Hotel Design Raises Awareness of Issues Related to Ecological Sustainability

This week’s instalment of the Project of the Week series features a hotel design by 2022 SBID Awards Finalist, YANG.

What was the client's brief? 

The hotel is located in Nanjing Tangshan Garden Expo, covering an area of 13,745 sq.m. YANG took over the project in June 2020 and completed it within a year. The design team had two major tasks: to create a unique space experience, accurately interpreting Indigo’s neighborhood culture and making the hotel stand out from competitors in the area, and to deliver the spirit of the place through the design with local characteristics, thus drawing attention to the issues concerning the protection of the geological environment in Tangshan.

What inspired the design of the project?

Tangshan is rich in geological resources. In a one-kilometer radius, there are mine pits dating back over a millennium, abandoned quarries and national geological parks. Since the Indigo brand is always at the heart of closely related neighborhoods, the design team has conducted a thorough geological and cultural investigation of Tangshan and drawn on Tangshan’s original environmental features. Inspired by Tangshan’s mineral ore, the team decided to make it the theme of the space. The design team hoped to inject new vitality into the old mine pits and arouse people's awareness of the issues related to natural recovery and ecological sustainability.

What was the toughest hurdle your team overcame during the project?

It is the first time that the Indigo brand has entrusted a design team with telling Indigo’s neighborhood story. The team had only one year to work on the project, from the design concept to implementation. Within the limited time, the team managed to create a unique space experience, accurately interpret Indigo’s neighborhood culture, and enhance the competitiveness of the hotel. Since its opening, the hotel has stood out from its competitors in the area and earned a reputation for its distinctive theme, exciting experiences, and neighborhood story. Moreover, the hotel is widely loved by guests and highly praised by the hospitality industry, becoming a must-visit place in Nanjing.

What was your team’s highlight of the project?

The design is realized through the innovative concept, rich colors, and special materials. The adoption of colorful glass, metal mirror and acrylic create a forest-like mood in the lobby area. The design of the lobby bar and the ADD restaurant is inspired by bonfire, miner’s lamp, and the arc shape of the tent, creating a cozy and inviting atmosphere. The lift lobby and the corridor are transformed into mini exhibition halls showcasing exploration tools. With the theme of “natural recovery,” the guest rooms bring forests, plants, and mosses inside. The minibars and nightstands in the guest rooms are in the form of mining toolboxes, blended into the surroundings.

Why did you enter this project into the SBID Awards?

The SBID International Design Awards is one of the world-acclaimed awards for design excellence. This annual event offers a unique opportunity to meet creative professionals and provides a perfect platform for all entrants to learn from each other and, especially for entrants from China, to promote their works on the SBID Awards’ globally respected stage. We are honored that YANG has become a finalist with the project Hotel Indigo Nanjing Garden Expo and that this project entry has been selected to feature as one of the popular “Project of the Week” stories on the SBID blog. Thank you for the recognition. We will bring the industry more outstanding works. Let’s look forward to it!

Questions answered by Yang Bangsheng, Founder and President, YANG & Associates Group.

This week’s instalment of the Project of the Week series features a modern and functional family apartment design by 2022 SBID Awards Finalist, Bajer Sokol.

What was the client's brief? 

The Black Apartment is located in the center of Warsaw. It's a 220 m2 space for a married couple with an adult child and a guest room. The owners bought the apartment that at the time of purchase was an open space, without any partition walls inside. After we were provided with guidelines for the division of rooms, we created 7 versions of the functional layout. The apartment is named Black because it was supposed to be dominated by dark colors, but in the process of selecting materials, the interior has been slightly brightened and made warmer. However, dark materials still dominate inside it. The intention was to use materials of very high quality and to equip it with the best modern furniture brands. The budget closed at around £ 2,000 / m2. The project is very detailed, and its implementation shows high manufacturing quality in many details, such as handles, joining materials or stone finishes on furniture.

The implementation took 9 months and we managed to carry it out in accordance with the schedule. Customers expected a high-quality execution and us keeping to the set deadlines. They now enjoy spending time in an apartment already put into use.

What inspired the design of the project?

We had 7 versions of the functional design of the apartment. The clients really wanted to achieve the right balance between aesthetics and functionality, while also keeping huge windows and a view of the surrounding park, planning the rooms in a way that would not sacrifice the space. The final outcome was an apartment that was meticulously designed, where even the laundry room has hidden details proving a comprehensive approach to design.

What was the toughest hurdle your team overcame during the project?

The best thing about this project was the cooperation with the client! From the start they knew what they wanted to have in the apartment, and it was exactly the design we love. Therefore, we had no problems with the project and cooperation with the client.

What was your team’s highlight of the project?

The kitchen is the essence of the details in this apartment. All pieces of furniture, handles, shelves and lighting are the result of the collaboration of many contractors and our studio. Nothing here is ready made or coming from a catalog. Shelves are of 4mm veneered aluminum and the whole island, together with the fronts is made of solid stone plates, not sinter. Each handle has been designed in such a way to fit a drawer, dishwasher, refrigerator, or an ordinary cupboard. There are no visible cables or random sockets here. Wardrobes and doors are always the elements of a bigger structure of furniture. The wardrobes are embedded within large built-in panels, doors are always hidden in walls and marked only by door handles. The only doors that have a decorative function are glass Rimadesio built-in doors leading to the night area, or master bathrooms.

In 3 bathrooms of the apartment, you can see the same principle - nothing is accidental! The same stone was used on the floor, walls, or fronts of cabinets. Large format plates with planned divisions. Glass built-in furniture with hidden hinges or mounting profiles. Every visible element is supposed to decorate, be a part of the composition and not random. Equipment by Antonio Lupi, Gessi, Flos or Viega with the gunmetal or satin type finishes harmonize with ceramics and metal elements.

Why did you enter this project into the SBID Awards?

The SBID society is the biggest and best ID organisation in Europe, therefore, to receive an award from you is the biggest achievement for our company and a confirmation that it is of the best quality and approved by you.

Questions answered by Hanna Bajer, Main Architect, and Pawel Sokol, Architect, Bajer Sokol.

Photo credits: Tom Kurek

This week’s instalment of the Project of the Week series features a restaurant design by 2022 SBID Awards Finalist, Kotak Design.

What was the client's brief? 

Our client and their executive chef had already established a successful restaurant group in India, and now they want to break into the lucrative British hospitality industry.

When the COVID pandemic hit the United Kingdom, it impacted negatively on the restaurant industry, but our patrons were fortunate enough to stumble onto this beautiful St. Johns Wood venue. To showcase the seasonal food of the Indian subcontinent, the brief read, "build a destination Mayfair restaurant in St. Johns Wood."

What inspired the design of the project?

As designers, we take pleasure in hearing the stories our clients have to tell via the environments we create for them. Our client desired to highlight contemporary Indian cuisines that reflected the diversity of India's seasonal produce. We used this concept as a foundation for the restaurant's branding and ambiance, which we then reflected through the use of a variety of features, including but not limited to lighting, installations, art, the ceiling, etc.

We found a lot of inspiration in the notion of "Ritu" (means seasons). Whether it's the colour distinction between the areas of seating, an attempt to re-create the verdant scenery of southern India, the setting sun over a wheat field in the north, or the winding dunes of the Rajasthani desert, every detail has been carefully considered. The logo's six-sided motif was inspired by India's diverse seasonal patterns and reinterpreted to fit the western four-season format.

What was the toughest hurdle your team overcame during the project?

We believe the difficulty is in developing a coherent plan for the restaurant's future given its history of shifting uses. The isolated location of the bar on a lower level, the low ceiling in the lobby, and the prevalence of transitional spaces all led to a feeling of disconnection.

We moved the entrance to the front of the building and installed a raindrop chandelier to make the space more inviting. It's highly unlikely that regulars will recognise the eatery from its former incarnation. A primary focus of our interior design firm is the development of fully immersive environments. Mr. Srivastava, the owner, has shown tremendous confidence and support in us during this process.

What was your team’s highlight of the project?

The foundation of our interior design studio is the creation of interactive and narrative environments. To be able to do so in a small space while also creating a visual connection that celebrates the hospitality culture.

We'd like to highlight and offer our special thanks to Jaysam contractors for their lovely feature ceilings, Luum for the gorgeous Indian monsoon chandelier in the conservatory, Michele McKinney for her meticulous leaf installation, and Phillip Jeffries, Ted Todd, and Domus for the impeccable final touches (and not restricted to).

Why did you enter this project into the SBID Awards?

An entry into awards is to recognise everyone who contributed to the successful completion of the project. To be recognised as an SBID finalist is a testament to the faith that the client placed in us to carry out their vision.

Questions answered by Ravi Kotak, Founder & Design Director, Kotak Design.

This week’s instalment of the Project of the Week series features a historic hotel suite design by 2022 SBID Awards Finalist, CHIL Interior Design.

Known as Ottawa's Castle, Fairmont Château Laurier’s historical presence towers over the Canadian city. CHIL Interior Design was commissioned to bring the historic Karsh Suite into the new century. The suite was named after Yousuf Karsh, famed photographer who maintained his studio and residence in the hotel for many years, we drew direct inspiration from this visionary to create a design for the suite that is as bold and unforgettable as the icon himself. Special attention was necessary to respect the original early 20th century historical details of the hotel, while delicately positioning this suite in a more forward looking aesthetic. Of the highest importance, the new interior renovation, celebrates the unique character of this local landmark while, in the same breath, accentuates the beautiful and luxurious details that portrays “Canada’s tradition of grandeur”.

What was the client's brief? 

The client wanted the design to fit the Fairmont brand standard on aesthetic, quality, and functionality. In addition to basing the concept on the legendary icon that the suite was named after, photographer Yousuf Karsh, the client also highlighted the need to respect the wishes of Yousuf Karsh’s wife Mrs. Estrellita Karsh on the suite design. It was also important to the client to bring the suites into the 21st century while keeping a strong respect and inspiration for the early 20th century.

What inspired the design of the project?

Famed photographer Yousuf Karsh who maintained his residence and photography studio in that exact suite for many years: his viewpoints on art, as well as his lifestyle.

What was the toughest hurdle your team overcame during the project?

Due to the hotel being a heritage building as well as respecting Mrs. Estrellita Karsh’s wishes to keep all the original framing and positions of the Karsh portraits, there were lots of restrictions to the layout. However, in order to bring modernity into the suites, we designed the layout to revolve around these challenges, such as completely redesigning the primary bathroom and  expanding that footprint to cater to modern travellers’ needs.

What was your team’s highlight of the project?

Close collaboration with the Fairmont brand and client allowed us to achieve a desired outcome that fits well with the hotel brand aesthetic despite the pandemic starting in the process of renovation – it’s a highlight to know our emphasis on clear design and communications is especially appreciated as we work remotely.

Why did you enter this project into the SBID Awards?

The SBID Awards is one of the most prestigious international interior design awards. It is always an honour to be recognized by such a high calibre of industry expert panel and we look forward to submitting our entries every year.

Questions answered by Karen Wong, Senior Associate, & Adèle Rankin, Principal & Global Design Lead, CHIL Interior Design.

This week’s instalment of the Project of the Week series features a renovated vibrant hotel design by 2022 SBID Awards Finalist, Hirsch Bedner Associates.

Canopy by Hilton Hotel in Qujiang Xi’an conveys the splendid leisure and carnival entertainment of the prosperous Tang Dynasty.

The central premise of the design stems from the Chinese idiom 鲜衣怒马 xiānyī nùmǎ, which loosely translates to “wearing beautiful garments and riding powerful horses”. With this concept in mind, the interiors celebrate the vibrant fashion and design of the prosperous Tang Dynasty that for centuries has been integrated into the spiritual language of Xi’an’s neighborhoods, and now blends exquisitely with the opulent aesthetics of the Canopy brand.

The xiānyī nùmǎ motif is unraveled throughout the hotel style through the use of joyful colors and patterns inspired by Tang-era fabrics and artwork. By fusing the ancient with the modern to create a unique design story, the hotel creates a fresh perspective on historical elements, allowing people to enjoy traditional culture in a rejuvenated, vibrant, and fun way.

What was the client's brief? 

The initial brief received by clients was to bring the rich historical, traditional and cultural background of the place into the project renovation, and to align it to the hotel brand style and feeling.

Canopy by Hilton conveys the brand lifestyle that offers the guests comfort, thoughtful details, an energizing atmosphere and a uniquely local experience, as extension of the local neighbourhood.

Storytelling has been used to design the hotel allowing guest to discover the delightful neighbourhood as an ‘explorer’, and reinterpreting the traditional design language for modern appreciation.

What inspired the design of the project?

Canopy by Hilton Xi’an is located in the Qujiang New District, a new cultural hub and economic center of the historic city. The hotel is connected to the Grand Tang Mall, a fabulous pedestrian street with myriad cultural sights and recreational activities.

The central premise of the design stems from the Chinese idiom “鲜衣怒马 xiānyī nùmǎ”, which loosely translates to “wearing beautiful garments and riding powerful horses”. With this concept in mind, the design team set out to celebrate the vibrant fashion and design of the prosperous Tang Dynasty that for centuries has been integrated into the spiritual language of Xi’an’s neighborhoods, and now blends exquisitely with the opulent aesthetics of the Canopy brand.

The xiānyī nùmǎ motif is unraveled throughout the hotel style through the use of joyful colors and patterns inspired by Tang-era fabrics and artwork. By fusing the ancient with the modern to create a unique design story, the hotel creates a fresh perspective on historical elements, allowing people to enjoy traditional culture in a rejuvenated, vibrant, and fun way.

By adopting the easy-going lifestyle of Xi’an and the cultural elements of the city’s historic legacy, the hotel acts as an extension of the local neighborhood.

What was the toughest hurdle your team overcame during the project?

As most of the projects, the team had to deal with a tight timeline on redesigning the whole hotel without compromising the construction programme.

What was your team’s highlight of the project?

Canopy by Hilton Xi’an conveys the splendid leisure and carnival entertainment of the prosperous Tang Dynasty.

The hotel creates a new perspective that allows people to reveal the traditional culture in a way that is vibrant, fun and young, it adopts the easy-going Xi’an characteristic that enhance the vibe of the area it resides in.

When guests check in at the arrival lobby, they are surrounded by artwork that tells the story of stylishly dressed ancestors taking a leisurely stroll through the neighborhood. The wooden roof and the reception canopy are accented with brass details, evoking a sense of prosperity and opulence of the city’s ancient East and West markets.

Every Canopy by Hilton is built around the Canopy Central atrium, which acts as the hub of the hotel’s main public areas. The different spaces flow naturally into one another through the use of a flexible design plan so that all of the public spaces are welcoming and adaptable to guests' needs. The use of a consistent design language and ample natural light creates a sense of unison as guests move from the reception area to the bar to the lounge and the multifunction areas.

The IN TOWN Café features a delectable éclair LAB where signature eclairs are decorated to-order in front of the guests. The design draws on elements from the Shangsi Festival, when royals, literati, and commoners alike would travel to the Qujiang area to enjoy a pageant of music, song, and dance. To reflect the joyful mood of the festival, the café makes ample use of bold colors accented by brass metal details and detailed vibrant Tang-era patterns in the artwork. The wall behind the éclair LAB is adorned with a mural depicting contemporary illustrations of colorful tea and coffee cups against a backdrop of Tang Dynasty buildings in the style of a traditional Chinese painting.

The Restaurant Ambrosia is designed in an unapologetically bold and eccentric style, has a nostalgic feel with a nod to ancient traditional elements cleverly integrated into the contemporary interior design. This creates the explorable vibe and flavor that will create memorable moments to their journey. One wall of the restaurant is adorned with a stunning mural depicting bustling scenes of work and leisure in the ancient capital, painted in a traditional Tang Dynasty style.

Why did you enter this project into the SBID Awards?

The SBID International Design Awards are a prestigious recognition of excellence within the interior design industry across products, interiors and fit out.

Over a decade on, the Awards has firmly established itself as one of the most prestigious interior design Awards in the global design calendar. It represents the outstanding industry achievements and top quality design services that continue to inspire the profession.

Questions answered by Flavio Patino, Associate, HBA Hong Kong.

This week’s instalment of the Project of the Week series features an immersive and experiential retail design by 2022 SBID Awards Finalist, II BY IV DESIGN.

In today's contemporary culture, the retail experience has migrated from visual to experiential. Successful products are presented in immersive environments with new possibilities. Following this method, for the Central Park development in Toronto, a Presentation Pavilion was constructed on the site. It is designed as a time capsule—a striking triangular-shaped building that transports the prospective residents to their forthcoming life. Through a curated journey, the prospective residents get to imagine how their experience would be in this nature-inspired, wellness-focused development.

Set to turn into a vibrant cultural hub for the community, this pavilion's permanency confirms the development’s environmentally-conscious vision: refining the contemporary lifestyle. Inside, outfitted in natural materials and cutting-edge green prototypes, an orchestrated retail journey weaves thoughtful moments of theatre, interactive installations, and a series of vignettes. The visitors are invited to touch, play, feel, and visualize their promising life in the anticipated complex. They learn the significance of connecting with nature, find unit layouts, see the amenities, get excited about the perks, and customize their dream home. This cohesive design strategy visually soothes the senses, offering a pleasant experience and representing the ethos of the development.

What was the client's brief? 

Central Park development in Toronto—its first 31-storey residential tower—offers a nature-inspired lifestyle. It is highly sustainable, wellness-focused, and connected to the urban bustle yet nestled in the ravine system. As the interior designers of this soon-to-be-constructed high-rise, we were tasked with designing the interiors of the development’s sales center, which had to stand for the ethos of its future-forward vision. We wanted it to be suggestive of the lifestyle at Central Park—connected to nature, environmentally conscious, timelessly elegant, and outfitted in natural materials. We also aimed to design an unparalleled experience with interactive installations and to-scale vignettes for an immersive retail journey.

What inspired the design of the project?

The main inspiration for the development, and the pavilion, in particular, is our connection to nature and how this connection would affect our wellness in life. Through the design strategy, we intended to create more than just a sales canter, delivering a joyful, immersive atmosphere that the patrons would want to spend time in, stay for a while, and engage with its various features. The permanency of the pavilion also excited our team, designing a place that won’t get demolished but instead become a cultural destination for the Toronto community.

What was the toughest hurdle your team overcame during the project?

Despite the pandemic, due to the team's high levels of planning and coordination, we didn't run into any hurdles throughout the process. The project was delivered on time/budget, with 85% of the suites sold within the first ten days of the opening of the pavilion.

What was your team’s highlight of the project?

Our team set out to design a new type of sales center for the Central Park development. We conducted extensive research about the new methods of immersive retail design. For all of us, at II BY IV DESIGN, witnessing the execution of the project during the Covid-19 Pandemic was a highlight. And, it is always gratifying to see the influence of our work as most of the residential suites were sold in such a short time.

Why did you enter this project into the SBID Awards?

SBID Awards bring together the design community every year, showcasing design excellence across various interior sectors. SBID promotes best practices for the interior design profession while setting the tone for the industry through its award program annually. At our studio, we look forward to learning about other projects worldwide, reading their story, seeing the curated visuals, and voting on those that respond with creativity and technical execution. It's a celebration of design—the kind of design that is shaping the future. We are thrilled and honoured to have four of our projects amongst the finalists. It's a great company of peers to be in every year.

Questions answered by Dan Menchions, Partner, II BY IV DESIGN.

This week’s instalment of the Project of the Week series features a fun and colourful youth centre design by 2022 SBID Awards Finalist, Fogarty Finger.

New Heights, the basketball-based after-school academic program for children in fourth through twelfth grade, has its new permanent home in the Bedford-Union Armory, now known as the Major R. Owens Health and Wellness Center in Crown Heights, Brooklyn. New Heights is the anchor tenant of this massive armory that was long vacant and is now reimagined and restored as a community resource for the Crown Heights neighborhood and beyond.

Partnering with New Heights, Fogarty Finger, a key player in the renaissance of residential and office construction in Brooklyn, volunteered to develop the interiors, signage, and branding elements behind the non-profit’s new home. Together their goal was to make a dynamic visual environment inspiring the youth of the city to feel hopeful, encouraged, and courageous.

The Fogarty Finger team set out to immerse themselves in the rich and vibrant historic Crown Heights neighborhood and surrounding area of Brooklyn, tapping local makers and artists to bring the space to life. Renowned and local artist Efdot painted an expansive hallway mural in the student lounge that tells the story of New Heights’ journey to its new forever home in Brooklyn, while a series of fireplace murals were painted by Brooklyn-based artists Peach Tao, Dek, and Stephanie Costello.

The result is a vibrant space that conveys a strong sense of place and inspires the community’s next generation.  This new home feels unmistakably New Heights, celebrates the architecture of the Armory, and acknowledges the diversity of the neighborhood.

What was the client's brief? 

Partnering with New Heights, Fogarty Finger was asked to develop the interiors, signage, and branding elements behind the non-profit’s new home within the Bedford-Union Armory. Their design goal was to make the space a dynamic visual environment that would inspire student-athletes and staff alike. The program consists of reception, student lounge, classrooms, library, pantry, administration wing, staff offices, and boardroom.

What inspired the design of the project?

The main design inspiration for New Heights Youth Inc. was creating a space to “Inspire Ascension” – as soon as the student-athletes walked through the doors and up the stairs into their new home, Fogarty Finger wanted them to feel empowered to be their best selves and know that this is a space where they are supported.

The design team initially asked themselves how the branding could engage with the existing historic architecture to communicate the idea of reaching new levels of success in the classroom, on the court, and in everyday life. The use of gradients in some of the added design elements (entry wall, donor wall, and the tiers of the pennant installation) pair with the existing architectural details throughout the space – all which draw the eye upward + create the feeling of ascension.

Fogarty Finger held monthly check-ins before and during the design process to ensure the space would resonate deeply with those who made New Heights the program that it is today. The meetings included parents, students, alumni, and coaches to get a better sense of what kind of space they wanted and how to truly make it feel like home. Taking the time to listen and understand how the community wanted the space to feel was a major inspiration for the design team throughout this project.

What was the toughest hurdle your team overcame during the project?

The New Heights organization was a very unique client for Fogarty Finger, being a non-profit company with a variety of stakeholders. The space needed to appeal to a variety of users and serve for many different functions—a place where student-athletes feel comfortable to learn, is practical for the daily needs of teachers and coaches, and impresses and inspires potential investors. During the design process, there were many key players involved, and the design team wanted to ensure that everyone felt heard and valued. This is something Fogarty Finger prides themselves on with office and commercial spaces, and the New Heights project was a welcomed challenge to the norm.

What was your team’s highlight of the project?

Fogarty Finger wanted to honor the history of the Bedford Union Armory by recreating some of the original gilded signage techniques found throughout the space. This technique was a key design element implemented when the building was constructed in 1903.The design team wanted to ensure this signage technique was featured in a fresh way within the new signage and branding scope of the project.

To keep that story alive for those experiencing the space today, Noble Signs, a local hand-painted signage company, was a perfect fit. Noble Signs was an amazing partner that allowed New Heights’ new home to honor the architectural history of the Armory building while allowing Fogarty Finger the opportunity to support local businesses and craftsmen.

Why did you enter this project into the SBID Awards?

Fogarty Finger entered the SBID Awards to showcase our interior design and collaboration work on the New Heights Youth project. All of the collaborations were done with local makers and artists based in Brooklyn to pull in the surrounding community as much as possible. Creating such a vibrant space that allows for people to come together was such an exciting and rewarding opportunity.

Image credits: Connie Zhou

Questions answered by Taylor Fleming, Interior Designer, Fogarty Finger.

This week’s instalment of the Project of the Week series features a confectionery tools store design by 2021 SBID Awards Finalist, KAMITOPEN.

What was the client's brief? 

Founded in 1951, the company Majimaya has been selling confectionery tools in Kappabashi for over 70 years. There were 3000 different types of molds that I needed to showcase with the design.

What inspired the design of the project?

The design is rooted in the client's enthusiasm to continue selling confectionery tools in the same place for the next 100 years.

What was the toughest hurdle your team overcame during the project?

The main problem I had to solve was the limited space. I suggested setting up the evacuation stairs and protective fences in a way for them to display 3000 molds, right in the center of the building. In addition, I also arranged 3000 tin boxes there. By linking the display with the number printed on the box, it was made easy for the customers to choose one themselves and take out the required number from the stock.

During the planning of the building, all floors were connected by split-level floors, and while choosing molds, customers were guided to move up and down subconsciously. This solved the unique problem of arcade area, which is a stress-free place for customers to move up and down inside the building.

What was your team’s highlight of the project?

3,000 confectionery tools molds in the middle that were installed together with the client.

Why did you enter this project into the SBID Awards?

I thought it could be an inspiration for arcade shopping buildings all over the world.

Questions answered by Masahiro Yoshida, Representative, KAMITOPEN.

This week’s instalment of the Project of the Week series features a renovated soft and subtle hotel design by 2021 SBID Awards Finalist, Elkus Manfredi Architects.

The design of the intimately scaled, 32-key White Elephant Palm Beach is a contemporary interpretation of Mediterranean revival architecture that lovingly honours its history while introducing a new design voice to Palm Beach. Airy, casually elegant, and gracious with a touch of wit, White Elephant Palm Beach debuts a fresh aesthetic for Palm Beach that is deeply attuned to today’s global guest.

White Elephant Palm Beach opened in 2020 in the former Bradley Park Hotel, built in 1924 and designated a historic landmark by the Landmarks Preservation Commission of Palm Beach in 1980. Now owned by New England Development, the hotel underwent a “down to the bones” reimagining by Elkus Manfredi Architects, which was responsible for the comprehensive design vision, including exterior and interior architecture, furnishings, landscape, and art curation. Sister hotel to Nantucket's legendary White Elephant, White Elephant Palm Beach reflects the same meticulous standard of service while capturing the essence of contemporary Palm Beach.

The hotel’s collection of museum-quality original art, specifically curated for this project, is found in public spaces, guestrooms, and even bathrooms, adding another dimension of authenticity to the personal, layered experience that White Elephant Palm Beach offers its guests.

What was the client's brief? 

New England Development asked Elkus Manfredi to create a new perspective for the emerging wave of international travelers to Palm Beach, a design that would embrace the unique history of Palm Beach and the architectural significance of the Bradley Park Hotel, while introducing a new aesthetic – soft, subtle, intimate – that is a departure from the grand, strong, colorful aesthetic generally associated with Palm Beach. The hotel also needed to embody the service promise of its sister, White Elephant Nantucket.

What inspired the design of the project?

In a gesture that captures the playfulness of the brand, the client named their first White Elephant hotel, located in Nantucket, in response to an islander’s initial fears (later assuaged) about the prospect of a new hotel on his island. The inspiration for the design of that hotel’s sister was the result of that brand mixed with other elements, which all together produced the very singular and serendipitous alchemy that is the White Elephant Palm Beach. Major inspirations included:

• The once-in-a-lifetime opportunity to restore and modernize the Bradley Hotel’s classic Addison Mizner-influenced Mediterranean Revival architecture was a foundational inspiration.
• We wanted to embrace the DNA of the brand by bringing a fresh new design perspective to Palm Beach. So instead of leaning into the typical patterned, strong Palm Beach aesthetic, we developed a very textural, neutral palette to create a soft-spoken, elegant, more contemporary aesthetic that gently embraces the guest.
• The idea of continuously surprising and delighting guests is another central inspiration. Designers layered subtle, unexpected design surprises for the guest at every turn in the hotel.
• The collection of original art specifically curated for the hotel – and found everywhere, including corridors and bathrooms – was another high-impact and inspiring layer of the design.

What was the toughest hurdle your team overcame during the project?

• Restoration and redesign of the building needed to be accomplished while satisfying the historic criteria of both the Landmarks Preservation Commission of Palm Beach and the National Park Service.
• Working in a hundred-year-old landmarked property required creative, flexible design schemes that could accommodate the surprises that inevitably come with opening up century-old walls.
• The original center axis of the hotel’s design was a focus of the historic preservation agencies responsible for reviewing the plans in light of the building’s designation as a historic landmark. While designers moved the main entry off-center to allow the full activation of the courtyard with a pool, lounging area, and an indoor/outdoor restaurant, they maintained elements of the original axis and incorporated them into the new design in homage to the history of the building.

What was your team’s highlight of the project?

The reaction and recognition from guests.  As an example, one guest wrote: “Amazing stay all the way. Great rooms, fantastic amenities and super friendly staff. Well done White Elephant Palm Beach, our new home away from home. We will come back and surely enough we will recommend this hotel to all our friends and family.”

Why did you enter this project into the SBID Awards?

From the start, the client tasked us with designing for a new wave of travelers to Palm Beach – to bring new perspectives and clientele to the resort destination. So rather than being driven by the classic Palm Beach aesthetic, the design introduces a global point of view to this American resort that we believed would resonate with SBID’s international audience.

Questions answered by Elizabeth Lowrey, Principal and Director of Interior Architecture, Elkus Manfredi Architects.

This week’s instalment of the Project of the Week series features a industrial artists' house design by 2022 SBID Awards Finalist, Clara Lleal Interiorista.

House located in the historic centre of Badalona, a city near Barcelona. One of the challenges when it came to the layout of the project was to strategically place the sculptures created by the owner of the house himself, the artist and sculptor Juanma Noguera. In short, an Art Gallery house.

In terms of general aesthetics, the idea was to give the whole space an industrial atmosphere, maintaining and recovering the building's original materials. The solid brick walls were uncovered, the vaulted iron-beamed ceilings were respected, and areas with the original hydraulic pavement were maintained. The materials used subsequently also follow this industrial premise, concrete, black iron sheet, herringbone floor of recovered wood, and teak wood furniture to break the cold of the greys.

Gaining maximum natural light was also one of the objectives of this project. Several skylights were opened in ceilings, and an inner courtyard was located at the back of the house.

What was the client's brief? 

The main request of the client, who is the sculptor and painter Juanma Noguera, was that his sculptures and paintings would be part of the overall design of the house. In other words, when thinking about the layout and design, we also thought about placing the sculptures in strategic places so that they could be observed and at the same time beautify the space.

What inspired the design of the project?

The construction of the house dates back to the 19th century, coinciding with the industrial period in Catalonia. Therefore, the house has many architectural elements typical of that period, which we wanted to maintain and even restore. The walls were chipped to leave the brickwork exposed, the original cast iron columns were restored, the hydraulic mosaic floor tiles of Mediterranean origin were kept, and the Catalan vaulted ceilings were left exposed. In short, we wanted to recover the industrial essence of the house and give it value.

What was the toughest hurdle your team overcame during the project?

The spaces were very large and there was a risk that they would not be welcoming, which was of paramount importance to the client. With the combination of materials such as teak wood and dark colours, a cosy atmosphere was definitely achieved.

What was your team’s highlight of the project?

One of the main challenges was to gain natural light. It can be said that in an area of 200 square meters there was only one window. Skylights were opened in the roof and in the inner courtyards, as many openings as possible were made so that the house would be bathed in light. We wanted to convey the feeling of well-being and warmth that natural light provides. In addition, from the beginning we wanted to include a lot of natural vegetation that can only live with light.

Why did you enter this project into the SBID Awards?

Because I had seen SBID award-winning projects that really seemed high level to me, so I thought it would be good to participate.

Questions answered by Clara Lleal, Creative Director, Clara Lleal Interiorista.