With rapid population growth, urbanisation and the ability to purchase goods at our fingertips, we in the western world have become overall a wasteful on-demand society that on the whole is unfortunately not sustainable in our thinking.
More specifically in hospitality, while initiatives such as putting a curb on single-use plastics have been celebrated, ‘greenwashing’ has become a commonly used term in order to expose those whose veneer of a sustainable establishment is actually doing more harm than good. In order to grasp sustainability’s role in the future of hotel design, and to put forward viable alternatives, we must look beyond the semi-sustainable methods of yesterday and instead research consciously with aim to find new methods that are not just kinder to the environment, but will also enhance local relationships and improve aesthetic qualities.
As ever, it falls upon the design community to put forward innovative methods that make sense for the future projects that will emerge on the international hotel design scene. In this exclusive virtual roundtable, sponsored by Architextural, we handpicked designers and architects in order to question sustainability in surface design, and learned that ‘sustainable does not always mean natural’.
On the panel:
Ben Webb, Co-Founder, 3 Stories
Geoff Hull, Director, EPR Architects
Harriet Forde, Past President, BIID and Founder of Harriet Forde Design
Henry Reeve, Head of interior design (IHG – Kimpton and Hotel Indigo)
Maria Gutierrez, Project Architect at Holland Harvey Architects
Una Barac, Founder and Executive Director, Atellior
Jack Halewood, Business Development Manager, 3M
Lindsay Appleton, Marketing Manager, Architextural
Jeremy Grove, Managing Director, Sibley Grove
Hamish Kilburn, Editor, Hotel Designs
Before we delve into materials and far-fetched, eco-driven initiatives in surface design, in order to establish misconceptions, we should look at architectural wrapping has become increasingly popular in recent years. On the surface of the debate, using PVC is contentious and, despite it being the world’s third-most widely produced synthetic plastic polymer, it is not particularly sustainable. However, used in the right way, surface manufacturer Architextural believes the process of wrapping can significantly help designers and their clients achieve a sustainable outcome when it comes to upcycling goods.
Hamish Kilburn: Lindsay, you’re the marketing manager for Architextural. Can you tell us a bit more about the brand’s sustainability credentials?
Lindsay Appleton: Architextural, is a new brand, part of William Smith Group, which was established back in 1832. The concept of wrapping existing surfaces, instead of sending them to landfill, is contributing to a more sustainable future. In 2021, we have more than 1,000 patterns on the shelf, so as well as offering an environmentally friendly process, we also have a lot of variety in our ranges to suit most design applications in so many sectors – our products are incredibly versatile.
HK: Jack, you work for 3M, which manufactures Architextural’s product. Can you tell us more about this process?
Although the product is PVC it’s optimised to withstand wear and tear, UV, impact and it’s exceptionally conformable. Therefore, it can prolong the lifespan of products and eradicate the need for excess waste. 3M Architectural Finishes range is designed to meet aesthetic demand, while delivering functional benefits which can improve the sustainability of projects.
HK: What makes this process sustainable?
LA: The concept of wrapping using a PVC product, makes it a durable refurbishment solution. Rather than ripping out existing fixtures and fittings to be sent to landfill, upcycling what’s already there qualifies for all the LEED (Leadership in Energy and Environmental Design) credits around reusing existing furniture and reusing existing materials. The process is therefore much more sustainable, and there is less disruptive over having a traditional refurbishment. By upcycling what was already there, it is a sustainable way to reduce cost.
Image credit: Architextural
“Anything that allows you to reinvent without throwing out has got to be a good thing.” – Harriet Forde, Founder, Hariet Forde Design
HK: What is driving the rise in upcycling surfaces – is this ‘trend’ purely linked to sustainability?
Harriet Forde: I think we are trying to address the natural desire of humans to evolve and change. We are always looking forward to the next thing that is happening. We are a visual animal and looking forward to see what is trending. However, we cannot expect revolutionise all the time. We have to be able to manage that in a way that is sustainable. Anything that allows you to reinvent without throwing out has got to be a good thing.
Una Barac: When I started in the industry some two decades ago, Wenge was a popular veneer. We, as designers, allowing for it to become so popular came very close to exterminating that entire species of a tree. This is why we will now use blackened oak as an alternative– so we will find sustainably sourced oak and we will treat to achieve that dark effect without having to travel the world to find exotic species of wood, cutting it down and flying it half way across the globe.
So, for me, there are sustainable ways to being true and authentic – and we are learning more all the time. We should be designing with location in mind.
HK: Before the pandemic, I believe clients were really starting to understand the value of sustainably sourced goods beyond them just being eco-friendly. How this attitude changed since the pandemic with hygiene creeping up on the agenda?
Ben Webb: It’s definitely come up in conversations, but it isn’t the driving factor behind us putting these spaces together. Clients, and in fact people in general, are so much more aware now than they were five years ago when it was just used to sound good. The awareness now – and the fact that it is written in a lot of these briefs from day one – is very important. You need to talk about it from the beginning of a project rather than at the end.
“The greenest, most sustainable products are the ones that already exist.” – Ben Webb, Co-Founder, 3 Stories.
It doesn’t have to be some crazy new material, but it could just be the fact that you reuse the furniture. The greenest, most sustainable products are the ones that already exist. Let’s not forget that there are a lot of products and materials that already exist. In the past, we have had that shift with warehouse-like interiors, but actually the larger discussion point is the products that have been produced and we could actually reuse them. Wrapping these products, for certain brands, is extremely important.
Hygiene is coming up in conversation but our lead times are around two years – sometime longer. Therefore, there is a bigger picture and we always have to look ahead.
HF: As a designer, you should set the parameter right at the beginning of the project with how much your intention is to be sustainable, because it ultimately impacts the budget, and clients often see you reusing as a way to save money.
Geoff Hull: A lot of reused materials such as plastics can achieve ergonomic and geometric forms in a slender and elegant way. Polymer products can also carry other non-porous and hygiene friendly surfaces particularly relevant in our current Covid conscious World.
Henry Reeve: One of the ways we try to be sustainable is to ensure that our designs stand the test of time, so that we are not ripping stuff out after a couple of year, because then by definition you are not creating waste.
“In the QO Hotel Amsterdam, for example, all the carpets are made from recycled fishing nets.” – Henry Reeve, Head of Interior Design, IHG (Kimpton/Hotel Indigo).
Image caption: QO Amsterdam is an excellent example of a hotel that shelters innovative sustainable initiatives.. | Image credit: IHG
Image caption: In QO Hotel Amsterdam all the carpets are made from recycled fishing nets. | Image credit: IHG
We have introduced some interesting initiatives in some of our hotels. In the QO Hotel Amsterdam, for example, all the carpets are made from recycled fishing nets. Plastic is obviously a very durable material so this works perfectly. Also, in our Voco hotels, all the duvets are made from recycled bottles – and we have received really positive feedback from our guests regarding how comfortable they are.
One of the initiatives with furniture, is when they come to end of life with the hotel, but still in good conditions, we have donated our FF&E to housing projects and youth facilities.
When it comes to wrapping, we did implement this with the case goods inside some of the meeting rooms in InterContinental Park Lane. This was a time-saving a cost-effective process that really worked.
HK: And Henry, how do you sensitively communicate these initiatives this to guests?
HR: You have to be careful when shouting about renewables. There’s information there should the guests want to read more.
“We have to, if we are creating new products, ensure they don’t end up in landfill 10, 20 even 100 years down the line.” – Jeremy Grove, founder, Sibley Grove.
Jeremy Grove: The way in which we try to work is that we see the problem being more of a design problem and not a material one. We need to understand what happens afterwards. Wrapping and giving a product a new lease of life. A product is only desirable when we are using it and once we throw it away it is then no desirable at all. So, we have to, if we are creating new products, ensure they don’t end up in landfill 10, 20 even 100 years down the line.
The Fox & Goose is a good example, because it was designed to be dissembled, using materials that could be taken back to source and regenerated into a better quality.
For us, it’s about doing what’s sustainable and what makes good business sense. It’s really important for us to work with clients who don’t always share our ethos so that we can teach them as the project develops. Working with owners, operators and developers, if we can help to change their mindset on sustainable even by just a little bit then we are contributing to our industry as a whole thinking more consciously.
Image caption: The Fox & Goose, designed by Sibley Grove, was created to be dissembled | Image credit: Fox & Goose
“We found a company that will pick up all the materials that we’re stripping on the site.” – Maria Gutierrez, Project Architect at Holland Harvey Architects.
Maria Gutierrez: I find that we also develop as designers when we are able to work on two projects under the same brand. We are currently working on designing the second Inhabit in London and we have taken so many learnings from the first, which was a fully sustainable hotel sheltered inside a Grade II listed building. We found a company that will pick up all the materials that we’re stripping on the site. All the marbles, all the tiles. When you recycle, and upcycle, them they become beautiful statements of sustainability. We are upcycling all these materials and repurposing them to be the worktops in the new hotel. Learning from the first hotel, we are able to go even further with the next project.
And then we get to the process of Value Engineering (VE), in which sustainable initiatives always suffer.
Image caption: Inhabit London is grade II listed, designed by Holland Harvey Architects, is a fully sustainable hotel that confronts the ideology that heritage buildings cannot shelter sustainable spaces. | Image credit: Inhabit Hotels
BW: A lot of VE comes down to longevity. It may be a sharp cost now, but if something stands the test of time then its value increases.
“I have recently seen recycled terrazzo with chunks of plastic in.” – Henry Reeve, Head of Interior Design, IHG (Kimpton/Hotel Indigo).
HK: What has caused the rise in demand for exposed concrete surfaces?
GH: We have had a few projects including Ace Hotel and Village Hotels where concrete was seen as an honest and robust material. Techniques with formwork and ingredients has enabled a menu of different textures, finishes and colours for new build projects (where re used concrete can be crushed and used as aggregate) or existing retained superstructure can also add character and historic reference to any project.
Image caption: Ace London, with architecture from EPR Architects, utilises concrete to create a raw texture. | Image credit: Ace Hotels
Image caption: A guestroom inside Ace London
HK: How can using upcycled materials in surfaces add new layers to a design of a hotel?
HR: There’s definitely interesting materials that have caught our eye, especially around recycled plastic. Technology has moved on leaps and bounds and I have recently seen recycled terrazzo with chunks of plastic in. Chunks of marble and/or wood in a terrazzo material looks stunning and create a very luxurious feel. I am expecting to see more of that in the future.
“Even the largest brands can be very excited by ideas around upcycling and recycling.” – Una Barac, Founder and Executive Director of Atellior
UB: Everyone seems to have a broader awareness. Even the largest brands can be very excited by ideas around upcycling and recycling. Here are a few examples. Park Plaza purchased an existing property which had almost 400 chairs that were made from cherry wood and upholstered with paisley patterns. We literally stripped them down with a local workshop that sanded the wood, painted each chair and then reupholstered them with a modern fabric.
Another example is a Hilton property in Bournemouth. The owner had procured antique furniture. In the spa, we decided to use one of these items – a desk – and we upcycled it which we then encased in glass because there were concerns with splinters. This piece of furniture became a beautiful focal point within the hotel.
BW: We have found that materials can have a dual purpose, when they have a very practical use but also very aesthetically pleasing.
“Just because it is natural does not mean it is sustainable” – Jeremy Grove, founder, Sibley Grove.
HK: During R&D, what far-fetched materials have your teams discovered in new surfaces?
JG: For me, a lot of what we focus on is not really the far-fetched stuff at all! Our work we did with Selfridges is a great example, which allowed us to look at a material that is upcycled fishing nets and ropes.
However, just because it is natural does not mean it is sustainable. Take oak, for example. It takes between 75 – 150 years to mature. If we were using this in a shop fit-out intended to be used for just six months then it really isn’t sustainable at all. When designing, we as an industry sometimes neglect that a lot ecosystems rely on these natural materials. We have lost vast amounts of our oak and its solutions around these problems that I am interested in.
GH: Nothing ‘far-fetched’ comes to mind but quite often we get to use many recycled materials either through manufacturing and specification choices or through the use of existing on site materials. We have many listed building examples where we have dismantled (rather than demolish) parts of a building for re-use in its altered form (stone , timber flooring , mosaics , cornicework etc).
HF: Sometimes the product that does not have the best sustainably credentials, like PVC for example, can in fact be the most sustainable if it is long-lasting and by not changing it you are actually being more sustainable.
BW: We all have a collective responsibility and awareness when we are designing a new hotel because we are making a massive impact. As designers, we have to meet the brief and make these spaces look stunning, but we there is no harm to think a little deeper to try and design in a clever way to try and source the best, most sustainable products and materials.
MG: The world and customer is starting to become more interested in sustainability and is able to make informed decisions around travel, design and fashion. This widespread knowledge is making it easier for designers to discuss this with clients. It’s also a great opportunity for hotels to tell their narrative in a unique way.
UB: It’s about designers taking developers on a journey to set the brief and parameters and educating the client as you move forward.
Image credit: Architextural
Image credit: Architextural
HK: How has this movement change the way in which design and architecture is taught?
JG: In terms of how it’s taught academically, it has always been part of academia. The largest challenge is how we translate that into the commercial world and there is a disconnect between them. It takes real resolve to challenge some of these conventions. Design has to lead that journey.
GH: I believe the use of conventional and traditional materials and methods have developed and altered considerably over the last 25 years and there is a greater choice of materials which address form ,and function as well as embrace recycling/upcycling credentials.
HF: At the British Institute of Interior Design (BIID), we run an annual student challenge. When I was on the judging panel two years ago, the students were very focused on sustainability. In a student scenario, it is very idealislised and in the line of work there are a lot trip hazards along the way. CPD, though, is a really positive way to continually educate yourself in what is a continually evolving industry anyway.
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