colours are contemporary and alluring while maintaining an air of subtlety – conjuring a sense of quiet. A number of the guestrooms have high ceilings that we accentuated with long curtains trimmed with a Roman inspired border, which complements the ornately patterned carpet. The furniture is all contemporary with a classic familiarity.”
Image credit: The Gainsborough
Despite the design project running relatively smoothly, as with all grade II listed structures, unexpected delays in the design process were almost inevitable. “Since we were working with a Grade II structure, we had to be patient with the construction phase of the project,” explained Champalimaud. “The building had to be excavated as ancient artifacts were found while they were breaking ground – which was unexpected. From an interiors perspective, the hotel’s listing made us very mindful of maintaining the building’s original integrity with every design decision we made.”
Since experiencing the hotel in all its finery, The Gainsborough Bath and Spa has entered a special place in my heart – which is the same, it seems, for among many of its visitors who walk through its calming entrance. A little more than 100 miles from the centre of London, it is a South west gem, and certainly gives five-star hotels in the captital a run for their money. I checked out of The Gainsborough Bath and Spa and left with a much lower heart rate from when I arrived and a new-found appreciation for Georgian heritage buildings that shelter stunning hotels spas. The answer, perhaps, is in the waters.
Hotel Herman K, Denmark’s first chemical-free hotel, is a converted station situated in the heart of Copenhagen. Hotel Designs took a sneak peak at the raw architecture within the bespoke hotel…
Brøchner Hotels’ new 5-star luxury boutique hotel, Hotel Herman K, is the first hotel in Denmark where chemicals are not a part of the cleaning products and process. A natural step for the Danish leading boutique hotel chain, who aims to create unique and sustainable hotels.
The hotel, which is situated in central Copenhagen in a converted station, welcomes guests through glass doors and into a large high-ceiling lobby area. In the centre of the lobby is a striking art piece, comprising of various branches which together hang above a bar in the public space.
Juxtaposing the dramatic public area, the guestrooms and suites upstairs are clean, light and typically minimalist with a soft cooling grey and dark blue colour scheme which marry up with white marble surfaces and contemporary furniture.
Hotel Herman K’s new resources in its housekeeping and cleaning process, for the benefit of both the environment, guests and the staff. Brøchner Hotels has together with the Danish company ACT.Global, coated all the exclusive rooms and suites and has become the first chemical-free hotel in Denmark.
The rooms and suites are treated with ACT CleanCoat – an invisible and odourless coating that makes surfaces self-disinfectant, ensuring low-bacterial level, healthy indoor climate and cleaner air. “We saw that limestone and dirt simply did not stick to bathroom elements, to the same extent as before the coating,” explained Christian Lond, Director of Procurement at Brøchner Hotels. “Because of this, our Quality & Service team do not have to use cleaning products containing chemicals, and the cleaning itself is also less demanding.
In addition to the chemical-free unique selling point, the hotel’s tech edge allows for a seamless check-in process, while also allowing guests checking in to personalise their entertainment system, which all rooms featuring state-of-the-art screens and speakers.
The hotel is the fourth property in the Brøchner Hotels portfolio and opens with the aim to raise the bar of Copenhagen’s hotel scene.
Cheval Phoenix House, tucked away on a side street in one of the most exclusive parts of London, is a marvellous example of serviced apartment-style accommodation, in a beautiful part of the capital. Just off Sloane Square, this is an ideal location for people looking to be close to the heart of the city but away from the hustle and bustle of the streets of central London.
The rooms are set in a stunning Victorian building, with interiors designed by the award-winning Fox Linton Associates, one of the UK’s leading interior designers. They offer spacious studios, as well as one-bedroom apartments and expansive duplexes. Although the attractive brick and stone frontage is unchanged on the exterior, the interior of this six storey building has been completely remodelled in contemporary style, so there aren’t any original features. Rooms are accessible by lift, though some, with mezzanine floors have internal staircases.
All accommodations on offer at Phoenix House consist of a living room, desk area, full kitchen and dining area, and added bonuses such as luxurious goose down duvets, Bang & Olufsen televisions, Frette satin sheets and Royal Doulton china. They are definitely aimed at executives and business travellers who want the freedom of their own flat while in town, but also families who need more space and flexibility than a hotel room offering.
The rooms’ colour scheme is a little conservative, consisting mainly of browns and creams but contemporary furnishings and furniture of decent quality makes up for that. I stay in an apartment with an open-plan kitchen and a well-appointed, good-sized sitting/dining room. The bedroom was spacious and was accompanied by a medium sized marble-lined bathroom.
The bedrooms have been adapted from older reception rooms , with some on the first floor like the apartment I stayed in, where ceilings are high and have been converted into two-storey apartments with an interior staircase. Perhaps oddly, the bedroom is on the lower floor, which is an interesting design choice but definitely gives the guest a feeling of separation from living area and bedroom that isn’t always the case with serviced apartment accommodation.
Cheval Residences has been around for 35 years, and their experience in delivering luxury accommodation shows in their properties. The company offers a collection of London’s most desirable serviced apartments, located in some of its most sought-after neighbourhoods. Each residence has its own individual style, yet all share the same ethos and levels of service rarely enjoyed outside the world’s finest hotels.
Available for one night or more as well as for extended stays of 3 months or more, Phoenix House provides beautiful, comfortable and thoughtfully-furnished apartments. Whether travelling for extended periods on business, or staying as a family, Cheval is one of the first names that comes to mind. And Phoenix House should be a name at the top of any list of potential locations.
Manchester is going through somewhat of a renaissance in the hotel industry.
Recent openings – including Hotel Gotham – have put the critical and commercial spotlight on the city, drawing some of the attention usually hogged by the capital down south. During this wave of stylish, quirky and conceptual openings came a project by former Manchester United stalwarts Gary Neville and Ryan Giggs – Hotel Football.
Its location overlooking the club’s iconic Old Trafford stadium, affectionately known as the ‘Theatre of Dreams’, might suggest this is a haven just for followers of this particular megaclub. Far from it.
Any supporter of the ‘Beautiful Game’ will be pleasantly surprised by the ubiquitous football-themed touches throughout – like a mural of great footballing memories accompanying guests on their ascent or descent of the main staircase, the stadium-esque facilities for the gentlemen’s toilets in the Old Trafford Supporters Club in the hotel’s basement or the guestroom bathroom design, with a nod to football changing rooms. Most of the hotel art, too, was commissioned by the hotel and made by University of Salford students.
The interiors are modern and slick, if not slightly ‘corporate’ at times. But make no mistake, the attention to detail is prevalent throughout – and despite this being a ‘themed’ hotel, guest comfort and satisfaction has not been overlooked.
Given the market this hotel is undoubtedly looking to tap into, the corporate and event spaces are excellent appointed and have the ability to cater for various-sized parties. The Owners Room and The Boardroom for smaller meetings, to the Stadium Suite and Players’ Lounge, which can take up to 500 people and match-day hospitality is also available.
The hotel has been well pitched – it is consciously not too over-the-top in being Manchester United-themed (considering the disdain with which some football supporters perceive the club), but rather more focused on football as a whole. The staff throughout the property are also commendably friendly and helpful; whether or not they are Manchester United fans seems irrelevant as they all appear to be genuinely invested in the success of the project. Overall, this is a hotel that knows its USP, does what it says on the tin and does it well. It’s fun, quirky and different – definitely another success story for the Manchester hotel scene.
Right in the very heart of any city – London in particular – is probably not the first place one thinks of when ‘affordable accommodation’ is mentioned. But with the opening of Premier Inn’s new, technology-focussed ‘hub’ hotels in the English and Scottish capitals over the last 12 months, that is now a distinct reality.
Invited to take a look around the Westminster, St. James’ Park property earlier this year, which had opened in the October of 2016, I walk through the rather unassuming entrance and am instantly faced with a very impressive digital display complete with locale information and guest guidelines which makes up part of the check-in process for guests.
And this marks the very heart of this new concept from Premier Inn; tapping into the app-driven travel culture. With an app already downloaded, guests can use it to book a room, to check-in, get recommendations on things to see, do, eat and drink in the surrounding area – and ultimately limiting interaction with staff.
Speaking to Toby Wait of project management company TowerEight during my visit, he tells me how much travelling (for business or pleasure) has changed and continues to change. “The way apps have revolutionised our daily lives, it was only a matter of time before it became the norm in the hospitality world,” he says.
While there is no restaurant as such, the hotel does boast a lounge next to the lobby. This is a great concept – being seen more and more in economy-driven properties – with free coffee, tea and pastries all day and complimentary ‘light bites’ offered after 5pm, as well as other drinks available for purchase; it’s a modern, well-designed and well-appointed place for breakfast or evening networking drinks.
The rooms themselves, which come in ‘Standard’ and ‘Bigger’ sizes are also an excellent example of modernity and inch-perfect use of space. The white and olive-green colour scheme is tasteful and keeps the rooms feeling light and airy. A strategically positioned mirror adds to the illusion of space.
The aforementioned app allows guests to control room temperature, lights, change TV channels and take advantage of an in-room ‘augmented reality experience’ – all very clever, but for the less technically adept, there is also a perfectly functional touch screen to perform those tasks by the bed. Providing both UK and European power sockets is another thoughtful extra – meaning that guests are covered should they forget their adaptors.
Due to the size of rooms, it is to be expected that storage space is at a premium, which for couples using a ‘Standard’ room might be a bit of an issue. But for solo travellers or those who pack light, the architects have made use of some clever solutions to optimise space. Plus, this is central London after all. Bathrooms are, again, ‘cosy’ but have everything a guest will need for a short stay.
A recent Telegraph Travel survey found that technology-focused hotels are becoming increasingly common and popular with travellers; with the findings showing that 42 percent of UK guests preferring to operate a room’s lighting, air conditioning and television via a display instead of using a separate remote control or switch.
With that in mind, Whitbread and TowerEight have tapped perfectly into this sector in the market with the ‘Hub’ concept. With seven London properties (including the Westminster, St. James’ hotel) and two in Edinburgh, the concept lives up to its promise and delivers both superb locations and a staggeringly competitive room-rate. In London, especially, that is a rare combination and one that I expect will only become more and more popular…
Based on a visit in January 2017 Photos: Whitbread PLC // Daniel Fountain
Hotel Century Old Town Prague – MGallery By Sofitel has relaunched following an extensive renovation of the property. The 5-star property has undergone a complete transformation, giving the historic interiors a unique ambiance where classic heritage and contemporary design are combined together.
Hotel Century Old Town Prague – MGallery Collection – Photos: www.sofitel.com
The hotel is situated in the heart of Prague, next to the Old Town Square, where the famous medieval astronomical clock is mounted on the southern wall of the Old Town City Hall. The Neo-Baroque building was built in the 19th century by Alfonse Wertmuller, a famous architect in Prague. It was formerly the office of the Workers’ Accident Insurance of Kingdom of Bohemia, where Franz Kafka worked as an insurance clerk from 1908 to 1922. His spirit can still be felt in the hotel, as his bronze bust welcomes guests in the lobby in front of the majestic stairs.
Hotel Century Old Town Prague – MGallery Collection – Photos: www.sofitel.com
The 19th century listed building was transformed into a hotel in 2002, and became part of the MGallery By Sofitel portfolio in 2009. The sculpted Neo-Baroque façade and spectacular stairway, with its columns, marble steps and wrought-iron banister are characteristic features of the building.
Hotel Century Old Town Prague – MGallery Collection – Photos: www.sofitel.com
Renowned French interior designer Ana Moussinet has transformed the hotel, whilst retaining its grandeur and original classical features. The Neo-Baroque interiors have been modernised to complement the rich history of the building. The hotel’s heritage has been integrated into the design with Franz Kafka’s random patterns, reminiscent
of ink lines and splashes. His inspirational quotes are displayed on the hotel’s walls and his presence can be seen in the Kafka Suite, which used to be the writer’s office for many years. It is now an exclusive suite with a contemporary design, inspired by Art Deco and mid-20th century Cubism.
Hotel Century Old Town Prague – MGallery Collection – Photos: www.sofitel.com
The renovation saw 169 rooms transformed into 5* room categories from Classic to Suite; along with new design of the Living Room, Restaurant and Bar. The hotel’s interiors are light and spacious, with marble parquet, glossy black and gold decorative features, deep green velvets and sober lines. Long corridors featuring artistically
geometric carpet patterns are a refreshing and stylish blend of classic and contemporary design. Guests can relax in the luxurious Le Dome Suite, which is a round and cosy cocoon under the dome, surrounded by the thousand spires of Prague.
Hotel Century Old Town Prague – MGallery Collection – Photos: www.sofitel.com
The Bar concept has changed and the space has been rebuilt. The main inspiration for the new Hedgehog bar ambiance and bar services was derived from the legendary Czech conundrum “The Hedgehog in the Cage”, which is often portrayed in comics, movies and TV series. It is a mysterious story of a plan of constructing a flying bicycle hidden inside a steel cone in shape of a hedgehog in a cage. Guests can enjoy The Flying Bicycle – a cocktail served in its cage as a metaphor of the famous Czech puzzle. The seasonal terrace has turned into a Glass Veranda available throughout the year and on level -1, a new fitness room was created.
Hotel Century Old Town Prague – MGallery Collection – Photos: www.sofitel.com
Hotel Century Old Town Prague is now a breathtaking sight in one of the most beautiful cities in Europe. MGallery has 90 existing fascinating addresses in addition to 30 others under development. Each hotel is inspiring, enhance local discovery and shapes memorable moments. With a compelling mix of Heritage, Serenity and Signature hotels, each MGallery is original with its own story to tell. MGallery will expand its collection with new openings including MGallery Leicester Square in London in August 2017; MGallery Dubai in the UAE; MGallery Livorno, Italy and MGallery Istanbul, Turkey.
Marriott International recently announced the expansion of its extended-stay brand, Residence Inn by Marriott, with the signing of two new properties in London. With additional openings in Amsterdam and Aberdeen this year, Residence Inn expects to more than double its European portfolio in 2017.
The opening of Residence Inn London – London Bridge in Q2 2017 will mark the debut of the company’s industry-leading extended-stay brand in the capital, and the opening of Residence Inn London – Kensington will follow in Q4. Both properties, owned by a controlled affiliate of Starwood Capital Group, will be operated under a franchise agreement with hotel management company and specialists in the extended-stay market, Cycas Hospitality – London’s second largest operator of serviced apartment and aparthotels.
Editor’s Opinion: The extended-stay market has definitely been on an upward trajectory in this country for a few years now, catching up with our continental cousins at a rate of knots. I have been invited to (and visited) several of these sites around the UK in the last couple of years, and I can only see this market expanding in the coming decade. With Marriott having been a major player in this sector for four decades, with its Residence Inn brand, it is certainly exciting to see their expertise being brought to these two London properties, and further afield in the near future.
Located on Long Lane in Southwark, Residence Inn London – London Bridge will offer 87 generous suites. Well-connected with good transport links, and a short walk from some of the city’s main historic attractions such as Tower Bridge and St. Paul’s Cathedral, it is ideally situated for leisure and business travellers alike.
Residence Inn London – Kensington will be situated on Warwick Road in Earls Court, with 307 suites. The Kensington Olympia Exhibition Centre is a 10-minute walk away, while cultural attractions such as The Victoria and Albert museum, the Science Museum, Royal Albert Hall, and the Natural History museum can be reached within 10 minutes by car. Both properties will cater to guests looking for longer stays with spacious suites and separate living, working and sleeping areas featuring upscale design and amenities.
Editor’s Opinion: Speaking to Diane Mayer, Residence Inn VP and global brand manager, during a hard-hat tour around the soon-to-open site, she tells me the brand ethos of Residence Inn – a slightly upmarket home-away-from-home – fits in perfectly with the London neighbourhoods selected to host the new developments. Becoming part of the locale is an important factor in Residence Inn properties, and the London Bridge property will be no different. Considering the length of a guest’s stay at the property, allowing them to feel part of the community is a unique selling point for the brand. There is no doubt the ‘public areas’ of this property will go a long way to achieving that goal.
The interiors have a very clean feel, with studio apartment-esque finishes and muted colour schemes, of varying greens, browns and blues. The separation of living and sleeping spaces has been well done in both the smaller and larger offerings. I have no doubt, that these two properties certainly will mark a very good debut for the brand in the UK capital.
Fully functional kitchens; grocery delivery service; fitness facilities; 24-hour markets; complimentary breakfasts and free Wi-Fi throughout the hotel help guests maximise their time and thrive on long stays. Staying fit is made easier at Residence Inn properties courtesy of custom running routes that guests can access via MapMyFitness, thanks to the brand’s global partnership with Under Armour Connected Fitness.
Carlton Ervin, Chief Development Officer Europe, Marriott International said: “Residence Inn is already the global leader in the extended-stay lodging segment, and we’re excited that 2017 is set to be a pivotal year for the brand in Europe. We see these latest signings as a fantastic opportunity to grow the brand in such a strategic global destination, and we’re excited to be working with Cycas Hospitality, which has a strong history of hospitality expertise.”
John Wagner, Founding Partner of Cycas Hospitality said: “We are thrilled to welcome the world class Residence Inn brand to the extended-stay sector in London and to our own expanding hotel portfolio. We look forward to creating memorable moments for all our guests visiting these two new Residence Inn properties. Delivering a first-rate guest experience is in the DNA of all our Cycas Hospitality staff and we have an excellent track record to prove it.”
The two London properties will be joined by new openings in Aberdeen and Amsterdam this year, growing the European portfolio from three to seven hotels. The four additions planned for 2017 will see almost 600 rooms added to the Residence Inn portfolio, and there are a further eight properties anticipated by the end of 2019.
Provocateur is Berlin’s first shamelessly sensual hotel designed by Amsterdam-based interior designer Saar Zafrir, who is behind a number of Europe’s most buzzed about new hotel properties.
The Provocateur hotel, restaurant and club will push buttons and makes guests push their boundaries. The hotel’s ethos is provocative and explorational catering to the up all night, sleep all day adventurer for both hotel guests and nightlife enthusiasts.
The Design Hotels™ member holds 58 rooms that whisper passion in every way with their mysterious romantic cosy corners bathed in red light with black and white photography adorning the walls along with a mix of soft and heavy textured interiors and furniture.
Each room has a “provocateur mode,” a setting allowing guests to set the mood and drift to a different world as the room’s lights dim, seductive tunes commence and video art plays, making you not want to leave your bed…or lover.
Zafrir’s playful burlesque inspiration for the property began in another city. A weekend getaway in Paris laid the groundwork for a revolution in the Berlin hospitality scene and design of Provocateur Berlin.
Zafrir was drawn to discovering the secret and hidden spots of Paris by midnight, some beautiful, some dark, but all sharing the common pull of passion and desire. The aesthetics paired with the music of Paris began his design and development of Provocateur and led him to the realization that the property should be shocking and unexpected.
Driven by the colors red and blue and using soft and sexy textures is what makes the hotel so warm, mysterious and provokes and pushes people’s buttons without crossing the line.
Think of that radius and you likely imagine yourself still amongst the concrete jungle of Greater London. But with The Grove in mind, it’s time for a re-think. This 18th century country estate replete with championship golf course and world-class spa is as far removed from the hustle and bustle of the capital as is possible to imagine.
The historic mansion, formerly the family seat of the Clarendon earldom and which forms only part of The Grove’s offering, has a storied past – having at various points in time been a girls’ boarding school, a health centre and a riding school. These days, it’s better-known as a haunt for the famously wealthy and wealthily famous. But all of that’s to ignore its sublime mix of the traditional and contemporary – or as interior design director Martin Hulbert calls it; ‘grand and groovy’. For the most part, he’s done a good job of capturing both.
The luxury hotel is split into two very distinct (perhaps too distinct) parts – the original mansion and the new wing – and Hulbert’s latest work at The Grove has been concentrated on revisiting the event spaces, which within the modern West Wing definitely lean towards his ‘contemporary and groovy’ ethos. More than a decade on from his original vision for the 5-star luxury resort, Hulbert’s design group Martin Hulbert Design (MHD) has incorporated a two-fold brief of revamping and reinvigorating existing spaces with reconfiguring and reimagining to give each a unique identity.
Of the venue, Hulbert himself says: “The Grove is an incredibly inspiring place for special events, full of wit and flair, wonderfully unexpected and naturally inspired – the original interiors had lasted really well, they just needed a shot in the arm, something to push them forward into the future.
“Coming back to The Grove, we knew that it still had to be quirky and interactive, but things have changed in the last 15 years, people now want a beautiful space to work with,” he adds.
With the new suites – Cedar, Amber and Ivory – he has given the people exactly what they want. The two separate units of Amber and Ivory both now have a dedicated entrance with their own reception desks. Artwork plays an extensive role in the décor of the newly imagined suites; with much of it commissioned especially. What impresses me most is the way the feel of the spaces is maintained however they are used, with the flexibility of the spaces based on guests’ requests having also been well thought through in the design process.
The jewel in the crown of The Grove’s spaces, however, is the oval-shaped pavilion that houses the Cedar Suite – the first time MHD has led the architectural process. With the structure jutting out into the hotel’s gardens, Hulbert has incorporated the natural light from them perfectly with the walls of the pavilion being formed of floor-to-ceiling glass and its eco-green-roof. Inside, the wooden floor is outshone by a ceiling of what I’m told are ‘acoustic leaves’ – inspired by those in the Royal Albert Hall. For an event space, it makes for a refreshingly welcome visual treat.
From the pavilion, the Cedar Suite extends into the main building – with a new private entrance. The entrance canopy has also been specially designed, using Verdigris copper, uniting the spaces. And every element is bespoke, either commissioned by, or designed by, MHD. In the centre of the entrance room is a working sculpture – creating a focal point – namely a vast steel table, suspended between two steel columns, which moves up and down using a series of weights and pulleys. The result is a multitude of options: a table for dinner, a cocktail bar, a centrepiece to cover in flowers or a canopy to dance underneath, setting the elegant yet industrial feel that is evident throughout. And this is what Hulbert has done well with these spaces; there is a definite minimalist blend between industrial chic and natural inspiration, which gives The Grove a uniqueness in selling the spaces over other venues.
After my tour, I get a chance to check out the hotel’s renowned Sequoia spa, which itself has also recently been renovated. It is a spectacular example of a hotel wellbeing complex; being both state-of-the-art and thoroughly well-designed. During a short show-round, I’m told it has recently been recognised by the Good Spa Awards and it’s easy to see why.
I check into my Deluxe room in the more modern west wing – housing 191 of the hotel’s rooms – and am struck immediately by the excellent size of the room, which means having everything required of a room without it feeling cluttered; followed closely by the stunning views over the grounds from my balcony window. The nature-inspired design seen throughout the public spaces downstairs is prevalent in the rooms, with autumnal browns, golds and yellows strongly featured throughout.
The choice of furniture and textural finishes to the room are of an extremely high quality. The bathroom is just as luxurious, with a free-standing roll-top bathtub and a separate shower unit; the artwork and colour scheme continuing the theme from the living area. The workspace is suitably supplied with power sockets; the 50-inch smart, plasma TV is well placed; and if there was one negative to mark it was the modest wardrobe space – only an issue if more than one person was staying in the room.
Editor’s note: The aesthetics of these rooms – while clean, modern, defined and unfussy – might not be to everyone’s taste for a ‘country retreat’. For a more period, rustic and ornate feel, one of the 26 rooms in the original mansion might better suit this remit. The overtly contemporary elements of the west wing aren’t dominant here, instead rooms retain a traditional finish with antiques, deeper hues and opulent fabrics.
On my way down to dinner, I notice how much artwork plays a role in giving The Grove an edge. Even dotted around amongst the corridors, stairways and outdoor grounds are eccentric, conversation-starting fixtures and pieces – from modern representations of Margaret Thatcher to ornate chandeliers to black-and-white photography of giraffes – which gives off just the right amount of edginess. Indeed, in a nod to Hulbert’s philosophy of blending contemporary with traditional, the lounges and the fine-dining offering Colette’s – the ‘heart’ of the Mansion – retain the character and tradition with a period-style feel, grand ceilings and elegant furniture, while The Glasshouse and its connecting bar definitely represent the sleek modernity, with up-to-the-minute décor of blacks, reds and whites; while the gastro-pub-style Stables sits somewhere comfortably between the two.
I had heard of The Grove before my stay. Afterwards, I can now express first-hand why this is a unique venue. The levels of service are as expected from a 5-star hotel. The standard of the interiors, the amenities and produce cannot be faulted. But the dichotomous design approach in respecting the old and embracing the new makes this a ‘country estate’ with a difference, and a very good one at that.
Perhaps these dual personalities – you could stay in either section and rarely interact with the other – could bleed into each other slightly more without such stark division to truly show off the ‘grand and groovy’ ethos more seamlessly. Or perhaps that’s just me being too pedantic. In any case, kudos Mr. Hulbert, this is fine work…
It was confirmed last month that The Principal York (designed by Goddard Littlefair and one of the launch hotels for PRINCIPAL, a collection of landmark hotels in UK city centres) has won the Gold Award for Hospitality Interior Design at the London Design Awards 2016, to be presented at a ceremony in March of this year.
The new award is in addition to the hotel’s double success at the Visit York Tourism Awards, where it won both Conference Venue of the Year and the overall Hotel of the Year crown. The Principal York was also shortlisted twice over for the refurbishment of its public spaces at the EHDAs (European Hotel Design Awards) at the end of 2016.
The magnificent, Grade-II-listed hotel, boasting beautiful gardens and views over York Minster, was originally one of Britain’s greatest Victorian railway hotels, housed in a purpose-built building in yellow Scarborough brick by architect William Peachey and first opening its doors in 1878. After the hotel was acquired by Starwood Capital, Goddard Littlefair was commissioned to redesign its public spaces, including the lobby, reception, Garden Room, entrances and corridor spaces, as well as all 159 bedrooms and suites. The full design team on the project also included Michaelis Boyd (who redesigned the bar and restaurant at the hotel), whilst architects 3D Reid oversaw the structural works on the project.
“Our overall ambition was to breathe life back into every artery of the hotel’s interior,” Goddard Littlefair Director and Co-Founder Jo Littlefair explained. “Giving a nod to tradition and heritage, but also creating a tremendously warm, light and welcoming contemporary environment for guests. We were briefed to reinstate the hotel’s essential character and to pay respect to its original architecture, whilst at the same time ensuring a feeling of comfort, restfulness, so that The Principal York was once again a true destination hotel.”
Space-planning and Structure
The hotel originally had two entrances, with the first on the garden side of the hotel for guests arriving by coach or car and a rather secondary entrance on the other side for guests arriving by rail. One of the first key elements of Goddard Littlefair’s new plan was to ensure both entrances were of equal importance so that all guests had a real sense of arrival, with both routes quickly joining one of two main public space circulation axes – the Promenade or the Colonnade. The ‘business’ of arrival is now contained within a relocated reception area, located off the Promenade, so the overall public space feels less transient and suitcases can disappear quickly into this dedicated and spacious contained room.
Opening up views throughout was key and two brand new entrances were cut into the Garden Room, alongside three more into the relocated reception area, so that the ground floor is flooded with light and there are tempting glimpses of spaces beyond, whichever way guests traverse the building. The new public and lounge spaces are bright and generously-proportioned and offer food and beverages throughout the day, from teas and coffees to afternoon tea or an evening menu, maximising revenue possibilities from the fabulously light and welcoming space.
Interior Design Concept
The central design concept was to create a modern and softer interpretation of a country house, featuring over-scaled furniture, such as large wing chairs, to ensure an instant feeling of welcome, combined with a light and soothing colour palette, featuring a gentle and fairly neutral base with softer highlights in shades such as eau de nil and lavender. Similarly, the furniture is in colours such as tan, buff and charcoal, with small amounts of texture and pattern for added interest.
Interesting and unique art and antiques give the interiors a sense of heritage and character, whilst traditional, high-quality materials, including linen, leather, wool and linen velvet express both comfort and authenticity. A sense of place is incorporated through, for example, artworks referencing York Races or images from historic society gatherings in York, particularly involving the Duke and Duchess of York. The design team also integrated architectural drawings of Castle Howard and other local stately homes, as well as antique maps.
The whole scheme features a series of antique objects, hand-picked by Goddard Littlefair from antique markets around the country, including old trunks, for example, and beautiful stone dogs. The furniture throughout is also bespoke. This ensures a unique environment and is part of the Goddard Littlefair design approach, looking to create as many bespoke items as possible, so that they are always designed with the exact location, function and end-user in mind – and also embody a certain location-specific exclusivity.
The Colonnade, which proceeds from a glass-roofed original hexagonal arrival space, now gives a real sense of arrival for guests arriving via the railway station, stretching out towards the main public spaces beyond. Ten custom-made mirrors, some full-height and some sitting above doors, line the space and give it a rhythm, whilst glass and brass pendant lanterns add yet more light and warmth via a specialist, subtly-sparkling antiqued finish. The mirrors feature antiqued glass set within carved, frames with a moon gold finish and are a great way of indulging visitors’ desires for subtle people-watching, as well as increasing a sense of space. Because of their immense proportions, the glass had to be manufactured in separate pieces and then assembled on site. Curtains hang alongside the mirrors in a soft brown colour with a darker trim near the bottom.
The Colonnade has also been made warmer through the addition of bespoke, comfortable, high-backed wing chairs in mink brown leather along with tables with lamps. Cushions are in a green silk velvet with an oyster silk band, echoing the band on the curtains. The carpet is a bespoke design for the project, by Goddard Littlefair in conjunction with Hotel Design partners Brintons – as with the carpets throughout the project. A discreet concierge station awaits guests at the top of the Colonnade, so that guests arriving this way can be accompanied to the reception room.
The Promenade, which meets the Colonnade at a T-junction at its top end, runs the full width of the ground floor area and is punctured along its length by entrances. At its centre, it becomes a seamless part of the Lobby Lounge. The design treatment for the Promenade features the same pendant lights as the Colonnade, artworks that are top-lit by a brass light fitting and a grey carpet from Brintons with a darker border.
The new reception is located next to the garden entrance and is a spacious and light and dressed with furniture that has a pronounced residential flavour, including two large desks designed to ressemble giant trunks; two tall bookcases behind the reception and a central display of framed vintage keys, as well as large and small-scale artwork (selected with art consultants Visto) and a separate seating area, with wingback chairs arranged around a newly-installed fireplace. Lighting is in the form of two French chandeliers suspended on heavy-duty dark metal chains, with desk lamps on the reception and in the seating area.
The heart of the new scheme is made up of two wonderful, large and light-filled open spaces, punctuated by handsome original columns with ornate capitals, all of which have been refurbished. These are the Lobby Lounge, which contains the hotel’s wonderful, dramatic staircase and the Garden Room beyond, which looks out, as its name suggests, onto the hotel’s extensive gardens. There are clear views through from one to the other, to ensure they interact, via the existing central and the two new entrances. Both spaces – as well as the reception room – feature oiled oak flooring from Havwoods with a special ‘sawn’ surface and laid in a herringbone pattern. The timber was deliberately chosen for its informal, not overly-polished look. Inset rugs are by Brintons.
Beautiful, bespoke chandeliers, made up of faceted, cut crystal baguettes set within in bronze frames, which Goddard Littlefair developed together with Heathfield, punctuate the two spaces. There are three chandeliers in the Garden Room and three more in the Lobby Lounge, one of which, which hangs down through the stairwell, is triple-tiered.
At the left-hand side of the Lobby Lounge is the staircase, which has been refurbished and re-carpeted with a bordered goose eye patterned carpet. New wall mouldings and panels have been added as guests go up the stair, acting as a background to the stair’s dramatic new decorative feature – a five-storey-high eclectic collection of mirrors with picture lights above, all in different shapes, sizes and frames, which allow views down, through and across the hotel and which also maximise light and reflectiveness.
For the furniture within the Lobby Lounge and Garden Rooms, every aspect was carefully considered, so that the heights of the seats correspond perfectly with the table heights, for example, ensuring guests can eat and drink in the public and lounge spaces with ease. The Garden Room is a particular highlight of the final design and is a beautiful, long, light and elegant space, complete with Chesterfield sofas, wing chairs and marble-topped tables, making it the perfect location to relax and enjoy afternoon tea – and more. The sofas here are upholstered in an Evitavonni fabric with bespoke, highly-detailed cushions featuring trimmings by Samuel & Sons and fabrics including Primavera by Rubelli and Plaza by Casamance. Tall plan chests around the edges of the room conceal waiter stations, as well as refrigerated drawers and storage space for point-of-sale materials.
Set dressing here includes an array of antique objects, hand-picked by Goddard Littlefair from antique markets around the country for this project, such as antique books, old trunks and beautiful stone dogs. These suggest heritage and reflect the hotel’s long-standing and established reputation and also ensure that the environment is unique and not filled with things guests might see in other places. The hotel’s own archives were thoroughly investigated too in the search for treasure from the past, revealing such gems as a collection of old thank-you letters from the 1930s through to the 1950s, which have been used for display in the corridor approaching the restaurant.
Upstairs, the suites boast great proportions, plenty of natural light and have a natural, high-ceilinged elegance. Each one is comprised of a sitting area with sofa, bedroom and bathroom. The design accent here was on relaxation, answering a brief to be residential in feel and scale, so that guests feel at ease the moment their suitcases are out of their hands. A dado rail and wooden panelling add layers of interest, with added warmth from the wood. Fabric headboards add softness with an unusual concertina design adding interest and creating a sense of movement. Picture lights and room art create added visual interest via country-inspired imagery of wild flowers, horses, dogs and period cartography.
For the suites and bedrooms, all bed divans and mattresses are by Moonraker, whilst the throws, in a beautiful soft wool, were bespoke-designed for the project and supplied by Bute Fabrics. The sofas are bespoke, as is all the furniture throughout. The wood panelling in the rooms is carried on through to the bathrooms, which feature a roll-top standalone bath, marble flooring and bespoke washstand and mirror in pre-aged timber.
Jo Littlefair concluded on the overall scheme: “This project has been a great experience for us. It has been incredibly rewarding and we feel privileged to have been involved. We love restoration projects and challenges – particularly, as here, when we can address the whole space, be creative and successfully breathe new life into a property.”
Photos: Gareth Gardner, PRINCIPAL and Daniel Fountain Hotel Designs also visited The Principal York in September 2016
For nearly a decade now, citizenM has been altering perceptions of what a hotel can and should be – with its ‘Living Room’ concept and modern take on what travellers need from a hotel. The Dutch chain has been blazing a trail in its native Netherlands and across Europe since 2008; blending ‘instantly-iconic’ interiors and furnishings with technology to create a unique guest experience for the ‘city-break, millennial’ types.
I had the pleasure of sampling this quirky approach during a recent stay at one of the latest additions to its UK offering at the Tower of London property. While the hotel’s entrance is inconspicuous in comparison to some of its more illustrious neighbours, the building’s exterior and interiors are anything but.
The rectangular-clad façade is a stark juxtaposition of modernity against the overtly historic Tower of London just a stone’s throw away. And as soon as I enter the reception-cum-lounge-cum-dining area, I’m met with a brilliant visual treat for the senses. It might sound like an odd mix to combine all three with no regard for distinct separation, but the free-flowing design of the spaces has been treated with the utmost respect; utilising clever chainmail curtains and highly effective wayfinding to create the impression of three distinct entities.
I’m a huge fan of the contemporaneous and wonderfully ‘kitsch Britannia’ feel of the space, and judging by the buzz of people using the space to work, network and relax, I’m not the only one. The walls lined with striking and lively photography and art, floor-to-ceiling shelves filled to the brim with more literature than a hipster could shake a stick at plus a mixture of delightful vintage pieces and Vitra furniture all go to create a fantastic space that demonstrates the citizenM brand ethos perfectly – and with a touch of style too. For those new to the concept, this communal area makes for a great first impression.
*As if to emphasise the brand concept, doing away with a traditional reception desk has allowed for the placement of self-service check-in pods. I always love to see technological innovation in hotels, especially when it actually enhances the guest experience; this does – an easy-to-use system and not technology for technology’s sake.*
The quirky and leftfield décor continues even in the lifts and corridors on the way up to the room. Each lift cubicle is fitted out in a different style and inspirational photography and quotes line the walls. And then there’s the rooms themselves…
I was offered an external-view room which, with views directly onto the Tower of London, Tower Bridge and the London cityscape beyond, I definitely recommend; watching the sunrise over the Thames makes for a dramatic start to any day.
While small, the 370 rooms are fantastically formed and include everything a guest would need. The space has been utilised to perfection. The wall-to-wall Sealy bed against the window makes for a unique layout, but doesn’t feel cramped especially as it includes space-saving luggage stores stowed underneath, which more than makes up for the shortage of hanging space. The self-contained bathroom and rain-shower unit is a wonderful example of economic design, with privacy being maintained with curved, frosted glass. Having seen images of the rooms beforehand, I feared this might be a little too ‘university dormitory-esque’ and with space at a premium I worried about noise pollution from adjacent rooms and the corridor, but my fears on both counts are allayed immediately on entering.
The biggest selling point for me has to be the iPad, from which central and mood lighting, the television, music and curtains can be controlled. An ingenious touch, and something that stands out long after checking-out. Another design choice I found myself giving a thumbs up for is the universal power sockets, as someone who often forgets adapters when travelling, this consideration from the designers is indicative of the ‘everything you need, nothing you don’t’ concept of citizenM. Make no mistake, this space isn’t designed for spending hours at a time in. This is a practical-but-fun base for exploring the city. And it fits the bill perfectly.
Once checked-in, I have time to take in a drink at the Cloud M cocktail bar, located on the top floor. The interior theme running throughout makes its way up here too, with Queen Elizabeth print wallcoverings, stunning bespoke brass light fittings and floor-to-ceiling bookshelves bringing a frisson of frivolity to the space. The attention to detail in the design here completes a top-to-bottom clean sweep for the hotel in terms of creating interesting, unique and stimulating interiors. The 180-degree panoramic views over London are definitely a bonus, too.
This was my first experience of a citizenM property close-up. I was intrigued by the concept and I wasn’t disappointed – it has been carried out exceptionally. The designers have carefully thought out the process of designing a hotel that caters to guests’ needs with utmost efficiency without bombarding them with frilly extras, whilst at the same time creating interiors of a quirky quality rarely seen this close to central London and at these prices. A near-perfect balance of practicality and aesthetics.
With more properties on the horizon, I can safely say this won’t be my last experience of a citizen property…
Based on a visit in November 2016 Photos: Daniel Fountain / citizenM
Far removed from the bustling streets of European metropolises like London or Paris – the usual investment hotspots for British entrepreneur Javad Marandi – sits the grandeur of Chais Monnet and its vast cellars in Cognac.
Built in the 19th century, this stunning site is nestled in the heart of this quaint and oh-so-French town, with its cellars from 1845 adding to its charm. Having originally been the childhood home of Jean Monnet, one of the founding fathers of the European Union, it has sat disused. Until now.
In a €60 million investment personally financed by Mr. Marandi, the site is being transformed into a 15,000m2 luxury hotel, spa, restaurant and retail boutique complex, offering a “modern take on traditional French luxe”. Being on the doorstep of some of the great cognac houses, it will be the first complex of its kind in the region.
And, at a recent stone-laying ceremony in October, Hotel Designs was able to see the plans first hand. Believe me, they’re impressive. The project will include:
• A five-star hotel with 100 bedrooms and suites, 14 apartments, two restaurants, a jazz bar and lounge, a 400m2 conference room, four meeting rooms, and a pool/spa.
• Six boutiques to be rented to French brand retailers
• A cultural meeting place commemorating Jean-Gabriel Monnet’s life and achievements
Its importance to the area was emphasised in the opening presentation by Cognac mayor Michel Gourinchas, who himself played a key role in championing the project, one that he is confident will have a great economic impact on the town and its surroundings.
“Here in the town we’ve been waiting for this for a long time. Since I’ve become mayor, we’ve asked ourselves a number of times what we could do with this site and thanks to this work we’ll be able to see a reality of what’s possible in a way that’s in the best interests of our town, its inhabitants, and tourists who can now benefit from an excellent site, which is in parallel with cognac – an excellent product,” he proudly tells the gathered dignitaries and press.
Didier Poignant, chief architect on the project, Michel Gourinchas, mayor of Cognac and Javad Marandi, businessman and investor in the project addressing the crowd
He’s not wrong. Cognac is a gorgeous microcosm of the effortlessly pretty aesthetics of western France. The historic cobbled streets, the perfectly-manicured gardens in its centre and traditional architecture lining the serene River Charente that runs through it all point to a life-less-rushed; beauty and tradition combined. Two things at the heart of the design of the Hotel Chais Monnet project.
When I ask Mr. Marandi if this is why he chose this particular spot to bring a hotel to market, as opposed to the major centres of business and commerce in which he usually operates, he agrees.
The centre of Cognac
“I certainly have an affection for this region, for Cognac, and for the rich variety of local delicacies, but I also see a clear business opportunity. Cognac is a world famous upmarket product and the heritage of the Monnet family is another valued contribution to developing a hotel that will have all prerequisites to become a major success for this type of investment while being equally beneficial for the city and its community,” he says.
Didier Poignant, Javad Marandi and Michel Gourinchas laying the first stone
Michel Gourinchas, Javad Marandi and Didier Poignant on site
Didier Poignant, Javad Marandi and Michel Gourinchas in one of the Monnet cellars
But looking at the plans and speaking with chief architect Didier Poignant of Ertim Architects in Paris, what strikes me most is how much modernity is being brought to the project – in particular the striking façade of the Les Ceps part of the complex. I wonder for a moment how the reaction from the local Cognaçais has been to this overt blending of the historic with the ultra-modern, but Didier puts my mind at rest as he describes his extensive work with Architectes des Bâtiments de France in preserving French heritage in architectural projects.
Les Ceps and its ultra-modern facade
Les Chais – Hotel Chais Monnet, Cognac
Likewise, Javad Marandi echoes his assurances, adding: “I have only had positive and complimentary feedback on the designs [by Didier and his team], which are very elegant and chic and are befitting of the location whilst preserving the brand heritage of both cognac and the Monnet family.”
The locale might certainly be a departure for Mr. Marandi. As he himself tells me, Cognac is still a secondary tourist location within France and yet France itself is one of the most visited destinations worldwide. But with the “raw material” as he calls it – the name of ‘Cognac’ – attached to the project, there can be little doubt that this little pocket of France will be put on the map as a premium, upmarket location. With plans in place and construction under way, that vision is well on the way to becoming a reality. In his closing remarks, the mayor speaks of his excitement and impatience to see the project finally come to fruition in the spring of 2018.
That makes two of us, monsieur le maire…
Based on a visit in October 2016 Photos: Daniel Fountain // Weber Shandwick
“You’ll love it,” I was told by friends when I mentioned I was heading to Jersey for the first time.
It’s true, I knew little about this Crown Dependency nestled in the Bay of Mont St. Michel before I flew over (at the second attempt) from the mainland; this British-but-slightly-so-Gallic island had never been on my radar of must-visit destinations. After spending two days discovering this delightfully quaint bailiwick, that has most definitely changed.
The view over St. Ouen’s Bay from the hotel’s headlands
I was visiting to spend an evening at the Atlantic Hotel in St. Brelade, a family-owned hotel under the stewardship of Patrick Burke and his wife Treena, and to review the two restaurants attached to the property. Prior research showed me that the hotel has built up a reputation for being one of the best hotels on Jersey. Indeed, when I announce my destination to my taxi driver, he nods his approval and commends my choice. With its effortless luxury and excellent service, it’s easy to see why.
As we wind up the entrance road, I’m struck by the markedly 1930s-style exterior of the building, which is surprising considering the hotel was purpose-built and opened in 1970 by Patrick’s father Henry – but it makes for a refreshing change to the over-modernisation often encountered at projects back in London. Yet, given the retro vibe of Jersey it’s certainly not out of place and its ocean liner-esque appearance is befitting of Jersey’s obvious oceanic feel. And as soon as I enter the hotel, I note the understated elegance of the public areas.
The reception-cum-lounge area is light, airy and the wooden floors and occasional exposed brickwork all reflect the property’s coastal locale. It’s an excellent blend of modern and classic. A range of sand-and-sea motif pieces from local artists line the walls – alongside beautifully appointed, unique furnishings – and the ‘Atlantic Dunes’ by Nicholas Romeril takes my breath away as Patrick explains the story of how it came to be in the possession of the hotel whilst Naomi Renouf’s ‘Crossing the Sands’ is an eye-catching centrepiece. The source of the constant sound of rushing water is a fountain set in a water feature traversing the indoor-outdoor divide complete with a carp fishpond. This space is built for a life less rushed.
A baby grand piano sitting at the entrance to the hotel’s stunning Ocean restaurant adds a touch of glamour. Indeed, glamour is what the Michelin-starred Ocean is all about and the interiors are exquisite. It’s by far and away my favourite space in the whole hotel; the elegant pillars, French shuttered windows and blend of white, cream and beige with dashes of deep blues and reds conjure up a feeling of an Edwardian dining room – it’s a truly beautiful setting for a meal. It overlooks a delightful garden terrace and generous outdoor swimming pool, which was the next stop on my tour with Patrick.
The pool area is reminiscent of a southern Mediterranean setting, not one just 50 minutes from London. Palm trees blend in with the stunning views over St Ouen’s Bay and the vast Atlantic expanse beyond – an enthralling sight so close to home. Our walk over the hotel’s 6 acres of grounds and headlands allows a glimpse of the tennis court as well as the Garden Suites – the deluxe offering at the Atlantic – which were fully occupied during my stay, but ‘extremely popular with families’ I’m told by Patrick, made up of ground floor rooms with large en-suite bathrooms and a private terrace with direct access to the gardens and swimming pool.
It’s at this point I discover a bit more about the journey Patrick has been on with the Atlantic. Having taken over as managing director in 1987, Patrick went about transforming the property into what it is today and in the process – through various strategy groups – the hospitality scene on Jersey as a whole. Indeed, this is clearly a labour of love for Patrick; under his stewardship the hotel has enjoyed numerous accolades such as membership of the Small Luxury Hotels of the World group (of which, Patrick himself is a director), AA rosettes and the prestigious ‘Independent Hotel of the Year’ at The 2014 Cateys – an award, I can see, that evokes a great sense of pride. Rightly so.
Jersey as a destination is in Patrick’s blood. He tells me of his work with the Luxury Jersey Hotels (LJH) consortium, a collection of Jersey hoteliers working together to bolster the reputation of the island as an internationally recognised hotspot for gastronomy and luxury. His obvious success led him to inaugurate the Eat Jersey Food Festival last year, which brings acclaimed chefs to the island from the UK, France and Jersey itself in a celebration of local produce. This is a way of life for Patrick, not just a job.
He tells me, when I ask about possible expansion plans, that maintaining the look and feel of the hotel as well as the aesthetics of the site are extremely important; so building upwards is out of the question. Consolidating what is already a fantastic property is the name of the game. The tour comes to an end, which allows me some time to sample the modest but perfectly adequate Palm Club health facilities comprising an indoor swimming pool, Jacuzzi, a mini gymnasium and saunas and a welcome option considering the less-than-summery conditions outside.
I retire to my ‘Ocean View’ room, featuring a king size bed with a simple, contemporary oak headboard, and comfortably elegant furnishings; the Art Deco-meets-maritime theme of the hotel is strong in the room décor. My room is well equipped with a marble bathroom, complete with high-quality, ever-functional Hotel Designs clients Hansgrohefittings and luxury toiletries by Molton Brown.
My balcony windows do indeed offer views over the swimming pool area and the ocean – it’s just a shame about the uncharacteristically cloudy July day. Considerable refurbishment work has been carried out over the years since the turn of the century as part of Patrick’s commitment to constant improvement and maintaining a high standard throughout. The hotel offers a range of rooms – including ‘Executive’ and ‘Atlantic’ suites – all finished to the same levels of unfussy elegance and practicality.
I spend an evening with Patrick and Treena over dinner in the hotel’s superb Ocean restaurant – fronted by the charming Martinho de Sousa and showcasing the supreme talent of chef Mark Jordan – which, having held its Michelin star since 2007, is a destination in itself. Combine the two, and staying at the Atlantic is most definitely an experience to savour. After lunch the next day in the hotel’s sister restaurant in nearby St Peter and a short time looking around southern Jersey, I take the short hop back to the mainland. I then proceed to spend the next few weeks telling anyone who’ll listen that they must find the time to visit this wonderfully idiosyncratic island and ensure that they stay at this gem of a hotel.
2020 will mark 50 years of the Atlantic. In his time at the helm, it’s clear to see that Patrick has firmly established the hotel as one of the best on Jersey. Having seen it first hand, I have no doubts that his passion for the industry and the locale as well as his dedication to quality and service that the property will continue to remain so in the years ahead. Trust me, one would be hard-pushed to find a more faultless example of what a small, luxury hotel should be…
Tucked away in 22 acres of Kent countryside is the beautiful Chilston Park – a Grade I-listed manor house from the 15th century – home to a 53-room hotel offering in the Hand Picked Hotels Collection.
But its idyllic location belies a fantastic location, close to the M20 and Channel Tunnel, and ease of access to London and the Eurotunnel. Not that you would know when walking around the extensive grounds or spending time in its rooms.
The building’s rich history over the centuries has seen architectural additions and furnished enrich this stunning property – 16th century wooden, carved panels above the main fireplace, twelve-paned sash windows and a smattering of priceless antiques left by the various families who have owned the property over the last five centuries.
On our visit, we were given a feature room and a suite to sample – Treen and Tudor respectively – and the design and furnishings in both continue the celebration of classic antiquity seen throughout the rest of the hotel. The Tudor suite in particular was a joy to behold, with stunning original beams throughout, spacious living spaces and a sumptuous standalone bath being the highlights – a perfect example of country house splendour.
Of Chilston’s 53 individually-named rooms, there are 15 in the main house, with the remainder located in the stone stables, coachman’s cottages and new extension outside. Mews rooms in the Stables and Coachman’s Cottages feature a more homely feel and courtyard views. All rooms are luxuriously appointed with Hotel Designs partners Hypnos beds, plush bed linens and toiletries.
The main dining option of Chilston Park is the Wedgwood blue-themed, classically decorated Culpepper’s Restaurant where the majority of guests will dine. But all the public spaces carry the same charm, with the centrepiece being the main staircase (above, left); a fantastically grand space and a perfect spot for drinks. Chilston Park also caters for business guests, with 10 meeting spaces and the ability to cater for up to 150 delegates.
With a blend of beautiful interiors, classic luxury and superb location – Chilston Park is a gem, and well worth a visit if one is in the area.
Marrakech is abuzz. Not just because of it currently being peak summer, nor because, earlier this year, when Tripadvisor announced the winners of its 2015 travelers’ choice awards for destinations travellers ranked the city as the top travel destination in the world (last year, it ranked at no. 6).
But, because the long-awaited launch of the five-star L’Amandier hotel has finally been unveiled. It is nestled in the Ouirgane Valley and only an hour from the city.
L’Amandier (Anthony Craddock)
“My brother and I discovered this place some years ago when it was a scrub of land, with a few dying almond trees and nothing else. This was the start of a colourful journey of new friendships, discovering water, running water, sowing seeds, laying brick on top of brick, bring in power…and now we are here,” says Founder, Anwar Harland-Khan.
Well, for those of you in need of inspiration for an international destination, be it for incentive travel, a private party, a conference, a holiday, team builder or celebratory venue, this gem-like haven is a beguiling place.
L’Amandier (Anthony Craddock)
“L’Amandier has been quite a journey,” says Anwar. We are sitting on one of the villa’s expansive sun-warmed terraces, within 12 acres of citrus groves and almond trees, surrounded by a patchwork of valleys and mountain peaks. The panoramic views over the surrounding Toubkal National Park that we’re looking out on are spectacular. Aside from the gentle hum of the call to prayer that I can hear in the distance, it is peaceful, quiet and wonderfully still. I can’t remember the last time that I’ve felt this relaxed. ‘Landscape therapy’ here is instant and you immediately give in to the pace of life. Calm trickles down from the top after all – and Anwar is warmth and charm itself.
I am one of the lucky media guests invited to the hotel’s soft launch (before it officially opens its doors in Autumn 2016), to join his friends and family to celebrate this 12-year project coming full circle.
L’Amandier (Anthony Craddock)
L’Amandier is an environmentally sensitive venture that has remained sympathetic to its surrounding environs. The property has been designed by London-based architect, Nick Gowing, who has juxtaposed the contours of the surrounding landscape with the buildings geometric lines. His aim? To ensure that the beauty of the vista was incorporated into the living and communal areas where possible, through floor-to-ceiling windows (light and space are recurrent motifs throughout), and buildings rendered in the same colour as the rich, red earth of the L’Amandier Plateau, merging it as part of the landscape, in form and function.
L’Amandier (Tara Panchaud)
The premises accommodates up to 46 guests in the six suite boutique hotel and the 13 estate villas. All villas have been sold to private investors but are available to rent (each owner has full use of the hotel’s facilities and access to In-house Catering with Private Chef). Each boasts a vast roof terrace with frame pergola style seating area, swapped with deep cushions and white cotton drapes, and showstopping vistas – the perfect backdrop for sundowners.
The architecture is cubist in form yet embraces the characteristics of a Moroccan riad – whereby the rooms are built around a central courtyard. Each villa accentuates L’Amandier’s philosophy of uniting a contemporary European design aesthetic with traditional Moroccan artistry and sustainable materials, think tadelakt walls, bejmat tiles and local walnut wood for the furniture.
L’Amandier (Anthony Craddock)
Elsewhere there’s a 50-cover restaurant, a blinding 25m-infinity pool, tennis court and a vast 40m2 terrace perfect for alfresco soirées.
Elegant interiors represent a timeless grace and come courtesy of Michael Kopinski. His descriptions of “Zen-like” and “raw” are spot-on, nodding to the country’s past and championing the skill of the Moroccan people, through ethically sourced local products. It’s all in the detail right? Well the subtle intricacies do not go unnoticed. I’m referring to the change of light throughout the day, and how the colours of the bespoke handpicked tiles dotted around the resort flicker between cobalt aqua and silver depending on the positioning of the sun. “The feeling inside the hotel is of shimmering water,” explains Michael. “The colour palette reflects the beautiful rich greens of the surrounding lush valleys and the baked clay colour of the sunsets… but toned down, subdued, an echo.”
L’Amandier (Anthony Craddock)
I felt a shift at L’Amandier. At one point I did nothing but stare at the view for 40 minutes – no need for emails, or phone. It is a heady mix, this seamless blend of indoor-outdoor living and the combination of culture, creativity, spirit and vision.
On a recent editorial jaunt for Hotel Design’s sister publication (PA Life) I was invited to spend an evening at Clevedon Hall, a Victorian mansion conversion overlooking the Bristol Channel. My invitation was to experience their new corporate hosting (FULL REVIEW HERE), but the overnight stay allowed me to assess the considerable work that has been carried out on the property’s upper levels in recent years.
Originally used as office space for the venue’s long-thriving wedding hosting service, Jane Clayton & Company were tasked with restoring these upper floors to create 25 individually appointed bedrooms from the available space. It means that the interiors for each room have been uniquely designed and considered, taking into account size, aspect and architecture.
Speaking to Lawrence Dauncey, Clevedon Hall’s Corporate Concierge, he tells me that the firm have been careful to avoid a generic theme. Instead, and rather cleverly, Clayton and her team have kept a continuous theme running throughout the rooms through selection of furniture and furnishings and a subtle, nature-inspired colour palette.
Speaking of nature, my wonderfully-named ‘Peregrine’ suite is a gorgeous blend of greys, browns and cream and the attention to detail in the upholstery and accessories adds a luxuriously traditional feel – but having recently been completed, the room still retains a ‘freshly painted’ look. Both the bedroom and bathroom are spacious and a well-lit entrance hallway splits the two, a touch I particularly like as it keeps a degree of separation between the living and washroom areas.
The touches of luxury continue in the bathroom: an extremely hi-tech toilet in the Japanese style (which I’m reliably informed costs upwards of £6,000), a striking standalone sink unit, walk-in shower and generously-sized bathtub – it’s a shame I’m only staying for one evening. The colour scheme from the living quarters continue with light mink tiling and panels, with marble and mahogany adding touches of luxury.
The public spaces of the hotel where events are hosted – such as the Grand Library, Orangery, and Conrad Finzel and Dame Rosa Burden suites – are beautiful in the grand, traditional sense and (as I wrote elsewhere) ooze character and style. They boast stunning architectural features, including an old wood panelled library and many original features.
Plans have been approved and action is already under way to carry out a renovation of the ground-floor levels in a similar style to the guestrooms, bringing a contemporary feel to the Great Hall entrance area, which will bring the standard of this building inside and out to a very high level.
As I write, the hotel remains open to event or corporate guests only, and Lawrence tells me the owners plan to keep it that way. But the work already completed on the property, and considerable refurbishment to come on the ground floors (which I cannot wait to see for myself later in the year), make this an exemplary case study of interior design and using existing spaces well; so much so you might want to book an event just to try it for yourself…
Guest reviewer Molly Dyson shares her experience of the newly refurbished 11 Cadogan Gardens in the heart of London. . .
I arrive at 11 Cadogan Gardens just after 3pm on a Friday and the buzz going on around the property is refreshing. It’s a bank holiday weekend, so there are a few families milling about and the attentive staff are on hand to open doors and check in new guests.
Daniela at reception happily tells me I’ve been upgraded to a signature suite on the third floor and assures me I’m going to have a wonderful stay. As soon as I turn around, Concierge Emelson is waiting to take my bag and show me the way to my room, which includes a ride up in the vintage lift. Emelson tells me he’s been working at the hotel for a while and suggests a few things to see in the area. He’s especially proud of the recent refurbishment to the property – my room was only finished two weeks ago.
My suite is light and airy, which is somewhat unexpected in an old building such as this. The room is nicely laid out, with a couch and television at one end, a desk with foldout dressing table in the middle and a massive king-size bed at the other end.
The bathroom is a wonder on its own; a separate waterfall shower and toilet cubicle break up the space. I’m pleased to see the bathtub is the perfect size for a Friday night soak and fluffy white robes have been provided for added comfort.
I head back down to the lobby for a tour with Petra, who tells me the refurb is quite extensive and took around a year to complete, with every care taken to preserve some of the hotel’s original features. Along the way we visit some of the property’s other signature suites, two of which feature their own private entrance – perfect for shopping trips.
We finish our tour in the drawing room for a cup of coffee while I look over the afternoon tea selection, which is themed around the Chelsea Flower Show. Downstairs is the restaurant Tartufo, where guests can dine on a sumptuous truffle-based tasting menu.
In the evening, my plus one and I find a quiet corner in the richly decorated bar to nurse cocktails and Prosecco after dinner before retiring to our suite to veg out in front of the television. The super-soft bed with its fluffy duvet calls my name before too long and I get one of the best night’s sleep I’ve had in a long time.
If you’re looking for a place that’s a bit quirky and stylish for any reason, I highly recommend 11 Cadogan Gardens…
For those of us in the know, the Lake District needs little introduction. Indeed, sometimes, there are no words to capture its outstanding beauty.
For the rest, yet to discover its delights first-hand, I can only urge a visit to find out why this is the case – its stunning landscape, quaint villages and air of tranquil solitariness have been captured perfectly by the immortal words of Wordsworth, Landon and Procter far better than I could ever hope to attempt here.
So, it was with great pleasure I was invited to dine and stay at the newly-refurbished Forest Side Hotel in Grasmere – the third property in the portfolio of affable and mild-mannered hotelier Andrew Wildsmith. Forest Side, which has joined Hipping Hall in Kirkby Lonsdale and The Ryebeck in Bowness in his eponymous collection, is a fantastic base for discovering just how accurate Lakes-native William Wordsworth’s love-letters to the district still are.
Set amongst craggy mountains and serene lakeside grounds this former Victorian manor home – tucked away from the main road, which had just reopened during my visit after the damaging floods earlier in the year – oozes presence on arrival. I’m welcomed at a simple reception desk and then get a chance to spot the impressive main staircase and the various rooms that break off the main atrium – namely the bar, lounge and the hotel’s fantastic restaurant. (FULL REVIEW HERE)
Andrew later tells me that the building was first surveyed in the autumn of 2013 after an online search and purchased in the summer of 2014 – with the kitchen requiring a complete re-equipment and refit and the small bedrooms needing to be repurposed to restore them to their original size. The latter has been done with great aplomb. My ‘Master’ room is incredibly spacious, luxuriously and tastefully furnished with predominantly light hues by HD Directory members Zoffany; and drenched in natural light thanks to the elegantly-dressed, period-style windows (all 80 of which in the property, I later read, were painstakingly installed). My only gripe would be with the placement of the television in relation to the location of sofas and chairs, it has been rather awkwardly placed in a corner and comes across as an afterthought.
But the attention to detail throughout, from the furniture choices (think custom-made Harrison Spinks beds), heritage-inspired upholstery and fabrics to the wonderfully simple but elegantly functional finish in the bathroom – the push-button thermostatic mixer for concealed outlets on the bath and shower by HD partner Hansgrohe a definite stand-out – all endorse the skills of an interior designer with an eye for modern luxury as well as the hotel’s bucolic surroundings.
Indeed, James Mackie’s locally-inspired touch is to be found throughout all the Forest Side’s rooms. A perfect example of this? I read all the carpets are sourced from the local Herdwick breed of sheep and the entire hotel’s order totalled 2,000 fleeces from Wools of Cumbria.
Moving downstairs, I get to sneak a peek at the open-view and modern kitchen, head chef Kevin Tickle’s team already busy at work preparing for the evening service ahead, as well as the spectacular wine cellar – it disappears into a cavernous opening below me as I try to get a glimpse at its treasures through a glass panel beneath my feet. An example of the blend of state-of-the-art and carefully restored historicity that makes this hotel so appealing.
The look and feel of the lounge areas exacerbate the rich, textured feel of the rooms upstairs with varied wallcovering choices – the zany ornithological theme of the smaller lounge area balanced out by beautiful, shimmering metallic Lustre Quartz in the larger room – elaborate mirrors, original fireplaces and decadent sofas. These all offer more of an assault on the visual sense than in the guestrooms. But an earthier, rustic look is achieved in the dining room, complete with glorious views of the grounds and beyond. I adore this space and it’s my favourite in the whole hotel – I love the fact the dining tables are made from reclaimed wood from the original floorboards by a local carpenter. A superb touch.
The brilliant dining tables made using the old wooden floorboards of the original floor
The next morning, after a hearty Cumbrian breakfast (what else…?), I’m shown around the hotel’s marvellous, manicured foraging / kitchen gardens built a short walk from the hotel itself on top of land originally left to overgrow; it’s now home to a host of vegetables, herbs and deliciously edible things I never realised were edible. “Not many gardens with such a view,” Andrew remarks as we gaze out on the dramatic Lakes landscape and local landmark ‘Lion and the Lamb’ rock formation. I can only agree.
It’s with a heavy heart I have to pack up and leave on the long drive back south; I could have spent a week enjoying this gem of a hotel and exploring its locality. A no-expense-spared approach to the refurbishment and interior design is matched by the entire Forest Side team, whose accomplished, professional but personable approach to their work only adds to the experience of what is an outstanding property.
Chatting briefly to Andrew before I leave, I discover he started his hotelier career having previously read chemistry at Cambridge. If his two other properties are half as good as the Forest Side, it appears he really does possess a Midas touch – especially when it comes to boutique hospitality…
One of the many things I love about London is the way tradition and modernity seamlessly merge – it’s impossible to ignore its ‘grand old dame’ vibe and yet it’s often at the cutting edge of numerous fields; architecture, cuisine, music, art. And if a hotel typifies these two faces of the capital, it’s The Landmark London.
From the outside, its archetypically Victorian façade immediately gives away the building’s roots as one of London’s great railway hotels – one of several constructed during the golden age of steam travel; the other tell-tale clue being its adjacency to Marylebone station. It was a labour of love for one of imperial Britain’s greatest railway visionaries and entrepreneurs Sir Edward Watkin, who had plans for Marylebone to become an ‘international hub’. The latter never came to fruition, but his ambitious plans for a hotel (then called the Grand Central) were imagined in 1899 and his vision can still be seen today.
Looking down at the Winter Garden on the ground floor of the atrium
Inside, all the trappings of modern luxury expected at a five-star property ease you back into the 21st century. The beating heart of the hotel is the grand atrium with its Winter Garden restaurant and elegant public spaces. The glass ceiling of the eight-storey-high atrium allows natural light to stream in and gives the room an almost Greenhouse-esque and tropical feel. It’s a magnificent space to be in, and the hotel’s management have made the wise decision to use it for food and beverage as well as breakout offerings. This is best illustrated by the Gazebo, where guests can take afternoon tea or grab a bite to eat, but can also double up as a space for a drinks reception for the hotel’s numerous corporate events.
One of the public spaces – complete with grand staircase – of the Landmark London
Indeed, the Landmark’s corporate offering has recently undergone a freshen-up and it now boasts some of the most exquisite rooms for hosting small exhibitions, conferences and meetings in London. While most hotels in the capital can and do host corporate guests, few can offer more sumptuous surroundings. The 11 meeting and event spaces – with a capacity ranging from intimate 6-person interviews right up to 750-people drinks receptions – not only incorporate the elegance of the hotel as a whole, but also provide functionality and the state-of-the-art technical facilities required. As superb as both the majestic Grand Ballroom and Empire Room are, for me the ‘jewel in the crown’ is the Drawing Room where stunning wood panelling, unbelievably detailed ceiling work and elaborate light fixtures give the room a distinct feel from the other offerings, a perfect setting for parties of up to 150.
The Grand Ballroom
The Tower Suite
The Drawing Room
The Drawing Room
With the hotel having gone through a series of renovations throughout its various incarnations and long but not-always illustrious history, I was fascinated to discover that the current, healthy selection of 300 rooms and suites is less than half of the building’s original 700-room offering. This slimming down has allowed for larger-than-usual room sizes – especially considering the NW1 location of the Landmark. From the 35sqm Superior rooms to the 52sqm Family rooms right up to the 160sqm Presidential suite, the hotel prides itself on its spacious rooms with king-sized beds, flat-screen televisions yet traditionally, classically luxe décor. And it’s easy to see why. The furnishings and upholstery continue the theme of opulent golds, creams and browns in the public spaces which is perfectly juxtaposed by the cool, black-and-white marbled finish of the bathrooms. This is indulgent and decadent design, without being tasteless or tacky.
I’m next shown the spa, pool and gym facilities, which again considering the location are fantastic. And utilising the space well, designers have even managed to include a small but well-equipped gym as well. I’m visiting the Landmark for a separate F&B event, which allows me to see the TwoTwentyTwo Restaurant and Bar (named for the hotel’s 222 Marylebone Road address) and the Mirror Bar (named for, well, I’m sure you can work it out…) both of which contain refined, chic and ornate interiors. The former delighting with its extensive fine wine collection in library-style, glassed casing; the latter tapping into the Victorian heritage of the building and creating an intimate and relaxed spot for pre-dinner cocktails or after-dinner nightcap.
I leave the Landmark after my all-too-brief visit remarking what a fine job several people have done in nearly 120 years in maintaining this gem of a building. Indeed, as designers will always say, success comes when good design is incorporated with functionality. The Landmark undoubtedly ticks the box for the first factor. And it’s hard to find better examples of a structure still completing the task it was built for, so long ago, with such aplomb. Is it entirely perfect? No. No hotel ever is, but renovation work and refurbishments are still planned in a bid to improve areas that require them, and this will only work to make this hotel even more appealing than it currently is. One can only trust that as the hotel develops, improves and modernises, it still holds on to its opulent, traditional and heart-warming charm. Here’s hoping…
With all due respect to any of our readers who hail from the cities of Bath and Durham, I will tell anyone who will listen that I believe Edinburgh is the UK’s prettiest city. The breathtaking countryside to its south, its cobbled roads, its wonderfully archaic side-streets and UNESCO World Heritage-protected buildings – the Scottish capital is one of our country’s gems; always worth a visit and definitely worth celebrating.
As someone who takes notice of such things for a living, design and architecture play a big part in the city’s allure. From Holyrood Palace to the famous castle and back up again around the Royal Mile, there are so many fantastic examples of both. With such striking and beautiful architecture at every turn, it figures that more modern projects – namely a Radisson Blu hotel – have to incorporate these stunning surroundings into their external appearance.
This branch of the slick, business-minded brand ticks that box perfectly. Its neo-gothic, castle-esque exterior blends in with uniform ease to the rest of the street’s aesthetic. However, having paid homage to the city’s history on the outside, a reflection of a much more modern, corporate Edinburgh is revealed once inside. After a series of touch-ups and refurbishments since the turn of the century, the hotel’s interior looks very much ahead rather than to the past.
When I arrive after a picturesque, but very long drive, I do have to manoeuvre my way around a rather complex route from carpark to lobby via a service lift. It’s here I am reminded how important – but sometimes overlooked – well-appointed signage is for guests. It’s not an ideal first impression to begin with, but I needn’t have worried as the rest of the hotel more than made up for it.
My roundabout tour of the lower levels takes me via the hotel’s main conference space – which is currently in turn-around mode between events when I sneak a peek. The room is a wonderful burst of monochrome tones in both carpets and wallcoverings, a clash of prints and the first sight I get of the ubiquitous locally-inspired artwork; it forms part of the eight meeting rooms the hotel offers, hosting up to 240 people for a range of event styles.
The newly refurbished and much-improved corridors
I am greeted at a busy but well-staffed reception area which also serves as an anchoring point between the hotel lounge-cum-breakout area and the food and beverage option Itchycoo Bar and Kitchen. One quick, seamless check-in later and I’m in my Business Class room – a room of the same standard as I stayed in when reviewing the Radisson Blu in Leeds, but one with a very different decor. It’s always fascinating to see how amenities remain the same, but how varied and different interpretations of the same brief can be. While Leeds relied on a metallic-inspired, blue-grey palette, Edinburgh goes for a more muted colour scheme of greys and browns in the bedroom and bathroom; with a splash of colour added by brightly-upholstered cushions.
The living area is slightly smaller than I would normally expect for the price-range, but can be forgiven due to the fact the designers have managed to include everything required – and more – through good use of space. The room is dominated by the sweeping corner sofa unit, the double bed with its striking metallic headboard as well as the beautiful black-and-white artwork wallcovering of Edinburgh’s cityscape – it’s one of the better examples of a technique very much in vogue at the moment. If this is a taster of where Radisson Blu is headed with its BluPrint interior design concept, I can’t wait to see it rolled out across its global portfolio.
Other pleasing touches are the wall-mounted TV set into the wall, a decent-sized dressing mirror and a modest desk unit with ample lighting and thoughtfully-placed sockets – this is a business-oriented hotel after all. The bathroom is tastefully fitted out, predominated by dark wooden finishes and simple but elegant bathroom fittings. So far, very good.
I decide to take a look at the hotel’s brand new pool and health club – it had opened mere days before my stay – which on the way to the lower levels also gives me a chance to assess the marked difference between the newly refurbished corridors and the pictures I’d seen prior to them being redone. Of particular note were the carpets as I’d been warned by colleagues in the industry of the less-than-acceptable state of them beforehand, but was pleased to see a sterling job has been done in making sure of the quality during the refurb (see above).
EDIT: The carpets throughout the hotel were provided by Newhey Carpets, who have built up a strong working relationship with the Radisson brand. They worked with Herefordshire-based Trevillion Interiors on the rooms and suites as well as the meeting rooms and event spaces. The designs were all created using Newhey’s state-of-the-art Colortec+ technology. Find out more here.
And the good news continued when I took a look at the Melrose Spa and the Health Club. This is a fantastic example of leisure design – clean lines, soft finishes and brilliant use of lighting create the soothing and relaxed environment so required of such a space. While this is open to the public, considering a good number of the guests will be corporate only in town for a day or two – having this facility will give the Radisson Blu real pulling power in a competitive city market.
After a long day travelling up from Hertfordshire, I enjoy a cocktail or two and dinner in the Itchycoo Bar and Kitchen (FULL REVIEW HERE) – the décor of which further reflects the business orientation of the hotel. But much like the mixture of the clientele in the restaurant that evening, to say this Radisson Blu can, does or will solely cater for the corporate guest is to underestimate its appeal. Indeed, tourists contribute some £1.6 billion to the Edinburgh economy each year and this Radisson’s location will make it a popular choice for several of the 4 million+ annual visitors to the Scottish capital.
Believe me, this hotel won’t stir any great reactions for its design or décor – but its fantastic functionality, comfortable and practical finish and more-than-ample amenities will ensure it remains a reliable choice for guests – either corporate or leisure…
The transformation of the Wembley area of north-west London in the last 15 years has been nothing short of incredible. The most obvious and celebrated symbol of that regeneration is of course England’s new national stadium. Indeed, tales abound of how run-down the antiquated-yet-iconic Empire Stadium at Wembley had become by the time it was unceremoniously bulldozed to the ground after an acrimonious send-off in 2000 — a depressing 1-0 England defeat to the Germans in the driving September rain.
A decade-and-a-half on and very much like the game of today it plays host to, the new stadium is a gleaming beacon of sanitised modernity and corporate hospitality heaven. The surrounding area has benefited from this gentrification too, which is most probably why hotel chains are queuing up to set up shop on the doorstep of a much-improved, internationally-renowned venue.
Hilton London Wembley Executive Lounge
One such chain was Hilton; its London Wembley hotel has slotted into that business-like vibe surrounding the stadium perfectly since opening its doors in 2012. And make no mistake, this hotel is geared up unashamedly for hosting corporate guests and large-scale business get-togethers. Having spent a morning being shown around this 321-room hotel, it’s clear to see that it does it well.
From its exterior with its striking corner-point catching the eye as soon as you walk up to the hotel to the seemingly ceiling-less lobby with its bold use of greys and browns, this Hilton makes a statement-filled first impression. The neutral tonality of the lobby interior is broken up somewhat by the splash of colour brought about by beautiful light fixtures, an array of sporting shirts and jerseys plastered on a wall at the far end and by the wallpaper accompanying the escalator ride up to the second-cum-mezzanine level which depicts all the great sporting events held at Wembley — both old and new.
London Hilton Wembley Lobby
The second floor houses a fitness centre replete with a fantastic indoor pool, an added bonus for guests especially considering the locale and the restriction of space in such a built-up area. Aside from this, however, there is nothing else contained on the level except lift wells and another escalator going up to the Ballroom, Association Restaurant and Icons bar. My guide for the day, Gemma, assures me the space is used for overspill during conference registrations but I can’t help feel the space is somewhat wasted and a blip on what is otherwise a brilliantly designed and decorated hotel.
Indeed, the third floor bears all the hallmarks of a savvy designer throughout. The Grand Ballroom, where the majority of the conferences and meetings held at the hotel take place, is a fine example of an event space and is one of the better designed ones I’ve seen in the capital; the space has a feel of luxury about it thanks to lush carpets and grand light fixtures. With enough room for 900 delegates, the flexibility to be laid out in a variety of set-ups depending on the function as well as cleverly-placed exits and entrances to the restaurant and bar to keep delegates within the event space rather than wandering off elsewhere — this is an example of canny design.
The Association Restaurant itself also contains pleasing touches of design; in a bid to remove the feeling of eating in a canteen it has been broken up into sections through good use of walls and dividers. And a London-themed wall display made up of custom-made plates marking major landmarks throughout the city was a particular favourite of mine. Again, the neutrality of the lobby’s colour scheme has been used in the Icons bar with browns, whites and pale greens dominating with the occasional accentuation of colour added by bright red, high-backed armchairs.
I’m next shown a more intimate meetings and events space on the fourth floor, which comes with guest rooms on the same level — all of which can be hired out by smaller groups looking to keep an element of privacy or exclusivity to their events. All meeting rooms have excellent AV capabilities and are decorated slightly more sumptuously than the Ballroom below, with well-appointed carpets and furnishings.
Guest rooms are a very generous size; their walls and carpets decorated with muted browns, deep purples and subtle yellows. Stunningly simple headboards above the beds frame the rooms perfectly on entry. As with the rest of the hotel’s spaces, the bedrooms are well-lit thanks to the large floor-to-ceiling windows which are simply dressed with delicate mesh and two-tone fabric curtains. In the suites, an extra living room also benefits from the generous natural light, and those built into the building’s pointed façade (often a nightmare for interior designers ‘gifted’ by the architects) have dealt with this issue by placing a prominent pillar to keep the space contained.
The bathrooms I saw were tiled in brilliant black-and-white, with beautiful plain white ceramics and bold, statement taps. A very good-sized, LED-bordered mirror sits above the basin offering a reflection of the entire space.
The last spot on my whistle-stop tour is the executive lounge and Sky Bar 9 — appropriately located on the ninth floor — with both offering incredible views of Wembley Stadium and the cityscape beyond, especially from the outdoor terrace. These are stylish and elegant spaces, as expected from a Hilton property located in a capital. In the lounge, I particularly love the copper, fish bowl-shaped pendant lampshades and photographs of iconic artists who have performed at the nearby arena and stadium. And in the Sky Bar 9 I’m instantly drawn to the striking, gregarious yellow upholstery and cladding.
Where the designers may have had to work with an element of restraint in decorating the corporate spaces within the hotel, they were clearly given a lot more freedom to play with on the ninth floor. It’s the best designed and pleasingly decorated space in the whole hotel and marks the high-point of a fine piece of work by both design and architectural teams. From my lofty viewpoint, it was impossible to avoid seeing the numerous construction projects going up left-right-and-centre in the Wembley area and beyond. It won’t be long before this Hilton is entirely encircled by commercial and residential properties all around, but many will have a long way to go if they are to deliver a finished article as elegantly functional as this…
Based on a visit in February 2016 Photos by Daniel Fountain // Hilton Media Centre (hilton.com) www.hilton.com
I still consider the historic centre of Bruges (or to use its correct, local name; ‘Brugge’) to be a relatively ‘hidden gem’. Of the numerous locations around Europe deemed appropriate for a city break, Bruges somehow still features low down on the lists of many people. Yet – and I say rather selfishly, ‘unfortunately’ – I figure it won’t stay this way for long as more and more people discover and fall as hopelessly in love with this beautifully quaint city as I have.
Be it summer or winter, there is an effortlessly relaxed vibe about Bruges; it’s a city comfortable with and yet nonchalant about its appeal, as if it doesn’t quite know how remarkable it is – which adds to its lure even more. Befitting a city oozing class and character, its countless independent hotels hidden at the ends of the famous ‘alcoves’ offer the visitor a delightful blend of understated luxury, old-world charm and homely service. Chain hotels can be found dotted around, as modernity begins to encroach, but even they must try to fit in with the city’s medieval aesthetic or set up shop further afield from the historic centre.
The timbered facade of the ‘canal’ side of the Relais Bourgondisch Cruyce
Back in December I boarded the Eurostar headed for this ‘Venice of the North’ to revel in the joys of the city’s Christmas markets and had the pleasure of staying at the four-star, boutique Relais Bourgondisch Cruyce. My companion and I were in good company – it’s rumoured to be a favourite of the-now King and Queen of Belgium as well as the location for filming of the movie ‘In Bruges’ (cue all of those ‘ze alcoves’ jokes…) whose stars Ralph Fiennes and Colin Farrell called the hotel home during the shoot.
The building is made up of four medieval houses that were joined together in the 1720s. Its roots as a focal point of the city’s old business district are clear to see from the exterior, with its half-timbered façade and wooden, canal-side double doors guarding a store where stock used to be traded from. The timbered side of the hotel is also part of a ‘picture-perfect’ image of Bruges emblazoned all over the postcards available around the city, as it overlooks a famous scenic viewpoint on a bend in the main canal (see main image).
The building is set back from the tourist-heavy Woolestraat on a pedestrianised jetty which juts out over the canal. With this in mind, expect to see throngs of tourists using the jetty to take photographs overlooking the canal if you’re staying in one of the 11 ‘courtyard view’ rooms. These 11 make up the majority of the hotel’s 16 bedrooms; the other five offering ‘canal views’.
As soon as we enter the Bourgondisch Cruyce, we’re met with sumptuously elegant and indulgent interiors that hit us immediately. It doesn’t take me long to notice the rustic, wooden floorboards and lime wash wood furnishings set against rather garish light fixtures and Louis Vuitton chests. It’s an odd mix, but an oddly pleasing one. I’m also delighted to see the artwork (original, as I later find out…) scattered on the walls around the ground floor – the owner is clearly a serious collector – with works from the likes of Klimt, Matisse and amazingly Botero.
Our Superior Deluxe room is a ‘courtyard view’ offering and the bedroom is rustically but comfortably decorated. Antique items adorn the walls and surfaces and a beautiful, Persian-style rug dominates the majority of the floor. Despite the relatively small gap between the building housing the hotel and its neighbouring building (such were medieval architectural trends…), natural light still pours into the room through stylishly dressed double casement windows.
The lime wash look from the ground level makes its way into the rooms as the doors of the ample-sized wardrobes sport the look as well. It’s in the bathroom, however, where the biggest surprise and most interesting design choice can be found. Decadent, copper-hued marble dominating the walls, more wooden floorboards and ornate lampshades all add a touch of luxury to this well-laid out space – not to mention the superb Damana Earth and Sun toiletries set in a hamper-like basket. It’s at this point my companion sums up the feeling of the room perfectly – “homely, warm luxury,” she says. I couldn’t have put it better myself.
And that feeling is mirrored, if not accentuated, by the hotel’s public spaces. The lounge/bar area sits in an alcove (sorry, I couldn’t resist…) between the reception and lift area up to the rooms above. But it’s the dining room that wins the award for the hotel’s most sumptuous room. Built in an L-shape, its outer walls are all windowed, looking out over the canal, the inner bedecked with antique artworks, clocks and even a floor-to-ceiling tapestry on one of the sides and the floors smothered with more beautiful, detailed rugs. An open (albeit gas-powered) fire sits at one end within an ornate, wooden frame and under a rather sinister-looking Christ-on-Crucifix, a reminder of the very entrenched and deeply-rooted Christian identity of the city. The kitchen fills the rest of the L-shape and allows for easy access for the service team to the 24-cover dining area.
Allow me here an aside from the design elements for a brief moment; and tell you that it’s one of the best settings for breakfast I’ve experienced in my years of staying in hotels. And this, as evidenced by the public spaces and the bedrooms, is why this hotel works so well on so many levels. The owners have pitched the décor to fit in with the romanticism and history of Bruges perfectly, without it being too kitsch or trying too hard. Yet this has been done with an eye for luxury, detail and a guest’s every requirement in mind. It helps, too, that the owners have a well-oiled and professional team working for them throughout the hotel.
Photo: Relais Bourgondisch Cruyce, TripAdvisor
I’ve stayed in many ‘city hotels’ around Europe. I’ve also stayed elsewhere in Bruges. And yes, there are more salubrious properties to be found in the city – think Duke’s Palace, Hotel de Orangerie and Hotel Prinsenhof – but the family-owned Relais Bourgondisch Cruyce is as close to the perfect city hotel as I’ve found. The owners have a gem of a hotel, an example for others to follow and boutique owners across the continent could learn a thing or two from this superb property. As they’d say in Flemish – ‘prachtig’…
The Carlson Rezidor hotel group, over the last decade or so, has been steadily building up and expanding its portfolio across the globe with strategic purchases and a prudent selection of locations – think Radisson Blu’s planned and continuing expansion in Africa. With nearly 1,500 hotels and 170,000 rooms, its progress has been successful despite being a relative ‘David’ to the ‘Goliaths’ of Hilton and the now-merging Marriott-Starwood group.
And one of its brands in particular (since SAS pulled its partnership in 2009) has benefitted considerably. The Radisson Blu collection now boasts nearly 400 hotels open or in development in more than 80 locations around the world. And whenever I’ve visited a Radisson Blu property, from Dubai Media City to London Stansted, I’ve always found the brand’s offerings to be contemporarily designed and focused – usually with a lean towards the business traveller – and the service to be of a high standard. This recently revamped and refurbished Leeds chapter is no different.
The hotel is contained within the walls of the centrally-located and well-restored former home of the Leeds Permanent Building Society and directly neighbours the commercial complex ‘The Light’. As I arrive, I consider this fact might cause a noise pollution issue once inside the hotel, but my fears are allayed by the positioning of the public areas away from any of the main thoroughfares in the shopping complex.
This location means sprawling space is at a premium, so the ground level of the hotel is split cleverly between lobby area and bar/dining area to create the feeling of two distinct spaces, despite the two bleeding into each other structurally. One quick check-in and warm welcome from the manager Valerie Donaldson later and I’m walking through the corridor to my room, which gives me a chance to get a glimpse of the ‘doughnut’ structure of the inner well of the building from where the near-150 rooms in the hotel branch away and explains how the majority of rooms aren’t disturbed by activity in the shopping complex next door.
The darker, warmer hues of the corridors – with their grey-brown carpets, olive green wallcoverings and slight vintage feel – contrast with the cooler, industrial palettes of my modern room. I’m staying in a Junior Suite and as soon as I enter I’m struck by the considerable size of the room, especially considering the architect has had to factor in a curve of the exterior wall of the building. And, as mentioned, the room interior stands out immediately as having been designed to reflect an image of the modernity that the brand prides itself on espousing.
There are several little touches of clever design around the room; like the wooden-finished ‘pillar’, which quadruples up as a TV stand, a home for the mini-bar and tea and coffee facilities as well as a means of discreetly housing the mains sockets needed for the work desk – it’s a brilliant use of space and a tidy, well-thought-through solution to the question of where to locate all of these elements. As a rule, I’m a big fan of rooms with curved walls for the obvious aesthetic reasons, and it’s no different here with the designers having used the feature to great effect in order to light the room. (See image 2, below).
Further touches such as the ceiling paintwork matching the fabric of the soft furnishing on the bed, the impressive headboard of which all add to the feeling of the room being in the hands of a thoughtful and thematically-minded designer. I am surprised to see the bold use of coal-grey floor tiles throughout the bedroom and living space – mostly because, while these complement the clinical and modern feel, it’s a vast space for the housekeeping team to ensure is always clean. I needn’t have worried, as both underneath the bed and under the 12’x6’ rug were spotless.
The bathroom’s use of tiles creates a completely different feel, with tiling making up a dazzling three-quarter-wall of brilliant blue overlaid on a beige-brown, clear wall. (See images below) Likewise, the half-moon glass basin container and simplistically functional finishing of the bathroom fittings (provided by HD Directory members GROHE) work very well.
There are some tell-tale signs that this is a hotel designed with business users in mind; namely the ‘economical’ wardrobe space available – perfect for short stays but not practical for more than two people staying for several nights – and the good number of mains sockets strategically located around the room for the inevitable number of devices required on a business trip. Given this focus, it came as no surprise to see the level of quality in the design and finish of the hotel’s meeting facilities located on the newly refurbished mezzanine level. The space is flexible enough to offer a range of events – especially with the breakout room having the space for a full bar – and a touch I particularly like is the meeting room titles; each named after a Yorkshire-related theme and containing small items in each room to reflect its individual title.
The hotel is unique in the UK, and indeed outside of the US, in as much as it houses the only Fire Lake Grill House & Cocktail Bar – the flagship restaurant of the Minnesota-based hotel brand – beyond American borders. As a dining option for guests for breakfast, lunch or dinner, this ‘industrial chic’, left-field-decorated eatery is impressive. The conversation-starting focal points of design include the huge, striking wall display of Leeds-born actor Peter O’Toole brought to life by upward-facing lamps as well as a floor-to-ceiling fire pit. Having done prior research into the previous space and its interiors, which were classically-inspired and somewhat dated, this incarnation is a huge improvement. (A FULL REVIEW OF FIRE LAKE CAN BE READ ON OUR SISTER SITE PA LIFE)…
Combine this four-star Leeds hotel with its restaurant and its meeting spaces and you have a convincing case as to why the wider Radisson Blu collection has to be one of the most consistent upper-upscale brands globally. Like the other properties in the chain I’ve visited and stayed in, this property will do a good trade with weekend-breakers and even more so with businesspeople. But make no mistake, this is a well-designed hotel where comfort hasn’t been forgotten in the planning-to-production process – indeed, who says business-like practicality can’t have a touch of luxury? Add to this the fact manager Valerie Donaldson has a professional, committed team working with her and you have the foundations for a very successful property for the Radisson Blu brand.
Indeed, I’m reminded of a note I read when I arrived in my room under the heading ‘Manager’s Guarantee’ which said: ‘We’ll make your stay right or you won’t pay’. The manager can sleep easy because, on this evidence, she won’t need to be handing out complimentary stays very often at all…
When I first moved to the UAE back in mid-2011, I had come to the conclusion after several previous holidays that Dubai was the centre of it all as far as the country was concerned. I knew Abu Dhabi was the nation’s capital, but I viewed it much like I do American state capitals — smaller and less important than some of the bigger metropoles like Los Angeles, Chicago and New York.
So, it was little wonder it took me more than 6 months to venture the hour-and-a-half on the Sheikh Zayed Road highway through the desert to visit the ‘little cousin’ of the emirate I then called home. Of course, in wealth terms, Abu Dhabi is very much the ‘Granddaddy’ of the UAE; its investment fund surpasses the other emirates’ combined.
But in tourism terms, Dubai has been forging a very successful path for several decades now, which had left Abu Dhabi considerably further behind. And on my first visit to the capital, I didn’t see anything that would change my perception. But by 2013, when I went to stay at the Anantara Eastern Mangroves Hotel & Spa for the first time, the landscape had changed considerably.
One of the lounge areas
Looking down on the lobby and reception area
Arriving at the Anantara Eastern Mangroves
By then, Abu Dhabi’s rulers were pumping money into all sorts of projects — most famously Ferrari World and the city’s Grand Prix – in a bid to catch up with Dubai. On the whole, they’re doing well. And this Anantara property — the third in the emirate — is a shining example of the ‘no-holds-barred luxury’ Abu Dhabi is now regularly attaining.
The enormous and expansive arrival lobby and reception area of this new-build property, complete with impressive, ornate bowls of the ubiquitous dates and over-attentive staff with welcome drinks, certainly set the tone for this property. Much like the rest of this hotel, there is a clever Asia-meets-Arabia balance in the interior design, mixing the Thailand-based Anantara name and Abu Dhabi’s penchant for being the more authentically Arab city compared to Dubai.
You are hit with views of the 1.2 kilometre nature reserve set among the mangroves as soon as you step into the lobby and it’s hard to avoid them wherever you go throughout the hotel. But with meandering creeks, birds and wildlife abounding and the Abu Dhabi city skyline shimmering in the distance — it’s more a question of why you would want to avoid them. One does get the feeling that the functionality of the hotel has been slightly tipped in the favour of business guests, something that comes through in the design of the 222 rooms. The two I stayed in had a somewhat business-like feel, but certainly didn’t lack for luxury or size (rooms start at 57m2). They still retain an ornate finish, with dark timbers, beautiful swirl-patterned carpets, lush upholstery in bronzes, greens and golds and intricate woodwork above and around the beds in the suites.
A Deluxe Room, identical to my room on my visit
The marble-finished bathroom
The living room of one of the larger suites
If possible, an upgrade to one of the Kasara Mangroves suites on the ground floor is a recommended one as they are three times larger than the standard rooms and offer their own private pool area. If not, another tip would be to choose a mangrove-facing room as the alternative gives a less than savoury view of the busy Salam Street — and while triple-glazing puts paid to any noise pollution — it’s worth requesting the former for the views alone. The bathrooms, while minimalist in shape are a definition of luxury with a stunning marble finish throughout.
*On a side note, I was also informed that the Royal Mangroves Residence is the largest suite of its kind in the UAE — and so it should be at a staggering 1,320m2 with a capacity for 10 people*
The ostentatious Arabian elegance (is there any other kind?) of the hotel continues in the public areas. Walls are lined with 18-carat gold leaf and glittering mosaics, timber trellises all set against domed ceiling insets and arched windows. Outside, a centralised infinity pool offers perfect views of the surrounding natural beauty and watching the sun set behind the city skyline is a quite spectacular way to spend an evening. One flaw I will point out in the design of the pool area, however, is the expanse of the stone flooring means walking from a further lounger to the pool in the searing summer heat without suitable footwear isn’t an option.
View of the mangroves from the infinity pool
Looking down on the pool area and mangroves with city skyline in the background
A balcony view of Abu Dhabi
As a destination hotel — there was very little else around the hotel when I visited — the food and beverage outlets are of a higher standard than perhaps expected in Abu Dhabi. The highlights include the very impressive Impressions rooftop terrace bar and we dined in the excellent Pachalyen signature Thai restaurant, with the almost-stereotypical bamboo cage screens, Buddha-inspired decorative items and ‘economical’ lighting.
An al fresco lounge area of the Impressions Bar
A lounge area of the one of the suites
But this being a spa hotel, this is where the property shines. In terms of design and interior, this is one of the better I’ve had the pleasure of visiting — dripping in opulence, the sheer attention to detail in everything from the Turkish hammam to the individual treatment rooms is difficult to find fault with.
The beautiful Turkish hammam of the spa
The fantastic use of light in the spa’s salon
The occupancy numbers were low when I stayed in the off-season, so the hotel appeared empty at times, but it’s probably more due to the sheer scale of this property that I imagine it wouldn’t feel overcrowded even at full capacity. And with Abu Dhabi’s tourism trade improving and increasing year-on-year, you can expect this property to be closer to full than empty on a regular basis.
One of the perks of my job is being able to see the progression of hotels from mere ideas and drawings right through to the bricks and mortar of a completed project. And one thing that always fascinates me is how much (and sometimes how little) the finished product can differ from the concept first visualised by designers and architects.
So, it’s a welcome treat to be given a guided tour of a hotel and its eventual form by one of the people commissioned to design it — as I recently got to do with Dexter Moren of the eponymous firm of associates at the Hilton London Bankside.
Located in what is now one of the most fashionable and ‘trendy’ areas of the capital, this five-star property built on the site of a former banknote recycling shed might never have come to fruition. Bankside’s industrial past and ‘rustic’ character meant that Dexter Moren Associates (DMA) and design firm Twenty2Degrees were originally briefed to create a mixed development combining a budget hotel, conference and leisure facilities — something more befitting of the surroundings at the time; as ‘south of the river wasn’t the place for five-star properties at the time’, Dexter reminds me.
Fast forward a decade and then some — the ever-growing reputation of The Globe, the Tate Modern and more recently The Shard — and throw in the considerable money spent on regenerating the area; the brief was clearly changed to combine those separate ‘sectors’ into one urban-inspired and luxurious property. Thankfully, for those of us now lucky enough to see the end product first-hand, the Hilton group agreed to back developers Splendid Hotels. And the rest, as they say, is history…
Off the bat, it’s clear to see the exterior of the hotel is heavily inspired by the cutting edge, artistic modernity of its locale. Dexter explains to me the rationale behind the separate but thematically-connected facades of the two adjoining elements of the building and their differing heights (restrictions on building any higher than current and proposed neighbours meant one element had to be lower than the other), both use a striking combination of traditional brickwork and metallic cladding, all of which go to fit in with the surrounding buildings.
Detail of the Bankside exterior (Photo: dextermoren.com)
Arriving at the hotel via the porte-cochere is the perfect segue between the exterior and interior, with its stunning pressed tinwork on the ceiling and dazzling display of bespoke industrial lights designed by DMA and Twenty2Degrees — hinting at the fact that the inside will continue the ‘design voice’ proudly expressed on the outside. Likewise, the lobby area echoes the clearly defined theme running throughout and, as with so many of the hotel’s public spaces, particularly impressive here is the lighting fixture specifically designed for the high-ceilinged reception area.
Again, I’m struck by the delicate balance of industrial chic and clean-lined elegance that has been achieved. Also, unlike many hotels I’ve visited in the past, the executive lounge is situated on the ground floor and while still retaining a sumptuous feel and serene atmosphere — as well as a stunning light well letting in natural light — it has been built to back onto the kitchen facilities for the ease of access for staff, who have a centralised point of entry for each food and beverage outlet thanks to clever design.
The industrial aesthetic of the lobby
Some of the artwork scattered around the hotel
The stunning interiors of the executive lounge (Photos: London Hilton Bankside)
Little nods to the Bankside history run throughout the design of the hotel’s F&B offerings too; namely the Distillery Bar and the restaurant OXBO. The former is a destination cocktail venue with old world charm, the name of which is a reference to the Stephenson & Howell Standard Works distillery that occupied part of the site during the 1800s. The latter has been designed with both exclusivity and functionality in mind – perforated steel screens provide privacy in the open space as well as being strategically positioned to allow for smaller groups of guests to ensure the restaurant retains a ‘lively’ vibe — being both the dining space for hotel guests and a walk-in option for non-guests.
Many of the decorative items, such as the crystal decanters have been sourced from local markets and antiques dealers in Bermondsey and Spitalfields and are combined to give the space a light-hearted, authentic feel. The lighting is a bespoke design for the restaurant and was manufactured by British lighting company Northern Lights and Danish company Fransden Project. The restaurant’s wide range of cuisine is hinted at by the ‘Mounted Not Stuffed’ artwork by David Farrer, a cornucopia of papier-mâché animal heads scattered throughout the restaurant.
It’s here I can make a quick aside to the fantastic Penny Wall in the bar, designed to reflect the aforementioned use of the site as a banknote warehouse, which contains nearly 17,000 hand-applied pennies and sits impressively on a wall that had to be reinforced to take the extra weight. With coins dating from 1864 and an opportunity for civic leaders, dignitaries and the local community to add a penny to the wall themselves, it’s the hotel fitting into its surroundings in a very real and actionable way.
The clean-line elegance of The Distillery
Detail of David Farrer’s artwork in OXBO
OXBO Restaurant’s excellent use of materials to create space (Photos: London Hilton Bankside)
Moving upstairs and the guestrooms have not been exempted from the industrial, London aesthetic. The corridor carpets, with their brown and green hues and again designed by Twenty2Degrees and DMA, were commissioned to reflect the ‘ebb and flow’ of the River Thames just a stone’s throw away. With the guestroom materials including concrete-effect wall coverings and limed timber, these sharp materials are contrasted by sleek Italian-style furniture and upholstery as well as winged headboards that create the warmth required in luxurious rooms. Bold greys dominate in the bathrooms – floor and half-wall tiles combine with the pale travertine tiling on the rest of the walls to create a clean, clinical feel.
The bold greys of the bathrooms in the London Hilton Bankside (Photo: London Hilton Bankside)
And one of the elements of room design that I found most interesting and useful was the separate entrance area for ‘adjoining’ rooms — rather than an adjoining entrance built into the wall of each room, both rooms have an individual front door behind a centralised front door to create a ‘hallway’ of sorts. As Dexter pointed out, this helps with noise control between the rooms and offers an added layer of privacy — especially for those travelling with families.
Pendant lighting and reading light built into the bedroom wall
Steps to the subterranean Ballroom
But the jewel in the crown of this slick, stylish hotel is the grand ballroom on the sub-ground level. The breath-taking space is something the hotel (and Dexter himself) are very proud of — and rightly so. With a separate entrance built at the rear of the hotel building to allow event or function attendees to arrive separately from the hullabaloo of the main entrance, the ballroom is accessed in grand style by a sweeping staircase with marble treads, brass handrail and smoked glass balustrade.
Aside from the sheer scale of the space, the luxury and attention to detail marks this as a wonderfully unique location in the heart of the capital. It is designed to be flexible, with as little or as much space an event may require on offer as well as being able to open out to include balcony areas and the lobby for arrivals or break-outs. The dark walls are complemented by a pale carpet and subtly patterned wall-covering. For me, however, the centrepiece is the inclusion of ultra-modern chandeliers whose individual, interlinked cubed LED lights are a work of ingenuity and beauty.
Mirror detail in the bathrooms
The quirky ‘Urban Fox’ artwork in the bedrooms
LED, ultra-modern chandeliers above the Ballroom (Photos: dextermoren.com)
And that’s the best way to summarise the Hilton London Bankside — a combination of brilliant and beautiful design. From the use of space – like the well-equipped gym and 17-metre swimming pool hidden away underground – to the bold and memorable interiors, Dexter Moren’s team and Twenty2Degrees have created a property with a clear and cemented identity. The brief to create a luxurious hotel in this part of London has been met and exceeded. But it’s in the little touches that this project truly shines. From the playful ‘Urban Fox’ motif referenced subtly more than 100 times throughout the hotel including in the bedrooms — in reference to a fox that would visit the site during construction — to the work of young British artists scattered throughout the property in a tribute to the Tate Modern around the corner.
A Hilton-branded hotel, which has more in common with a boutique offering than a cookie-cutter repeat, which from pavement to bedroom makes it very clear that it ‘belongs’ in its up-and-coming locale south of the Thames, that keeps luxury prevalent throughout and is designed with detail at the forefront? A project I never thought I’d see — but thanks to Dexter and the work of his team, the reality is better than the imaginings of this humble journalist. Bravo…
Very often, when out and about reviewing hotels or sifting through property announcements at HotelDesigns HQ, I encounter some variation on that old hospitality cliché: ‘modernity blended with history’- and very often, it’s a lazy and inaccurate description. But every now and again, I have the pleasure of staying in a hotel and a location that epitomises the phrase. The Hotel Indigo in York is one such property.
York is a city I never need a second invitation to visit – with its maze of twisting, cobbled streets, quaint architecture and two millennia of history teeming from its very core – it’s a gold mine for amateur historiographers like myself. So, it was with little hesitation that I made the journey north to review my first Hotel Indigo – the boutique brand of the InterContinental Hotels Group.
Self-styled as ‘the industry’s first branded boutique hotel experience’, Hotel Indigo now has a presence across North America, UK and Europe as well as China and south-east Asia. Each unique property is as individual as its surroundings and attempts to reflect this through its interiors and design. A ‘local slant’ is key to the Hotel Indigo ethos, as is its quirky and contemporary décor. With properties in cities such as New York, Los Angeles and Shanghai, I imagine blending this local touch with interesting and modern interiors was a relatively easy task. However, enveloped on all sides by a section of a city with a rich heritage and standing on one of its oldest streets, this process could have proven slightly more difficult for the designers of this York property. Not so.
Yorkshire is well represented in everything from individual items of furniture to the selection of ales in the bar/restaurant on the ground floor. Even the bathroom toiletries have been sourced from Harrogate company H2K, which is just twenty miles from the hotel. And the wonderfully twee touches in the décor – like framed photos referencing the area’s confectionary heritage to the 1893 Kelly’s Directory (the Yellow Pages of its time) printed on bedside lampshades – all give off the boutique vibe whilst fitting in with the Hotel Indigo brand vision.
Being a new-build property, the whole hotel has a clean and vibrant feel from the moment you walk through the door.
Directly opposite the modest reception desk, the aforementioned bar and restaurant – a franchise of the Yorkshire Meatball Company and with public access to the street outside – serve as the focal point of the hotel’s public space. The confectionary theme is continued here with chuckle-inducing jelly-mould pendant lampshades and Skittles-esque cushions scattered on sofas.
Taking the lift up to room level would mean missing out on the hotel’s spectacular staircase complete with a three-storey well, which adds a touch of grandeur to the journey from check-in to room. The well-lit (and thankfully spacious) corridors are carpeted with a fantastically rich black and white pattern throughout, reminiscent of the great M.C. Escher and works from the optical art movement.
The rooms themselves are blessed with good natural light (if not the best views) from the windows, but are also equipped with generous lighting throughout so there’s never a gloomy corner to contend with. While the colour scheme is muted for the most part, it’s punctuated with sharp, primary-coloured items which definitely adds to the sense of fun.
Both the desk and bedside tables have good socket access and I couldn’t find fault with the king-sized bed with the Egyptian cotton linen, but was slightly disappointed with the amount of wardrobe space on offer.
It’s at this point I will admit that I am guilty of rating an entire hotel experience on the quality of its bathroom space, and Hotel Indigo scores highly here too. The spa-inspired space and its layout are well designed and the team have displayed virtuosity in the contrast of materials used. The absence of a bathtub is more than countered by the walk-in, glass enclosed shower with a rainfall head.
Simply put, a stay here is a pleasure. Whilst Hotel Indigo might be a chain, the rooms and the hotel’s public spaces certainly have their own character and charm filled with endearing local touches.
The designers have done a great job of ensuring the guest doesn’t get the ‘chain hotel’ feeling. They have been able to engender a feeling of a contemporary boutique hotel whilst not neglecting the fact its backdrop is one of the most historic cities in England. The ever-growing popularity of boutique hotels and their strong, overriding identity and ‘sense of place’ has meant the larger chains have had to adapt in a bid to capture some of the market. With its Hotel Indigo brand – and this York property in particular – IHG has proven it understands the market extremely well and has certainly established a solid blueprint for a successful ‘branded boutique’.
As someone who transformed from slightly sceptical of the concept to a fully-fledged convert overnight thanks to this York gem; if you’re not convinced I highly recommend going through the conversion process for yourself.
In recent years, the global hospitality industry has been marking the steady rise in popularity of the ‘aparthotel’. And looking at the trends, it makes sense. Hotels are experimenting with stripping away some of their services, while serviced apartments are adding services as wide ranging as childcare and in-room spa treatments.
So, as the lines between serviced apartments and hotels become ever-blurred, a previously untapped niche in the market is quickly being filled. Why not combine the two? On the continent, Adagio — part of the Accor Hotel group — has been claiming a considerable portion of this ever-growing market with aparthotel properties across France, Germany, Austria, Switzerland and Italy. But, here in the UK following a successful launch in Liverpool in 2013, a second Adagio aparthotel has opened in Birmingham.
Located perfectly, being within five minutes’ walk of New Street Station and the Bullring Shopping Centre, I had the chance to take a look at this four-star, new-build aparthotel shortly before it made its grand opening earlier this month. The Adagio is a pioneering part of the proposed major redevelopment of the Digbeth area of the city centre; forming the first phase of the Beorma Quarter development scheme (named for the Anglo Saxon king and founder of the city now known as Birmingham), which will also see the refurbishment of listed buildings to become sustainable, geo-thermal commercial spaces.
The apartments offer a spectacular view of the Birmingham city skyline (Photo: Dale Martin – dalemartinphoto.com)
And the Adagio pays homage to its historical location by marking – with a brass line embedded into the walls and floor – the 7th century boundaries of the ancient city of Hersum Ditch directly through its reception area. A nice touch, I thought — especially as a history graduate. But, thankfully for the modern traveller, everything else about the Adagio is contemporaneous.
Many of the furnishings are from continental Europe, reflecting the history and background of the Adagio name (Photo: Dale Martin – dalemartinphoto.com)
From its choice of furnishings to the bold photographic artwork of locally iconic locations in the apartments, the communal areas and range of suites all ooze modernity. The breakfast dining room and lounge area are spacious, modestly but tastefully decorated and superbly naturally lit thanks to their expansive floor to ceiling windows. The property’s two-person studio and one-bedroom apartments are finished to an excellent standard with warm, neutral tones generously punctuated by bold, red-focussed pieces — no doubt to complement the reddish hue of the wider Adagio colour motif. Many of the furnishings throughout the hotel are imported from Europe and in particular France, which is understandable given Adagio is a joint project between Accor and the Paris-headquartered Pierre & Vacances Center Parcs group.
The communal areas – such as this breakfast dining area – are filled with natural light thanks to the floor to ceiling windows (Photo: Dale Martin – dalemartinphoto.com)
Space has been utilised well, too, with each apartment containing sizable bathroom space and fold-down beds in the studios. The only small criticism might come with the size of the kitchen areas, which while well-equipped certainly won’t be used for entertaining large groups. The range of services on offer include high-speed WiFi, a fitness suite, laundry and dry cleaning as well as a room cleaning service tailored to varying lengths of stays.
The use of locally-inspired black and white photography artwork intejects the rooms’ reddish hues perfectly (Photo: Dale Martin – dalemartinphoto.com)
With the potential market of aparthotels as varied as it is – business travellers, university students, contract workers and even long-weekend visitors — it is surprising how few aparthotels there are across the UK. Investment has been slow to take off, especially compared with other key markets such as New York and Hong Kong. But heading into the latter half of the decade, we can expect that to change.
The aparthotel utilises space well, especially in the studio rooms – where the bed folds down to shift the space from a living area to a bedroom area effortlessly (Photo: Dale Martin – dalemartinphoto.com)
Adagio is definitely using the UK as a growth market, with further aparthotels planned for Edinburgh and London — and if future properties are as well designed, excellently furnished and centrally located as the Birmingham Adagio, the firm will be at the forefront of a growing and increasingly popular market.
Words by Daniel Fountain. Reviewed just before opening in August, 2015.
In March I made a long overdue trip back from the antipodean colonies to the motherland. To break up the frenetic efforts to see everyone, I took a short trip across La Manche to stay briefly in picturesque Paris and lodging at a French classic, Le Belmont.
Le Belmont is a four star hotel in the heart of the city. The building is a very old block, typical of Paris, and has all of the character that goes with it. Its location just off the Champs-Élysées is a major attraction, placing the hotel at the heart of tourist Paris. Both the Eiffel Tower and Arc de Triomphe are a 10 minute walk and there is a metro station at the end of the street.
The hotel is decorated in a pseudo Parisian Palatial style, cut with marks of modernism. The public areas filled with furniture leaning towards a French aristocratic persuasion but the rooms have modern colourful chandeliers and the fireplace is filled with colour-changing LED candles.
The corridors are somewhat confronting, as they lack good lighting, and as a consequence are very dark, emphasised by the paint colours. The bedrooms are in a typically extravagant style but with a clear budget restraint. While the headboards appear as velvet curtaining in the imagery, this is actually a printed fabric with a fabric panel across the top, to give a more three dimensional effect.
Each room has a large flat-screen TV and a multitude of languages are catered for by the channels. The minibar is modestly stocked and priced and the staff were more than happy to uncork my bottle of vin de table I had bought at the shop around the corner. The bedrooms are well proportioned and feel cared for, although the shower-room door in my room appeared to be an old access door painted (badly) black. The en suite shower rooms feel luxurious, despite being restricted in size. The showers are generously proportioned and the complimentary toiletries are, appropriately, Hermès.
In the morning the small cocktail bar/lounge is used to serve breakfast. The offering is the usual cooked selection, along with an array of French pastries which are spectacularly delicious.
The hotel also has a spa offering a plethora of treatments in a number of treatment rooms, as well as housing a Turkish bath and glass roofed gym. The area is designed with a more eastern feel, which gives a gentle contrast to the main hotel, without losing its Frenchness.
I have reviewed a Sofitel before – the Sofitel Hamburg. It was an hotel I found very difficult to like; the décor was cool and minimalist, grey and indeterminate, lacking (it seemed to me) in the air of opulence and luxury that I expect from a five star hotel. Having designed such establishments, I know the kind of design cues needed to create the right ambience, and as Hamburg fell short, I had mixed expectations of the St. James’s property.
The location is right at the bottom of Waterloo Place, close to the Institute of Directors and in the heart of London. The building used to be a bank and it has a good street presence, fitting for a 5 star hotel. From the outside at least I was not disappointed, its late Victorian portico entrance an agreeable part of the mosaic of grandeur that makes up this area of town.
Looking to the side of the lobby opposite the Reception desk, towards the restaurant and bar – click tosee the nicely done reception desk
“…rather than associate itself with Waterloo – a name unacceptable to the French…”
I’ve always thought of St. James’s as the part further down, around the palace, but the hotel adopts that name rather than associate itself with Waterloo – a name unacceptable to the French even today – or with, perhaps, Haymarket and its theatres. Haymarket and its link with the theatrical demi-monde is perhaps too louche for the kind of associations the hotel wants in defining its luxury appeal to its desired clientèle. Instead, the operator creates its own sense of upmarket theatre.
Starting with the smart, smiling, top-hatted doorman, the sense of theatre is enhanced by a glass screen inside the doors. Illuminated, passing this allows the guest to experience the revelation of the lobby as if a stage curtain had been raised.
The reception desk is on one side, the splendidly design restaurant on the other behind an informal service desk. An exhibition of slightly kitsch decorative sculpture in the lobby was stopped from dominating by a very theatrical floral display. The theatricality was reinforced in the evening by the introduction of candle lanterns, the normal lighting being subtly adjusted.
The screen inside the front door acts as a sound and draught baffle. Internally lit the script details the history of the building, Click to see the impressive exterior from Waterloo Place
Sleeping umbrellas and rear elevation curling around the pool, balconies giving guests a view of the beach and sea
Reception lobby – click to see it from the outside
The island of Aphrodite
The holiday makers lie broiling in the Mediterranean sun. Bronzed bald headed muscle men stride past mounds of bright reddening flabby granddads; slender brown bikini clad beauties strut their flat stomachs past roly-poly grandmas sunbathing topless like obscene beached whales; jolly families initiate their children in the delights of swimming pools a brilliant turquoise in contrast with the greyer blue of the warm sea.
Around them the smiling staffs of the four and five star hotels fronting the beaches serve endless gallons of drink and mountains of fine food.
Behind this frontage of Gerald Scarfianesque indulgence lie cheery shops selling sun cream and car hire, holiday homes and retirement villages. They are but a mask for the malls behind are empty, shops littered with sun-bleached ageing pictures of unsold dreams, façades over empty windows advertising gold for sale, speciality leather ware and unwanted digital cameras.
At night the cafes are busy and families stroll along the front, but the dark windows of the newly built apartments reveal unlet and empty properties. A drive into the surrounding landscape, rapidly becoming an urban sprawl, reveals handwritten for sale signs, half-finished buildings with the dust of ages forming on their uncovered skeletons. Weeds grow around bleached signs advertising retirement villas that may never now be built.
Some hotel groups, perhaps more cautiously run in the past, are growing and investing like the owners of the Alexander the Great hotel, but development sites right on the seafront are surrounded by forlorn decaying hoardings carrying sun faded images of turquoise pools, advertisements for never to be built spas whilst some hotels operate with loans that can never now be serviced.
The local television is filled with solemn faces talking about new insolvency laws as Eurocrats dictate terms for the slow crisis recovery the island struggles to achieve.
Putting new in old, contemporary into antique, can be a difficult trick. Mix in English vernacular style and wave a designers’ wand. Magic in the Kings’ Head in Cirencester lifted my spirits almost as soon as I walked in the door.
Open space with views that interest and also excite. Informality combined with tradition. There is space to pause and stare before engaging with the staff. History in view, from the exposed wall construction to the Roman mosaic under the floor lit and seen through a glass floor panel.
Doorways and openings that say there’s more beyond. Eclectic and stylish both operator and designer, architect and builders have worked hard to preserve and project the sense of Englishness and history embodied by both the town and the property. This is not just a revitalising of one run down old hotel this is the redevelopment of a significant and important collection of buildings making up a large part of Cirencester’s heart. If there is a downside it is that it is too close to Jeremy Clarkson…
This is Range Rover land. The Cotswolds surrounding Cirencester are one of the most affluent areas of England outside the hideously expensive capital city. ‘Chelsea tractors’ abound, but local is also strong and is reflected in the abundance of local foods and the street market that sets up outside the hotel.
Given the affluence of the area the only surprise about the Kings Head is that it has taken so long for it to happen. That the owner has vision is a given, but the adaptation owes a great deal to the local influences and suppliers so cleverly employed and developed by designers Calico alongside an hotel management team that are also tapped into the same vernacular.
I have talked before in articles about the resurgence of an English vernacular. It can be seen in hotels as diverse as the revamped Mercure Box Hill, less convincingly in the Mondrian on London’s Southbank of the Thames, more successfully in seaside hotels like St. Michaels Hotel in Falmouth.
Whilst the Scots shriek about their identity, in our own quiet way many English designers are bringing back the pride in being English through their stylish reinterpretation of traditional forms, forms that emphasise visual and psychological comfort; forms that don’t seek to shout style in an egotistical ‘look at me I’m a designer’ manner, but quietly provide a guest with a place in which they can comfortably be themselves; forms which say ‘this is where you are’ too, acknowledging both location and history.
The Kings Head does all this, and more.
Here the design of much of the furniture, fabrics and more has been originated by the designers. Yet the origination has been faithful to what has gone before — this is design at its best, evolutionary not revolutionary, founded in an understanding of locality and identity alike.
The designers told me: “We were involved from the very beginning and can remember walking around before many rooms had walls. We advised on layouts sourced & procured all FF & E items, we advised on the concept mood and feel of the hotel, choosing colour schemes through to set up. We were fortunate that the hotel is a truly beautiful building with so many original and interesting details that just needed to be exposed.”
Design of hotels, perhaps more than most buildings, need to be a team effort, involving owners, operator and designers. Design has to work from the inside out, and the designers here stress that they we part of a team, saying: “It was a team effort! A collaboration between the owners Mark & Alison Booth, the building contractors, and the interior designers.”
More than this, of course , there would have been architect and structural engineers, QS etc. but in my experience the role of other professionals in hotels is less important in realising the full potential of the earning power of an hotel. In my experience the sensitivity of the contractor involved to the history and sense of place is also vital to making a success of such a project. Here the designers praise the building contractors saying: “They under took the task with great compassion as at most stages new parts of the building became exposed and then had to be incorporated into the design.”
Typical of many projects on historic sites, at one stage in the project there was a 2 year delay to explore the archaeology, and given the cost of creating an hotel like this (reported to me as £7.5 million so far) then this must have added grey hair to the developers head, as time is definitely money. However here the respect given to the existing structures (because this was more than one building, but a series of interlinked buildings of different ages) has resulted in some magical interior space, including in some of the currently 45 bedrooms.
There are plans (and spaces) to expand the number of bedrooms, and given the ability of the hotel to host quite large functions and meetings, increased bedroom numbers will be needed. On my visit two functions for 400 people had already been booked and the expansion of the public areas with additional bar and dining space as well as the completion of the spa and gym were all in hand.
The labyrinthine layout springs surprises at every turn. There is a staircase where the details of the bracket holding the hand rails feature heads that change in age with each floor.There are stone walls, sensitively lit , with pieces of Roman mosaic leaning against them. Antiquity maximised in impact, married to the best of modern lighting.
The spaces being re-purposed (as the current phrase would have it) are interesting in themselves. A previous generation made its wealth from wool, for which Britain in earlier centuries was a major producer. Whole towns based their wealth on the wool trade and here the cellar previously used, it is believed, as a wool ‘warehouse’ will serve a new generation as a bar/bistro and function area.
There is a secret little roof garden onto which open meeting rooms and a function space. There is a glorious Georgian or high Victorian ballroom with stylish chandeliers. All these spaces creating a sense that as one explores the hotel further more secrets will be revealed.
The current bedrooms are all individual in style, and original roof timbers, fireplaces and construction have been kept and featured in the sensitive interior design. Panelled rooms have been kept panelled, although the panelling may well have been completely renewed. The interest in the antique has not extended to guest services and a comprehensive TV entertainment system compliments a free and efficient Wi-Fi service throughout the hotel.
The hotel is not only adding a spa and gym, that will be open to non-residents but other buildings in the complex structure ware planned to be utilised as office space with the tenants having access to hotel facilities. This holistic approach to the property is cleverly building in additional income streams to the business.
Bedrooms are spacious and most offer a soaking tub and separate shower, Clever use is made of ceramic tiling that mimics timber flooring, giving bathrooms and antique look , whilst there is nothing antique about the performance of the power showers in their wet room enclosures.
Whilst many London hotels have shrunken bedrooms, often forcing designers to innovate to provide space for luggage as well as the guest, here space is not an issue, the building layout having been developed to ensure all bedroom are a good size.
Corridors frequently shown, in their meandering path around the building, the different construction elements with exposed beams, exposed brickwork and rough plaster finishes highlighted by well placed LED lighting. The hotel is comfortable not only for the guest as an hotel, but it is also comfortable with its history and location. The property enhances Cirencester and encapsulates it from its Roman status through Saxon, Georgian and Victorian to enthusiastically embracing English style in the 21st Century.
The design approach here is a delight, the vernacular blended skilfully with the contemporary. Perhaps because the hotel is not a major brand it shares an approach seen more commonly in South Africa where brands are noticeable by their absence leaving hotels like Chappies or the Royal at Riebeck to carry the same local identity.
The Kings’ Head delighted me. It deserves design awards. It deserves to succeed. If early indicators are right it is already doing so…
October and the sea temperature is nearly 70 degrees, and bikini clad sunbathers catch the last rays of the summer topping up their tans on beaches where the sea laps its tide of suntan oil against the unvarying line of the years detritus deposited by the waves of the Mediterranean.
In Morecambe the dog walkers are getting accustomed to layers again, sou’westers are the garb for cyclists and even joggers are wearing several layers of kit whilst the dog walkers dogs too are dressed for a gale.Across the bay the peaks of the Cumbrian fells reflect the setting sun as the more adventurous strollers race back to safety of the shore as a tidal rise of ten metres sends the waves roaring at cyclist’s speeds across the stretches of sand, cutting deep gullies slyly to catch out the unwise.
The shallowness of the bay precludes a normal lifeboat for their rescue but the RNLI has a hovercraft ready to sprint to the aid of the unwary if need be.
As with any seaside building one winter is enough to take the bloom off any paint finish as salt laden winds erode cement. Click to see how close to the beach the hotel is
looking like a beached ocean liner, the hotel has spectacular views over Morecambe Bay towards Barrow-in-Furness and along the coast to the Lake District. Click to see a detail of the bar terrace over looking the beach
Restaurant areas maximise the views over the Bay for diners. Click to look from the inside out
“Like a beached liner the Midland Hotel is the dowager observer of this northern English seaside”
Like a beached liner the Midland Hotel is the dowager observer of this northern English seaside, its façade battling to stay white whilst turning grey with encrusting salt from the briny spray the wind drives across the shore. Grace and beauty were once the architects dream at the behest of a now defunct railway company, and little is left of the busy port it once served.Instead of reflecting the ship breakers yard the hotel’s picture windows reflect the pinks and grey blues of the sunset on the fells across the bay. Diners and drinkers can enjoy the views protected from air that can at times be over-bracing, and too forcibly fresh.
Recent research has shown shore dwellers live longer. That may be so, but their industries don’t. Neglect by generations of politicians has contributed to the decline of this once prosperous seaside town, as indeed it has too many of the shrinking towns in the North West. They shrink as the young and aspirational move in search of fortune and perhaps fame elsewhere, often to the expensive and overcrowded South East where the political elite concentrate on feathering their own nests rather than regenerating the declining towns of the North.
Here even the Western themed cowboy fun park is shuttered on a bleak seafront where the gleam of the Midland sounds a lonely rallying call to those who would see life return to this birthplace of Morecambe and Wise. There are few jokes in this decline, but the hotel does enjoy the quiet beauty of its near isolation in the gorgeous Lakeland landscape.
Behind the Reception desk is the Gill relief, stolen, fought over and eventually returned to its rightful place in the listed building. Click to see the spectacular lobby staircase
I try to look at different types of hotels in both Reviews (166 of them) and Miniviews (and there are over 150 of those), different qualities, national characteristics, different approaches to design. There are lessons for designers in all of them.
Namibian hotels like Damaraland, for example, shows how to maximise the use of eco-systems such as solar power, solar water heating and localised sewage systems. German hotels seem to handle luxury much more confidently than anywhere else I have been, epitomised by Steigenberger. Local vernacular too shows the evolution of the hotel from inns such as the Alma and the relationship to locality in a way that is alas so sadly missing from the megaliths that line the roads in Dubai.
Obviously I have a kind of mental check-list to work down, answers to which I find in some surprising places, such as leaders in technical innovation being Premier Inn with their approach to using technology epitomised by Burgess Hill. I have looked at hotels that reflect a history such as the high Victorian treatment in the Polish Noma Residences. In line with this I have always wanted to look at a castle conversion. Swinton Park is the closest I have managed to get to a castle yet.
The building itself dates back to the sevententh century, indeed it may even date back further with the oldest bit of the current building dating from the reign of Henry VIIIth I’m told. I’ve looked at older (the Churston Court in Devon being built around a long barn reputedly 9th century in date) but none with a tradition of being a fortified place, so when offered the opportunity to stay at Swinton Park I jumped at the chance.
Owned by the same family for many centuries it is only in the 21st century that the decision was made to convert what had become an over-large expensive-to-maintain country house into an hotel operation. It is still a work in progress as a guided tour around the parts of the estate not yet put to use showed, but what a great job is being done in changing the rôle and use of the many remaining out buildings.
The evolution of the building into an hotel follows a long evolution into a large country house from the original fortified manor that it probably was when built in 1690’s England. The existing gothic version dates back to the 1760’s with additions continuing through into the nineteenth century, so todays adaptive reuse continues a long cycle of reinvention by the owners past and present.
The current owners are being sensitive to the existing building as would be expected from a couple for whom this house is their family history at least in part. After a brief interregnum when it was used as a college, the house returned to family ownership and the refurbishment commenced at the turn of this century, the sixth for the property.
One of the attractions of older buildings is the amount of fine detail that is in them, and this one is no exception. With wonderful joinery (mill work to US readers) and some stunning plasterwork the inheritance enhances the generally large spaces. Included in this are two large safes now used for keeping guns and wine under lock and key. Guns because the hotel continues county activities in the form of shooting, hawking etc., but also runs a prestigious cookery school and trains staff.
The spaces themselves are large and enable a graceful and unflustered level of service, as the relationship of the scale of public spaces to bedrooms ensures that there is plenty of room for guests. The planned addition of the new spa and further bedrooms, together with the development of the business traffic will not stress these areas, except perhaps the bar, which is a smaller but equally interesting space that apparently used to be a private museum.
However the public spaces are so large that there is potential to expand the beverage operation, and the possible addition of a further bar/wine area, perhaps a more ‘cocktail lounge’ feeling area, or ‘gentleman’s club’ leather and – but then that’s for others to think through…
The pinnacle of the restored spaces is perhaps the magnificent dining room. It is a grand traditional space with a stunning plasterwork ceiling. Large windows maximise daylight and the subtle use of candles in the evenings compliment the gentle light achieved by the gold linings to the traditional chandeliers. Cornicing and timber work emphasise the quality along with a dado rail below which the decorative plasterwork in reiterated. Through the windows the deer park is visible and I was delighted to see a hedgehog snuffling its way along the edge of the lawn besides myriad bunnies at play.
Adequate for the current number of bedrooms as the planned increase comes into play some consideration may need to be given to creating further bar and dining areas. As an experienced Accor executive observed to be me recently “30 odd bedrooms is basically a mom&pop operation”.
Whilst Swinton Park is 38 bedrooms currently, plans are afoot to add more to this total along with a new spa area. There is plenty of room for this expansion without spoiling the nature of the operation but it will need some thoughtful replanning of the public spaces to service the increased demand they will generate.
Among spaces currently available are a second guest lounge and the library, currently used as a function room. Whilst the GM regrets the fact that the original library shelves have gone, and they must have been spectacular in a house of this period, what remains is in itself a stunning space. High clings and huge windows flood it with dayl