This week's instalment of the #SBIDinspire series features the re-development of DeVere Tortworth Court Hotel, a historic Gothic mansion which is located within a scenic parkland on the Cotswold Edge, beside the Severn Valley and close to Bristol.
Tortworth Court is an elegant and sophisticated hotel surrounded by enchanting scenery located just outside of Bristol and dating back to the 11th Century. Over the past 12 months the hotel has undergone a lavish refurbishment as part of the DeVere property refurbishment programme. Virtual Resolution has been working alongside DeVerve and its design/development teams to visualise the proposals for Tortworth Court, Wokefield Estate, Latimer Estate and Wotton House. This project was particularly challenging due to the listed nature of parts of the building, the complex ceilings, bookcases and fireplaces required detailed modelling. The CGI’s & 360-degree views created within 3Ds Max, Vray & Photoshop have been used not only to inform guests of the re-development, but also assist the design team and management specify fittings and fixtures that would enhance this beautiful building.
SBID had the opportunity to speak with Tim Power, Director of Virtual Resolution about this outstanding CGI & Visualisation project.
Company: Virtual Resolution
Project: DeVere Tortworth Court Hotel
Project Location: Britsol, United Kingdom
What was the client’s brief?
We have worked on a wide range of projects with the Principal Hotel group to support a major UK wide refurbishment programme. Our CGIs and 360 degree views have helped bring to life proposed multi-million pound refurbishments at a number of their properties.
For this project DeVere’s design and development team partnered with us to visualise their proposals to transform Tortworth Court in the Cotswolds. Each image was to be used as part of the design, sign off and public engagement process and therefore had to accurately portray the internal and external design teams’ aspirations.
Each view clearly visualised the proposed fittings and fixtures as well as showcasing exactly how each detail integrated with the existing buildings and complemented the features that would be retained. We were commissioned to create stunning visuals that accurately represented the design proposals for the mansion house, including its guest suites, bathrooms, main bar, function rooms, meeting rooms and exceptional Victorian conservatory, The Orangery.
What inspired the design of the project?
The inspiration for this tasteful refurbishment was to maximise the essence of a grand English Country Estate, rooted in tradition but with a contemporary and eclectic approach. The space would reflect the grand traditions of Great Britain and the country manor house, with a modern feel that combined comfort and style with grace and character.
What was the toughest hurdle your team overcame during the project?
Tortworth Court is a Grade II listed Victorian mansion and the complex ceilings, bookcases and fireplaces required detailed modelling. The building has some stunning features and our challenge was to portray these accurately and to scale in each of our visualisations, whilst showing how the contemporary design elements would work seamlessly with these assets to create an impressive overall impact.
What was your team’s highlight of the project?
The design team at DeVere Hotels had truly great vision and it was a real privilege to work alongside them to bring their ideas to life. The whole Virtual Resolution team found this an inspiring project to work on and we enjoyed playing our part in creating a series of great images which have now been turned into reality.
Why did you enter the SBID International Design Awards?
We do some fantastic work that regularly pushes boundaries and exceeds client expectations. We rarely shout about it but in the case of Tortworth Court we felt the project was a perfect example of how CGI and visualisation can be used effectively to create a more experiential approach to marketing and interior design.
Questions answered by Tim Power, Director at Virtual Resolution.
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Virtual Resolution | SBID International Design Awards 2017
This week's instalment of the #SBIDinspire features a design project with particular grandeur. Stonehill & Taylor upheld a traditional design scheme sympathetic to the historically Federalist architecture as they crafted a hotel suite fit for royalty - or in this case, a Presidential audience.
Located on the 14th floor and newly expanded to 4,000 square-feet, the Presidential Suite features historic accents and elegant furnishings, as well as an array of artwork ranging from pastoral landscapes to Chinoiserie accent pieces. Immediately upon entrance to the space, the grand entry hallway sets the tone for the suite, with floors elaborately patterned in three types of marble. This exits dramatically into the rotunda, a bright, 12-foot-high octagonal dome that opens to the reception, fitness room, and master bedroom entryway. The living room area features gold, rich red, and pewter details with a baby grand piano as the focal point, while the bedrooms have a palette of powder blue, cream and taupe. The master bedroom leads to a spacious bathroom haven that features a steam shower and the only freestanding tub in the hotel.
SBID had the opportunity to speak with Vince Stroop, Principal with Stonehill & Taylor.
Company: Stonehill & Taylor
Project: InterContinental New York Barclay Hotel - Presidential Suite
Project Location: New York, United States
In 2012, Stonehill & Taylor came on board to manage the architecture and interior design of room 702 of the InterContinental New York Barclay hotel. Because the hotel has been renovated multiple times throughout the years, its style was often mismatched. Our brief was to strip the hotel back to its original intention, following a Federalist style of architecture and interior design. More specifically, we wanted to create flourishes in the Presidential Suite to distinguish it from the rest of the hotel—as a result, you’ll see lots of symmetry, millwork detailing, and the layering of materials like marble and stone.
The hotel was originally built in 1926 when there was a revival of the Federalist period. We sought to return to these design principles. Take for example, the Presidential Suite’s grand entry hallway. It features a classic floor pattern created using three types of Italian marble and leads to a dramatic rotunda featuring an 11-foot-high octagonal dome and acts as the centre point of the suite which opens to several of the other main spaces.
The Presidential Suite is heavily used by world dignitaries and demanded the latest in technology and high security standards—it required a separate HVAC system, shatter-proof glass, bulletproof wall construction, and sound-proofing—which was tricky to reconcile with the classic nature and traditional style of the design brief.
This hotel is located very close to the United Nations Complex and deeply rooted in political history. Bill Clinton even ran his 1992 Presidential campaign from its very address. The real excitement however, is that former President Barack Obama has stayed in the Presidential Suite both before and after restoration and former Vice President Joe Biden was the first to occupy the suite post-renovation. Our involvement with the hotel and the suite was a labour of love, and it’s thrilling to think that it’s used and appreciated by leaders from around the world.
We entered the competition to bring recognition to this project and to offer the SBID audience a window in to the hotel’s design. The wider public may not have the opportunity to visit the hotel, but through this competition, they can get a glimpse of what it would be like to stay in the Presidential Suite.
Questions answered by Vince Stroop, Principal with Stonehill & Taylor.
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Entries to the SBID Awards 2017 are now closed. To find out more about booking a table, click here
Stonehill & Taylor | SBID International Design Awards 2017
This week's instalment of the #SBIDinspire series features the Grand Hotel Krasnapolsky, located in Amsterdam and overlooking the legendary Dam Square.
The Grand Café, housed within the Grand Hotel Krasnapolsky has been imaginatively revived by Studio Proof, along with the hotel’s other food and beverage offerings and public spaces. Elegant and contemporary but also designed clearly within the style and tradition of noble European cafés, the venue is three times the size of its previous iteration and has been sectioned into three adjoining areas, each accommodating different dining experiences. A fully glazed pantry housing enticing patisserie displays stands by the entrance, surrounded by compact booths. The next space in the enfilade is dominated by a magnificent seafood counter dressed with a white carrara marble top and custom lamps, and framed at each end by a floor-to-ceiling champagne wall. The far end is balanced with a floor-to-ceiling display of fine teas and sharing tables, with bespoke pendant lights hang throughout to articulate the space and capture the attention of passers-by.
SBID had the opportunity to speak with David Morris, Creative Director of Studio Proof.
Company: Studio Proof
Project: NH Collection Grand Hotel Krasnapolsky, Amsterdam
Project Location: Amsterdam, The Netherlands.
Studio Proof was tasked with the redesign of all public areas and food and beverage venues within the legendary Grand Hotel Krasnapolsky. This was the first full refurbishment of the hotel for nearly half a century and called for the designers to rationalise the space to make sense of the 50-plus individual buildings that had been absorbed into the property since 1865. NH had just launched their new luxury NH Collection brand and so this was the first manifestation of it. Relevance to the brand and its colours were very much part of the client’s focus and we had to skilfully steer that alongside the sensitivities needed in this historic and much-loved hotel.
We were inspired by the history of the hotel, the story of the original owner, and the fantastic location. We wanted to tastefully update the spaces to combine cosmopolitan style with subtle references to the hotel’s heyday – the glamorous 1920s – to achieve interiors fit for the highest quality within the NH brand. The Grand Café is stylish and modern whilst also in keeping with the traditions of noble European cafes; we wanted to make the most of its stunning views across Dam Square and did so by adding more large windows and tripling its size so that it now spans one side of the hotel. The White Room is the oldest restaurant building in Amsterdam, protected by Dutch Monumental regulations, and called for a sensitive touch, whereas the Tailor Bar is a brand new venue whose more light-hearted décor is inspired by Wilhelm Krasnapolsky who started his working life as a tailor.
To be honest, it was simply getting 85% of our design ideas built. So much was invested into removing unexpected amounts of asbestos, inputting extra steel work to hold up the fragile houses that form the hotel (56 of them and some 500 years old), and the sheer quantity of steel needed to remodel the public spaces, it meant that the fit-out budget was really challenged. What we achieved with the budget we had and the building conditions we inherited was nothing short of a miracle, and stands as testament to the whole design team’s fortitude and perseverance. Grand Hotel Krasnapolsky is now a credible and stylish ambassador of the NH Collection brand values and it has been really fulfilling to see this design come to fruition.
To be honest, it was simply getting 85% of our design ideas built. So much had to be invested into unforeseen enabling works and introducing extra steel work to hold up the fragile houses that form the hotel (56 of them and some 500 years old) as well as the sheer quantity of steel needed to remodel the public spaces, it meant that the design budget constrained. The final achievement is testament to the whole design team’s resourceful pragmatism. Grand Hotel Krasnapolsky is now a credible and stylish ambassador of the NH Collection brand and it warms our hearts to see our design come to fruition.
I thought it would be interesting to take part in an international and prestigious contest known all over the world as The SBID International Design Awards; moreover I knew it could be also a good way to get in touch with other design professionals, to keep informed on the news and to be part of the SBID society.
Questions answered by David Morris, Creative Director of Studio Proof.
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Entries to the SBID Awards 2017 are now closed. To find out more about booking a table Click Here
Studio Proof | SBID International Design Awards 2017
This week's instalment of the #SBIDinspire series features MKV Design's glorious renovation and extension of Hôtel Royal Savoy, Lausanne, Switzerland. Drawing on the Art Nouveau heritage of the original property while redesigning the spaces in the old building, aiming to delight today’s international travellers and local guests. By contrast, the new wing is resolutely modern in style with smart, streamlined interiors. Throughout, luxury has been taken to a new level with elegant new guest rooms, magnificent suites and captivating public areas while connection to the hotel gardens as well as the city has been restated with ingeniously created views at both ground level and from the rooftops.
SBID had the opportunity to speak with Maria Vafiadis, Founder and Managing Director of MKV Design.
Company: MKV Design
Project: Hôtel Royal Savoy
Project Location: Lausanne, Switzerland
Hotel Royal Savoy was once one of Lausanne’s Grandes Dames but was closed and in disrepair when the project began. The vision was to reinvent the legend, taking design cues from the old building but essentially creating a new hotel. In the process, the footprint of the hotel was virtually doubled with the addition of a new wing.
The concept of the classic grand hotel is particularly Swiss and design inspiration was found in the hotel’s beautiful gardens, its quintessentially Swiss views of Lake Geneva, the Art Nouveau heritage, whispers of history and the owner’s private art collection.
The new plan takes guests on a journey through distinctive spaces, each one heralded by a custom-designed decorative screen. From the classical arrival hall onto the lounge where a grand double-height space is revived as a glamorous showpiece with dramatic lighting and new furniture that hints at Art Nouveau. There are new plaster mouldings, in a style similar to the original, while elegant hand stencilling replicates earlier decoration to the walls. The bar is the next stage, looking towards a new glazed extension and the sudden vista of the gardens. To one side, the walkway, which may be fully opened-up to the sunshine, flows through the garden to the new building.
In reality, there weren’t any great hurdles in this project. We’re used to reinventing Grand Dames for the next generation and always find them a great joy and privilege to work on as we relish the research and sensitive considerations that this kind of project involves.
The spa was a certainly a highlight for us. The boldly contemporary design means that it is completely unlike anything else that Lausanne has to offer and it is thrilling to see how well it is being received by both hotel guests and local people. It was also a real pleasure to be able to work with some of the original elements of the hotel such as a historical wall mural depicting a rural idyll, which was relocated from the entrance lobby to the restaurant, as well as antiques and artwork from the owner’s personal collection.
Further to this, the team relished the opportunity to create guestrooms in both the new and heritage buildings that made the most of the spectacular views over Lake Geneva and the beautiful hotel gardens. The opening up of the rear of the original building with the glazed extension and terraces continues this connection between indoor and out.
SBID is one of the most highly respected awards schemes in the industry. We value the calibre of the projects entered and take pride in having our work judged by such an esteemed panel.
Questions answered by Maria Vafiadis, Founder and Managing Director of MKV Design
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MKV Design | SBID International Design Awards 2016
Photography by Robert Miller.
Today’s post is dedicated to the second installment about the recently opened The Wellesley hotel in Mayfair.
A lot has happened since Part 1 when A-Gent of Style reviewed the ground floor public areas of the already prestigious hotel.
But first and foremost, congratulations are in order: The Wellesley and award-winning Interior Design company Fox Linton Associates have been shortlisted for three awards at the 2013 European Hotel Design Awards; The Jazz Lounge and Oval Restaurant, The Crystal Bar and also The Suites are now in competition.
What an impressive achievement. Highly deserved.
A-Gent of Style was granted access to all floors of this 5-star ‘new kid on the block’ (The Wellesley itself confirmed it is not a 6-star hotel despite the media hype before its opening) and is taking you today on a private tour of the guest rooms.
Above the public areas of the ground floor, The Wellesley is graced with 36 guest bedrooms spreading over seven floors, the last two culminating in the signature Wellesley Penthouse offering a private terrace with stunning views of Hyde Park.
Every room offers 24-hour-butler-service and is individually finished with sumptuous décor and amenities, equipped with the latest state-of-the art technology ( electric curtains, 52″ flat screen TVs, in-room laptops, Samsung control tablets and complimentary Wi-Fi), all cleverly integrated in the bespoke elements.
The rooms are sheathed in a palette of cream, ivory and off-white – mostly faux leather panels on the walls, luxurious wall-to-wall carpets and beautifully drapes of pleated fabric on the windows – with different accent colours (gold or burgundy in the Deluxe rooms), and some of the bespoke joinery designed by Fox Linton Associates is made of Art Deco-favoured ebony Macassar in a high gloss, veneer-finish. There are hints of brass and bronze in the custom-made lamps by Dernier & Hamlyn (who also created the chandeliers on the ground floor) and also the ribbed lever handles by Joseph Giles (but polished nickel on the bathroom side). The stepped, coffered ceilings provide soft and flattering glow that complement the colour schemes. Elegant black and white framed photographs from Vogue and Vanity Fair archives, probably shot by Blumenfeld, are scattered around the rooms (and the corridors). The headboards are upholstered in leather and the deluxe king-size beds are enveloped in customised luxurious bedding. A perfect night, no doubt, to be had in the arms of Morpheus.
The Penthouse floors comprise the Churchill Suite, Wellesley I, Wellesley II and Penthouse Suite which are the jewels in the crown of The Wellesley. The latter is situated over the top two floors which are linked by a private leather-panelled staircase. This suite can boast its own private terrace, boardroom and personal humidor. All the rooms are interconnected and give a great sense of rhythm, fluidity, privacy and exclusivity.
Here, the rooms are wrapped in a palette of champagne and pearl, the accent colours on the sensuous mohairs and velvets are rich, saturated midnight blues and browns, and there are hints of silver and gold to express the glitzy “Roaring Twenties”/Hollywood feel.
A-Gent of Style found the stepped, travertine Art Deco fireplace simply sublime.
A humidor and a wine cabinet, both in high gloss Macassar, are flanked on both sides of the dining table.
All the bathrooms at The Wellesley are equally stunning: the focal point is unquestionably the beautiful, deeply veined Italian Carrara Arabescato marble on the floor and on the walls which give the rooms great character, substance and grandeur. The shiny mirrored, silver-polished vanity units and shelves add a sense of elegance. Top-end bathroom fixtures and accessories by Dornbracht and Villeroy & Boch finish off the décor superbly well.
So, whatever takes your fancy – a top-notch cigar, Cognac, cocktail, intimate meal, celebratory Afternoon Tea or romantic stay in a suite (A-Gent of Style will happily settle for all of them. At the same time) – The Wellesley is the latest ultimate hideaway in London to ‘Chanel’ your inner Agatha Christie in stylish and tasteful surroundings.
A-Gent wishes Fox Linton Associates and The Wellesley good luck on November, 19 at the EHDA awards ceremony.
Last week, A-Gent of Style thought that the best way to start the weekend would be to mix business (design) with pleasure (well, one of them – food) and to have breakfast in stylish surroundings. The London EDITION opened its doors during London Fashion Week last month and consequently got engulfed in a mediatised whirlwind. This opulent establishment is the third of the EDITION Hotel brand, co-founded by Ian Schrager – he of Studio 54 and the 1990s revolutionary (now derided) concept of the boutique hotel (The Sanderson, St Martin’s Lane, Mondrian, The Delano), – and Marriott International, which marks the return of the hotelier to London after almost fifteen years.
Located in Fitzrovia, opposite The Sanderson, The London EDITION is a 173-room hotel with plenty of charisma and history. The hotel is said to be inspired by ‘the grand traditions of Great Britain: the traditional, aristocratic English country manor and the London private gentleman’s club with a modern, edgy, urban feel’. After a £33,000,000 makeover, the hotel can boast deluxe rooms, suites, a penthouse, two bars, a restaurant, a dance club and a 24-hour fitness facility. Originally built in 1835 as five luxurious townhouses still showing the Georgian hallmarks that characterize London’s finest residences, the buildings were combined to form the Berners Hotel in 1908, at the height of the grandeur of the Edwardian era. The sumptuous interiors, lavishly decorated with marble and intricate carved ceilings, are superb Grade II-listed examples of Belle Époque extravagance at its very finest.
The London EDITION has managed to make the transition to the 21st century swimmingly and has a plethora of modern design elements to prove it. Third time lucky, Schrager designed the hotel collaboratively with the amazing American design studio Yabu Pushelberg honouring the orignal features by blending them with sophisticated yet welcoming contemporary touches and innovation.
This result of old and new, past and present, authenticity and originality makes The London EDITION difficult to pigeonhole or classify; what could have been transformed into an overbearing, grotesque pastiche of styles comes together as a seducing confluence of refined Georgian and Edwardian elegance, edgy urbanity and an undeniable pulsating energy.
The restaurant, Berner’s Tavern, run by none other than award-winning chef Jason Atherton is where A-Gent of Style’s aesthetic and culinary experience began.
As I entered the room from Berners Street, I was first struck by the white, intricately carved plasterwork, mouldings and cornices, all original, featuring the gamut of medallions, urns, fans, muses and cherubs that you would expect from Georgian times. Two large ‘skeletal’ Fabergé Egg-shaped bronze chandeliers with naked bulbs inspired by the ones in New York’s Grand Central Station adorn the room (their shape reminded me also of Cinderella’s carriage even though this inspiration is probably unlikely and just the result of my wild imagination) – a great addition to anchor the room and scale it down. Underneath them, eight back-to-back demi-lune banquettes upholstered in beige leather and ebony chairs with seats in raspberry cotton velvet make up a central island topped with scattered candles (not seen on these pictures) which, I was told by the head waiter, give the room a sensual and intimate feel in the evening.
There is an impressive display of disparate gilt frames with black and white or colour photographs (expect contemporary still lives, interiors, statues, portraits and landscapes) on all the walls, themselves dipped in a warm lead colour with undertones of purple, similar to Farrow & Ball’s Down Pipe.
The room with its reddish-brown chevron parquet is furnished with chestnut-brown mohair banquettes against the walls and two-seater bleached oak square tables with circular bronze pedestals (ideal when you have long legs like mine that can’t ‘navigate’ around table legs). Facing the street entrance, there is a long communal oak table with newspapers strewn on it in the morning that can accommodate ten diners if necessary, one of the welcoming touches of the ‘a home from home’ ethos of the hotel, like the glass sliding doors of the kitchen that let you have a peek at the work in progress.
If you enter the room from the foyer, the first thing you see is the central long bar with its imposing and bright sunflower-yellow, back-lit vitrine displaying a vast array of bottles; the bar is made of dark brown wengé, and is topped in aluminium; it stretches almost as far as the wall ends and is lined up with oak stools. Behind them, three sets of tables (travertine top and bronze pedestal, both circular) with leather tub chairs arranged as a quatrefoil (with a chic bronze nailing dotted around the top of the frame) offer a more intimate seating.
When you enter the hotel from the main entrance, you go through a glass box-like vestibule leading you into the foyer and reception areas. Large and imposing are an understatement here as the soaring ceilings and tall columns will take your breath away. It would be futile to try to narrow the style down to one era as old and new happily cohabit and complement each other. The surrounding walls, floor and columns are clad in the original marble which continues on the sweeping staircase in the corner. There are different ‘loungey’ areas dotted around the foyer where the guests can relax, entertain themselves, work or simply marvel at the aristocratic grandeur of the building.
The hanging egg-shaped sculpture in polished silver by Ingo Maurer presides over the room and is compelling, not simply because of its size but also by the mirroring effect that distorts the space (and the viewer).
The intervention of modern furniture and lighting like Christian Liaigre’s allows simplicity and minimalism and is the perfect foil to counterbalance the four majestic back-lit arches in antique mirror.
The color palette juxtaposes old with new: subtle, subdued off-white and taupey fabrics complement the bright green accent colour of the cotton velvet on some of the sofas.
Situated by an original fireplace, vintage-looking highback and wingback chairs by Frits Henningsen give this space delineated by a rug an air of Gentlemen’s Club.
There is a game area on the left-hand side of the foyer with an L-shaped deep-buttoned sofa leather upholstered in dark khaki leather and slipper chairs in mustard cotton velvet, siding a vintage billiard table.
On the left-hand side, a Donald Judd inspired black walnut table with pull-out chairs is fitted with Apple desktop computers and outlets for laptops, the perfect 21st century workstations.
The reception desk features a striking reproduction of a 1773 Louis XV Gobelin tapestry (that made an appearance in the The King’s Speech) stylistically confronting a contemporary art piece on the back wall that works like a convex mirror and changes colour (a recurring theme in Schrager’s hotels – see the rooms at St Martin’s Lane).
The corridor leads, on your right, to the lifts and restrooms. The Gents’ are wrapped in white marble with little veining and the joinery is bronzed, resulting in a definite air of sobriety and masculinity heightened by up-market fixtures in polished silver by Duravit, Geberit and Villeroy & Boch.
Nestled at the back of the hotel is The Punch Room; this is the private Gentlemen’s Club of the hotel that looks like an English country manor den with plenty of intimate areas: wood panels envelop the room furnished with tufted banquettes in Gustavian blue velvet, mint green leather tub chairs, dark brown leather club chairs, modernist brass sconces and a small bar in solid bronze tucked away in a corner.
Away from the communal, social spaces, The London EDITION is devoted to the personal, the private and the intimate, and to offering an individual experience of luxury and a retreat from the street.
Sadly, A-Gent of Style did not have the time to see the rooms and the 2,000 sq. ft. custom-furnished penthouse, all clad with wood panels in a Scandinavian style, which would require an entirely separate feature. As for the dance club, there is only one way to relive Studio 54 and review it…
So almost a year after the opening of The Wellesley, here is another glittering Grande Dame of hotels with a written and visual narrative that sees a new light of day in the English capital. The London EDITION offers the individual a new lifestyle and blurs the lines between home, office and playroom for relaxation and indulgence. Creating a unique atmosphere and aesthetic experience that give its guests a sense of belonging and satisfaction was paramount to the ethos of a hotel of this calibre. Mission accomplished.
Author: French Interior Designer Fabrice Bana, founder and editor of A-Gent of Style
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