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ver wondered about all the Hard Rock Café/Casino memorabilia? Where does it come from? Is it really legit? Suspend your disbelief, it really is the real deal. I know, if like me you suspected it was all a bit confected then you’d be wrong, and shame on you for being so cynical! There’s a giant hangar of rock ’n’ roll memorabilia in an undisclosed location. And there’s a chap on the Hard Rock staff who’s only job it is to source the priceless paraphernalia. Once collected, it remains the job of this chap with the most unusual job in the world, to dole out the pieces and ensure they go into the right locations, and/or be curated into mini collections for display cases and the like. If a guitar was actually played by Prince or if it was simply signed by Prince, what would be the difference? The price tag would certainly be different, that much is for sure, but from the point of view of a Hard Rock Café patron, do I really care if the axe was shredded in anger or simply autographed? After all, there’s no ‘estimated street value’ label on the item. When I visited the Dubai outpost of the Hard Rock Café, the Assistant General Manager, Katherine Misquith, ushered me to a more anonymous back corner of the venue and showed me an equally anonymous glass cabinet not much bigger than a Twinnings tea caddy. “This is the most valuable item of memorabilia in the venue,” she explained, pointing to a pair of wire-framed spectacles. I don’t know how many pairs of glasses John Lennon owned but these could probably singlehandedly buy you an OPSM franchise. But were they worth more than the flashier, bigger flourishes, such as (and I may be making some of this up) the Bay City Rollers’ bell bottoms, Grand Funk Railroad’s fluffy slippers, or Rick Wakeman’s signed copy of Catcher in the Rye? That’s hard to answer. But I do know this: people can quickly smell a rat. And once the bubble of authenticity is burst there’s no coming back – your reputation has been irreparably shot. You can’t have a bogus bit of Beatles bumf… the fallout from being found out is just too great. Which leads me to Pawn & Co. Here’s a classy venue with an enviable reputation also packing cabinets full of esoterica. And in a very different way, they too must assiduously avoid being called out as phonies. Admittedly, Pawn & Co. conducts its business with a ironic wink, rather than Hard Rock’s high five of American earnestness, but everything you see — from the ‘marital aids’ in one corner through to the banjo and super hero figurines — are all for sale…only in this case the price tags are very conspicuous. And here’s my point: both venues have much in common and in other ways couldn’t be more different (bleeding-edge, anything-could-happen über-cool bar versus giant global peddler of slickly-produced yet comfortingly predictable nights out) yet both are one false move from being called out. Which is why both brands jealously guard their reputation for excellence. Both underpin the experience they promise with rock-solid operational chops. Both maintain an authenticity. Without it, they’re just another back-of-the-beermat, piss-talk thought bubble. Christopher Holder Editorial Director, chris@venuemag.com

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CONTENTS May 2017 No 65

It’s 2am, you’re there with your date and you spot a trumpet. Buy it; play it. That’s fun Josh Lefers, Pawn & Co. Venue: Pawn & Co Photo: Eugene Hyland

Pubs

14 Paddington Inn 20 Bayview Hotel, Woy Woy 24 Headlands Hotel, Austinmer 48 Hard Rock Café, Dubai

Restaurant

50 The Baths Middle Brighton

Bars

CONTACTS: Advertising Office: (02) 9986 1188 PO Box 6216, Frenchs Forest, NSW 2086 Editorial Office: (03) 5331 4949 PO Box 295, Ballarat, VIC 3353 Editorial Director: Christopher Holder (chris@venuemag.com)) Publisher: Philip Spencer (philip@venuemag.com) Art Direction & Design: Dominic Carey (dominic@alchemedia.com.au) Graphic Designer: Daniel Howard (daniel@alchemedia.com.au) Circulation Enquiries: (subscriptions@alchemedia.com.au) Accounts: Jaedd Asthana (accounts@alchemedia.com.au)

34 Pawn & Co. Prahran 28 Zephyr, Sydney

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Hotels

38 QT Melbourne 56 Sir Albert, Amsterdam

Alchemedia Publishing pty ltd (ABN: 34 074 431 628) PO Box 6216, Frenchs Forest, NSW 2086 info@alchemedia.com.au All material in this magazine is copyright © 2017 Alchemedia Publishing Pty Ltd. The title Venue is a registered Trademark. Apart from any fair dealing permitted under the Copyright Act, no part may be reproduced by any process without written permission. The publishers believe all information supplied in this magazine to be correct at the time of publication. They are not in a position to make a guarantee to this effect and accept no liability in the event of any information proving inaccurate. After investigation and to the best of our knowledge and belief, prices, addresses and phone numbers were up to date at the time of publication. It is not possible for the publishers to ensure that advertisements appearing in this publication comply with the Trade Practices Act, 1974. The responsibility is on the person, company or advertising agency submitting or directing the advertisement for publication. The publishers cannot be held responsible for any errors or omissions, although every endeavour has been made to ensure complete accuracy. 10/4/17

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was born in 1973, right in the middle of Generation X. Gen Xers are those of us born between the year of The Flintstones (1961) and the year of Magnum PI (1981). Such was the Simpsons-like timelessness of Fred and Wilma, even the youngest members of our Generation, born 20 years after The Flintstones first appeared, grew up watching both, and while we wouldn’t admit it, we probably still watch them… occasionally… late at night... pangs of nostalgia washing over us as we think long and hard about growing a moustache like Tom Selleck. I know plenty of venue operators born before 1961 — I’m good mates with heaps of them. Stalwarts of the industry, they grew up during WW2 or in the years immediately after. They’ve been teaching the rest of us how to do it ever since. (Incidentally, they’re the guys in suits at AHA functions who lay it on me for wearing an open-neck shirt, and no socks.) And I know some operators who are part of the next generation: Millennials. They’d defend me on the whole ‘no-socks’ thing, if only they were at the AHA function in the first place. But most operators seem to be Gen Xers like me — midthirties to mid-fifties in age, a little overweight, may or may not be sporting a moustache. As most of you already know, Gen Xers grew up uncertain about the world, in the shadow of the cold war, no-fault divorce putting separation rates through the roof, feminism encouraging mums back to work to restart their careers, and widespread childcare happening outside the home for the first time ever. Then as teenagers, we were often called the MTV generation, inspired by Kurt Cobain, characterised as slackers, cynical and disaffected. Yet in middle age, we have apparently shrugged off that cloak of teenage angst and become a hard-working, diligent, entrepreneurial bunch, of slightly overweight guys… with moustaches. (Is it any wonder it was Gen Xers who founded Movember?!)

BUILDING PUBS FOR US My Sand Hill Road partners and I look back at 20 years in the industry and laugh at how, 10 venues down, we pretty much built each new joint for us and our contemporaries. Our first pub, in Fitzroy, a short O-Week pub-crawl from Melbourne Uni, looked and felt much like the pubs we’d misspent our college years in. Simple, unrefined, open-to-all-comers, low-cost, high-value, no-frills food and booze. Service was laid-back, un-trained, but so much fun. And it was full of 20 to 25 year-old kids just finishing or just finished uni, just like us. By contrast, our most recent venue, The Garden State Hotel is slap bang in the middle of corporate Melbourne, under 101 Collins Street where all the kids who came to our Fitzroy pub nearly 20 years ago are now middle-aged lawyers, accountants, brokers and tech consultants. In other words, they’re much like us. But that won’t work forever. We’ve gone from uni pubs, to nightclubs, to sports bars, to food pubs, to cocktail bars and we’ve found a market of our contemporaries each time. But at some point, we’re gonna run out of contemporaries who wanna go out. And the things a bunch of middle-aged mums and dads want in a venue probably aren’t gonna attract those who do wanna go out — namely millennials and the generations after that.

UNDERSTANDING THE NEXT GEN Millennials, also known as Gen Y, were born between the early ’80s and the mid ’90s. Their teenage memories will have included 9/11, and there’s a good chance their dream first job disappeared in a puff of cigar-smoke during the GFC. The generation to follow Millennials, born between the mid ’80s and 2000, don’t have an agreed-upon name yet. After ‘X’ and ‘Y’, Generation Z was the most obvious name, but obvious names were never likely to stick for a generation of kids named Atticus, Piper, Saya and Lulubelle. Whatever they end up being called, this generation, plus their older Millennial mates, will form the majority of the Australian venue-going market for the next 10 to 20 years. I recently attended the London-based Future Lab’s Hospitality Trend briefing in Melbourne. Among the many amazing little snippets of inspiration and insight, we heard a lot about these two generations. There’s plenty that separates them, but plenty that binds them too. And many of those characteristics are of interest to venue owners. Contrary to what you hear on radio or TV, Millennials and Gen Zs drink less alcohol than we ever did. (They don’t necessarily spend less than we did, they just drink better alcohol.) They eat out more often, and more often than not they go out to eat, not to drink. They know what they’re eating, and they care about what it will do to their bodies. For Gen Z’s in particular, mobile and web technology has been in their lives since their first memories, and been in their hands since they knew how to hold things. With the coming of Uber Eats, Amazon Go and a slew of other instant-delivery operators, they can already have any food or drink they want, from the kitchen of a hatted chef, or the bar of a cocktail genius, delivered to their door in about the same time it would have taken them to look up the recipe online. They Instagram everything, and search for experiences, adventures and lessons they can share in online or in person. And this is where we come in. Our venues should always find a market, if we understand the market we seek; the market that’s there. And for the next 20 years, that market will want better food, broader alcohol choices, more informed service, and more complete experiences. And if, like me, you’re no longer part of the market you’ll serve in the years to come, its time to get to know those who are. And for Gen X and Boomer venue operators like us whose only access to these markets are the 25-yearkids we pass silently in the hallways at home, good news: you’ve got access to as many of them as you need, who’ll be only too happy to tell you what they think. They’re behind your bars right now. They work for you. And they love a chat.

Our venues should always find a market, if we understand the market we seek; the market that’s there

SMOOTH OPERATOR By Exotic Invite Only Matt Mullins is a partner in Sand Hill Road hospitality group

Inn Crowd venue sits down in the newly refurbished

Paddington Inn with Solotel COO, Justine Baker and Entertainment Manager, Adam Lewis, to talk about what makes a big hospitality group tick, Paddington the suburb and the crucial role entertainment plays. Story: Christopher Holder Paddington Inn: 338 Oxford St, Paddington NSW 2021 (02) 9380 5913 or paddingtoninn.com.au

olotel is a sizeable hospitality group owned by the Solomon family. It has some 28 venues on its books — mostly in Sydney — ranging from the likes of the Opera Bar, city pubs like the Edinburgh Castle, and restaurants such as Chophouse. A year or more ago, Solotel merged with Matt Moran’s restaurant group, Morsel, greatly bolstering its restaurant stocks. After a year of bedding that merger down, Solotel is back into a growth phase, looking to expand its events business, and looking ahead to the completion of its largest (and as yet, unnamed) three-level venue in the Barangaroo development. Keeping a steady hand on the tiller is group COO Justine Baker. venue sat down with Justine to hear more. venue: How has the Morsel merger worked out? Justine Baker: Last year was all about consolidation, focusing on the merger and getting it right. We bought all of Morsel’s staff into Solotel so we’ve become a much bigger head office team. Plus there’s the addition of all the new Morsel businesses. This year there’s more of a focus on growth where we’ve had Chophouse on Blythe Street coming into the portfolio. We’ve only just taken over the Clovelly Hotel. In Brisbane, we’ve got a new venue at the Anthony John Group’s redevelopment of Southpoint, which is a beautiful old Queenslander we’re turning into a pub. So that’s a creative, fun project we’re really excited about. And then the big one is a project we’re working on at Barangaroo, which will open around November this year. That’s still in its design phase, but the building has commenced so you can see the structure of it now and the three storeys. venue: What sort of venue will it be? Justine Baker: It will be based on an open-toall ground floor bar that will cater to the corporate lunchtime trade and afterwork drinks, as well as tourists on the weekends. The middle floor will be a Matt Moran grill/restaurant focused on his ethos around great produce, working with specific farms and butchers, along with a big seafood focus. Upstairs will be an exclusive rooftop bar perfect for parties, events, providing a wonderful Sydney experience, with lots of great champagne and great cocktails, which our group Bars Manager Jeremy Shipley is very excited about. It’s going to be like three venues in one with a total capacity of 850, which is pretty big for us. venue: How do you view your role as COO? Justine Baker: As COO the teams that report directly to me are Marketing, Operations, Food & Dining, HR and Projects & Design. I see my role as acting as the bridge between the owners/directors and the Solotel teams, ensuring we align our strategy to our everyday; that operationally we’re sticking to our more strategic, long-term goals. I think part of my role is also as guardian of our culture, ensuring everyone who comes onboard holds our values, understands why we do things, how we talk to each other and why we’re in it. And especially to keep the fun alive. venue: How would you describe the Solotel culture? Justine Baker: It’s still very much a familybased culture, even though we’re a pretty large family business now, and obviously with Matt Moran coming in it’s not 100% Solomon familyowned anymore. But the culture is driven from the family around honesty and integrity. We talk a lot about creativity, fun, and we want to remain agile and not stuck in bureaucracy. There isn’t one type of Solotel person, we’re a diverse bunch and that’s very much at our heart because we’re such a diverse portfolio. venue: How do I know I’ve walked into a Solotel venue? Justine Baker: We’re about community — whether that community is a global one like Opera Bar

which is 100% a global community; or something like the Paddington Inn, which is more a local community. There’s a sense of fun and relaxation about a Solotel venue. There’s no ego. You don’t have to be someone to walk through our doors. There’s that sense of it being easy to drop your burdens of the day at the door and have some fun. venue: What’s the process for bringing a new venue on line or into the fold? Justine Baker: It starts with a business plan: a feel for the potential revenue and the cost structure and how to design a building that can be run efficiently. Once we’ve signed off on the budget, we then draw up a narrative identifying our target market, our brand values, our market position, and what we want every guest to feel when they walk through our doors. From there we’ll go to the design stage. venue: Using the Paddington Inn as an example, what are the key pieces in the design stage? Justine Baker: The Paddington Inn refurb has been a long time coming but Oxford Street has suffered for many years and business has been quiet. More recently we felt there was an opportunity and a new wave of optimism sweeping Paddington — and we wanted to ride that. We took the opportunity to put in a restaurant and go back to our roots. venue: Your ‘roots’? Justine Baker: Years ago we used to lease out a restaurant at the back of the venue, so it was good to be doing that again, only this time within the context of a modern pub offering. venue: When did architect George Livinnianis get the call? Justine Baker: Coincidentally, George lives in Paddington, and he worked with Anna Solomon, our creative director, for around nine months to get this off the ground. venue: How many people are sitting around that planning table in the early phase? Justine Baker: There’s probably only four or five of us, and as the project grows, so do the teams coming in. We’ll build a project team, which might encompass the beverage team, operation teams, HR, entertainment, and the marketing team. So the project team was probably about 22 by the time we finished. venue: Does it fall to you to ensure the venue, once opened, adheres to the spirit outlined in those initial meetings? Justine Baker: Part of my role is putting my guest hat on and to imagine I’m visiting for the first time: Do the menus make sense? Is our signage right? Do our guests look lost or is there a real sense of purpose in the flow? We feed that back to the general manager of the venue or the head of an office team. venue: How’s the Paddington Inn report card currently looking? Justine Baker: The front bar is where we want it to be. It’s outperforming what we had previously, and our Saturday nights are allowing people to come back and party in Paddington. Lunches have been slow, so that’s a challenge — we don’t have a midweek corporate lunchtime crowd. So we’ve shut some mid-week lunches, but our dinners are good and our weekend trade’s great, so we’re happy. venue: Where’s Paddington the suburb sitting on the comeback curve? Justine Baker: First up, it is making a comeback. The mix of retail has changed, which has been positive. Previously it really was just fashion outlets which limited the range of patronage. Now there are homeware stores, galleries, cafes, casual food as well as Merivale’s refit of the Paddington down the road. So there is definitely more of a vibe in Paddington and a reason to stay for the locals instead of always leaving and going to Redfern, Surry Hills,

AUDIO: STYLE A CORNERED MARKET

It’s no secret that architects hate loudspeakers. They’re ugly, obtrusive, generally the wrong colour, and they’re installed last minute, conspicuously wrecking the clean lines of the interior design. Danes know a thing or two about design. Danish design and architects generally get along well. What if a Danish company had a crack at designing commercial loudspeakers that worked sympathetically with the interior architecture without sacrificing performance? This is the story of Cornered Audio, and the Paddington Inn is one of the first Australian installations to have used the Danish company’s sleek designs. The Paddington Inn restaurant uses 8 x Cornered C5TRM models that neatly sit in the cornice section of the ceiling without ugly brackets (pictured above). Even the Cornered Audio speaker cable is triangular to stay as low profile as possible. (Two EAW SB120 subs are surreptitiously designed into the cabinetry to provide some extra low end and stay out of sight.) DJW took care of the audio, and the boss, Dave Coxon, was duly impressed: “They’re an impressive loudspeaker. Certainly powerful enough and look really great tucked up nicely into the architecture of the space.” Demonstrating the no holds barred commitment to high performance, the front bar uses EAW MK8196 two-way loudspeakers combined with concealed SB120 subs. The DSP and routing is handled by a Symetrix Radius 12x8 EX. The combination is very hard to beat. Dave Coxon has seen plenty of pub and nightclub speaker installations: “The front bar really cranks on the weekends and the combination of EAW MK series loudspeakers and M Series Powersoft amps gives the pub all the power and clarity they could ever need. No one wants huge speakers in a space like this and the MK8196 two-ways definitely have the right combination of size and performance.” DJW Projects: (02) 9114 9993 or www.djwprojects.com.au PAVT (Cornered Audio, EAW, Powersoft): (03) 9264 8000 or www.productionaudio.com.au

the City, or even Double Bay. But it’s the start of a long journey for Paddington. I think there’s some fundamental planning decisions that need to be made before Paddington comes back to where it was. I’d like to see Oxford Street become a boulevard rather than the major arterial council considers it to be. If there were trees in the median strip and we treated it like a Chapel Street then it’d totally alter the tenor of the suburb. venue: How do you grow quickly but not get stretched too thin? Justine Baker: It’s such a valid question. We talk about it all the time. Our litmus test is our culture. If our culture isn’t right and staff retention isn’t high or staff are getting burnt out, we know we’ve gone too far. We’re moving to structure our team so there’s a focus on being a specialist. We’ve taken a lot of generalists away so people can really specialise on one element. Whereas before it used to fall on one person to do a lot, and that’s never sustainable.

ENTERTAINMENT: ESSENTIALS Adam Lewis has joined Solotel as the group entertainment manager. It’s quite an usual appointment and demonstrates how seriously Solotel takes its entertainment offering. We talked to Justine and Adam about the group’s approach to entertainment. venue: How important is entertainment to the DNA of a Solotel venue? Justine Baker: Essential; such a big part. It’s as important as food, wine, and staff. It’s like the heartbeat that brings everything together. For the Paddington Inn it’s been at the forefront of how we saw the venue; how we thought it would feel, not how it would look. That’s very much around Adam Lewis’s role and the impact he’s had on the group. venue: Adam, how would you describe your role? Adam Lewis: I see myself as responsible for how the venue feels. Solotel encompasses such a diverse range of venues and audiences and localities and people, and I feel like my responsibility is to find what makes those venues and suburbs tick and find what makes people enjoy the ambience of a bar or a restaurant or a pub in the location it’s in, and give them the best possible version of that. The Paddington Inn, for example, is a really interesting one. The area has a certain feel, but there’s a lot of renewal happening as well — not just restaurants but bars and pubs opening up along the strip. My job is to find a way to both join that ecosystem but also stand out and give something unique — it was important to have a fresh approach with this venue. venue: Such as? Adam Lewis: Generally with our venues’ music, whether it’s background music or DJs, I tend to take the creative lead. For this project I started working with a collaborator Kylie Roberts who runs this great touring and entertainment crew called Picnic. They’re big in the party scene, and

I worked very closely with Kylie on all the music playlists for the venue. So rather than going to a certain music supplier like Nightlife and using the in-house lists or in-house catalogue, I wanted to start outside that known ecosystem, and in the process give us something completely unique. I wanted to ensure all the music — the playlists and the DJs — would fit into a cohesive narrative. If you’re sitting here on a Saturday and have some afternoon drinks and you’re still here for dinner when the DJ starts playing, you’re going to enjoy a really cohesive, strong experience. The flipside of working creatively is the backend to make that work. And for that we tried some new things with Nightlife. We use Nightlife in a lot of our venues, and they’re a trusted partner. This time we pushed the envelope somewhat with how we’d access the catalogue. This time, our approach was to work with Picnic to organise playlists in Spotify, which has access to pretty much anything you can find musically around the world. We then brought those playlists to Nightlife and said ‘this is what we want to have in our venue’. In turn, they worked to make it a reality. Obviously we can’t use Spotify commercially in the venue — although some do use it, outside the law — but Spotify is a familiar interface for Kylie and I to build the playlist. Meanwhile Nightlife can translate those lists into a commercially available offering with Nightlife’s superior volume normalisation and reliably appropriate pauses between tracks. It’s been the best of both worlds, you might say. Nightlife bridged the gap and smoothed the edges. venue: How does music impact a venue’s bottom line? Justine Baker: It affects the crowd. Increase the BPM, people start dancing. People drink more when they’re dancing. People stay longer in the venues when they’re having fun and they can actually really feel it. If it’s too sedate or the lights are up too bright, people leave because they’re triggers that tell them they have to go home. Whereas if you can get that nice honeyed lighting — the soft glow, the warm vibe — and you can feel the music then you want to party and everybody’s got a smile on their face. It doesn’t matter if you’re sitting there having a chat, you may just be dancing in your seat, it’s still a feeling that compels you to stay and it will make you return. Adam Lewis: Absolutely. I don’t think people appreciate just how much it affects trade. I think it changes people’s behaviour. It changes the way people interact with a space and that varies a lot from venue to venue. CONTACTS George Livissiannis: georgelivissianis.com Nightlife Music: 1800 679 748 or nightlife.com.au

[Entertainment is] as important as food, wine, and staff. It’s like the heartbeat that brings everything together.

Check out Venue YouTube Channel to see our interview with Justine Baker and Adam Lewis.

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Woy Oh Woy! Bergstrom Architects bring style to a once-sleepy Central Coast hotel. Story: Christopher Holder The Bayview Hotel: 2-16 The Boulevarde, Woy Woy NSW 2256 (02) 4341 2088 or www.bayviewwoywoy.com.au

a Bergstrom Architects project

artners Gary Narvo, Peter and Jordan Harris are on a roll. In quick succession they’ve identified three amazingly-positioned, underperforming pubs; spent the necessary dough and given them a new lease on life. Last year it was The Lakes Hotel (in The Entrance), this year it’s The Bayview Hotel in Woy Woy, and now they’ve turned their reno gaze to The Jesmond in Newcastle. Driving the refits are Bergstrom Architects and Fourway Projects Constructions. “We’ve run pubs for many years,” reflected Gary Narvo, “so you know where you need venue entrances, toilet facilities, bars, the TAB etc; you know that the kitchen has to be in the right place for efficiency and service. So we had a firm idea of the floor plan we wanted, but Bergstrom Architects fine-tuned it to another level, then added their layering, which surpassed anything we could imagine.”

BAY WATCH The new-look Bayview pub rejuvenates the traditional corner local that sits on a prominent position of the entrance to Woy Woy overlooking Brisbane Water. Central to the renovation was the creation of an all-weather beer garden, a new bar and an extension to the bistro, all finished in a manner that has surprised and delighted locals and visitors alike — it’s like nothing else in the area. Work began by demolishing the old-school extensions from yesteryear; the old bottle shop; and the previous beer garden. In its place Bergstrom Architects created a sculptural entry feature and a fun, dynamic all-weather beer garden structure. The transformation is stark: now the pub’s curved stair feature greets vehicles driving across Brisbane Water into Woy Woy. As night falls, the backlit signage almost acts like a lighthouse beacon.

the spend is justified. We didn’t skimp and I’ve no doubt it’ll pay dividends for many years to come CONTACT: Bergstrom Architects: (02) 8920 1499 or bergstromarchitects.com.au Fourway Projects: (02) 9542 8451

Ania Bergstrom: “Because the scope of our work didn’t entail a total renovation, we made a conscious decision early on in the design process to differentiate the new from the existing. This is clearly showcased in the atrium area of the pub which was originally the service lane. The original window openings are retained and used as a decorative element while the new structure is a casual timber clad shed.”

SEE ME RAW

Ania Bergstrom: “Halfway into the design process the client’s brief changed to include a request to secure the entire beer garden and to lock up the new bar when not in use. This request proved to be a catalyst for us to completely rethink how to design such security measures in a manner that enhances rather compromises the original look. In the bar area we added a large custom-made sliding metal screen. It’s unapologetically hung from a structural beam and acts as a dynamic sculptural element both when closed and open. Similarly in the beer garden we have hydraulic tiltup screens that, when open, look like rustic butterfly wings.”

Inspired by the idea of laneway bars, Bergstrom Architects employed a lot of recycled materials, from recycled brickwork to reclaimed timber bar tops. The architecture is intentionally raw and unfinished, there’s the exposed concrete structure of the new extension with rustic lighting and casual furniture. B Seated Global took care of all the furniture including custom tiled tables. “Bergstrom Architects were great throughout the design process. I was especially happy with the project mood board they came up with,” recalled Gary Narvo. “We’re one of those clients that know what we like when we see it, so to have the mood boards with the colours, materials and textures on it, really helped us through the process. We would provide our feedback and the Bergstrom team would come back with the appropriate changes: ‘here’s the leather for the banquettes; here’s the wall tile...’ it allowed us to picture the entire project before they’d laid a brick — we knew what we were getting.” The build itself was a significant upheaval but Fourway Projects pulled out all stops to allow the pub to trade through. “How much did it cost? We invested a considerable amount,” responded Gary Narvo judiciously. “But the spend is justified. We didn’t skimp and I’ve no doubt it’ll pay dividends for many years to come. “Fourways is a great builder and their build costs were pretty close to the original estimates. If anything it’s the structural engineering reports that can sneak up on you.”

Kenny Rens. Paul Kelly Design presents a new cut of a Japanese classic. The modern robata and whiskey bar reimagined â&#x20AC;&#x201D;Â this is an encounter to savour.

Coast is Clear The reborn Headlands Hotel makes the most of the vistas. Story: Christopher Holder Headlands Hotel: (02) 4200 1099 or headlandshotel.com.au Headland Avenue, Austinmer NSW

ARCHITECTURAL RE:VIEW

Steven Bayer from Edmiston Jones GBB architects outlines the challenge of designing the Headlands Hotel. Steven Bayer: The challenge was to maximise the location: designing a venue with an appropriate response to sun and wind especially. Then there was the challenge of responding to the client brief and user requirements. A big part of that was designing a venue that provided quality hospitality and be a genuine food venue. The response was to focus on excellent integration of internal and external spaces and for Headlands Hotel to be easy to run for the operator — to function efficiently. The alfresco spaces cater to a variety of uses and patrons.

There’s a lot of glass and overhanging roof so you can spend time outside but undercover. The glass and the external fabric is operable — so you can close off large section depending on the prevailing wind conditions. The more formal restaurant end of the ground floor has a lower ceiling and offers a more intimate atmosphere. The informal bistro is more open with a raked ceiling providing a lighter feel. The perimeter of the venue is reserved for the customer while the core of the venue is for services. Keeping the kitchen and services in the centre allows for more efficient use of staff resources, with shorter travel distances for staff. Edmiston Jones GBB: www.aej.com.au

f the only rule of real estate that really matters is ‘location location location’, then the Headlands Hotel has it all. The development is located on 1 Headland Ave, Austinmer, just north of Wollongong, and enjoys uninterrupted views up and down the coast. The location is an absolute cracker. Getting the project off the ground wasn’t easy. This wasn’t the first Headlands Hotel. The original ‘much loved’ hotel had to be demolished to make way for the brand new $25m project, and developers John Stevens and Graeme Charles (of the Stevens Group) spent years banging heads with the council and a number of vocal locals. But one suspects that even the most ardent critic must, even begrudgingly, admit the new Headlands Hotel has a lot going for it: apartmentstyle accommodation, extensive function spaces, and a bar and bistro that makes the absolute most of the 180-degree vistas.

INSTANT HIT To be more precise the development consists of three buildings: the hotel with its four bars, bistro, function room upstairs (which seats nearly 400); and the two holiday accommodation blocks consisting of 61 studio, and one- and two-bedroom apartments which are under strata title. It makes Headlands Hotel very flexible indeed. As you can imagine, wedding planners have immediately cottoned onto the possibilities, as have conference organisers. Meanwhile the pub has been an instant hit since its opening in December 2016. “We were inundated with people. Would I recommend opening a week-and-a-half before Christmas? No, I would not.” We spoke to hotel manager, Andrew Biggs, a 28-year hospitality veteran, who was given the formidable task of launching the Headlands Hotel. Andrew Biggs: “We’ve hired close to 100 staff over the last few months, learning new systems, new equipment, new processes, everything was new. It was a real eye-opener. Finding experienced staff in those numbers in the Illawarra region was impossible. We’ve brought on plenty of completely inexperienced staff, but some of those have proven to be our best.” venue: Amazing views; great new facilities; people will quite reasonably expect a high level of service, I imagine? Andrew Biggs: That’s right. For us it’s all about the views and trying to match those views with our service and our offering. We’re attracting a broad range of people, often a mature crowd, a more discerning crowd, definitely a dining crowd. Our lunches are busy. Sunday lunch, you’re lucky to find a spare seat. venue: You must have back of house running to catch up then? Andrew Biggs: We can be doing a thousand meals for lunch, and our function kitchen upstairs is set up to cater for 400 plates. During peak periods our main bar can be assisted by the sports bar behind it.

OUTSIDE, NOW venue: The alfresco areas are extensive. Andrew Biggs: The main bar has two balcony areas that can be enclosed when the weather’s not great. venue: Uninterrupted clifftop views of the Pacific can come at a price. I imagine you’d be buffeted in bad weather?

The Bromic Platinum Smart-Heat Electric excels in efficiency, packing high performance into a sleek package. Headlands Hotel has integrated the heaters into the eaves and ceilings

INVISIBLE HEATING

of outdoor spaces. The Bromic Platinum Smart-Heat Electric is slimline enough to function in this way and has a recess kit specially for this type of application. Each unit heats up to

Andrew Biggs: You’re right. Because we sit so far out on the headland there’s nowhere to hide. But depending on whether it’s a northerly or a southerly blowing, our customers can retreat to the other end of the venue and still enjoy being outdoors protected by the building. But sure, if the weather gets really bad it can knock out areas of operation, but we can shut those down easily enough. venue: Keeping people comfortable for as long as possible outdoors means paying attention to the heating. Andrew Biggs: And we did — heating was high on the agenda very early on. The heating needed to be effective, even in windy conditions, and couldn’t impinge on the views in any way — we didn’t want any ugly, red strips or big, black bars hanging down. The Bromic heating is flush-mounted into the ceiling. In fact, rather than being an eyesore they’ve become bit of a talking point: “Oh what’s that? That looks nice.” So they’re virtually unrecognisable as heaters and they’re very effective. Bromic came out on site and consulted on the design. It was important we cover as much of the areas as we could. We went through a properly documented heating plan while the project was still a shell. Then Bromic returned when the building work had progressed to go through the plan again and ensure the design was the best one.

6sqm. Bromic is happy to work with the client on a heating design, look at plans and visit a proposed site. Bromic: 1800 301 1293 or bromicheating.com

MONTHS IN venue: You’re a couple of months into operations. Do you ever get tired of those views? Andrew Biggs: No. In fact, I’m still surprised by the views at times… “Oh wow, I get to work here every day!” But it has been a real baptism of fire. I’m very proud of our team. We have many staff, some totally inexperienced, who have really stepped up. Our biggest challenge is probably to maintain a high level of consistent quality in our food offering. With different chefs and different shifts we do have to maintain our concentration there.

THE PADDINGTON

Merivale Group, Sydney

24 Moons Alumbra The Arthouse Hotel Australian Outback Spectacular The Bank Hotel The Botanical Bungalow 8 Brisbane Hotel (Perth) Club Marconi Discovery Establishment Half Moon Hornsby RSL Ivy Katuk Kudu Lounge Luxe Bar The Mean Fiddler The Met Oxford Art Factory Slip Inn

BRING IT ON HOME Home The Venue: Darling Harbour, NSW (02) 9266 0600 or www.homesydney.com

I LIGHTING INSTALL 18 x Martin Quantum Profile 6 x Martin Rush MH6 4 x Martin Atomic 3000 LED 4 x Show Pro X-Blinder 10 x Show Pro LED Sunstrip 6 x LED PixPad 1 x MA Light Console

In the biggest venue lighting upgrade since Sydney’s controversial lockout laws kicked in, Darling Harbour nightclub Home has spent nearly a quarter of a million dollars investing in a top-notch system for its main 1800-capacity room. The previous rig was looking tired according to Home’s lighting designer and operator, Darcy Cook: “It was good equipment but a little dated and with the advancements in technology we felt the venue needed access to the latest lighting effects to stay cutting edge.” To convince the venue owners, Cook took in a demo unit of each Martin light on his wishlist: a Quantum Profile, a Rush MH6, an Atomic 3000 LED, a Show Pro X-Blinder and a Show Pro LED Sunstrip. Home’s owner Susannah Page picks up the story: “It was time to reinvest to get an edge. Darcy showed me the comparison between what we had and what we could have. And seeing these lighting fixtures looking a thousand times better… well, I couldn’t very well turn around and say ‘no thanks’! The difference was chalk and cheese.” “It had to be Martin,” continued Cook. “We were looking for new feature sets — the colour mixing system in the Quantum Profiles alone allows us to create a huge number of new effects. The next key requirement was for LEDs — the entire rig on the main floor is now all LED, there’s not a single discharge lamp in the theatrical lighting rig and that’s having a significant impact on energy use in the club.” The main club room has a 5m wide, 2m-high LED screen surrounded by a truss border that now houses 10 LED Sunstrips, four Atomic LEDs and six LED PixPads, all powered off three circuits: “If we were using conventional tungsten that would’ve been maybe eight circuits, so we’re saving a lot of power.”

CONTACT Show Technology: (02) 9748 1122 or www.showtech.com.au Tourlights Australia: info@tourlights.com.au

Cook is particularly taken with the sharpness of the gobos from the Quantum Profiles: “It’s absolutely astounding, they are so ridiculously crisp, and they stay crisp throughout the entire zoom range. The zoom range of the fixtures make it really easy to effectively paint the room with colour and gobos now, and with the increase in the dynamic range of what you can do, it’s created a far more exciting vibe. It’s a lot brighter, which keeps liquor licensing happy, and it’s flashy, which keeps the punters happy.” Home operates three nights each week with a laser-heavy trance night on Fridays, a flashy colour-changing club night on Saturdays, and a darker, moodier techno night on Sundays, all solidly attended. “The rig performs really well across all three styles of lighting, and it brings the venue up to a spec that ticks all the boxes for the world’s best DJs,” Cook says. The lighting is controlled by a Grand MA2 Light, which is the world’s most specified lighting console for the production markets. “We’ve spent time getting to know the team at Home and working with them to find the best possible lighting solutions. We’re delighted to be part of this new chapter with one of Sydney’s longest running entertainment venues,” reflected Show Technology’s Business Development Manager, Stephen Dallimore. Home boss, Susannah Page, rightfully has the last word: “Walk into our venue and you know instantly that we’re a genuine nightclub. It’s all about the quality of the lighting, sound and entertainment. This investment means our lighting team can properly provide a dynamic, completely different experience for each of the three nights and with the limitless possibilities my team stays fresh and inspired. I’m already seeing a return on investment.”

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BONZAI BEAUTY

Frenetic Tokyo micro madness descends on leafy Sydney suburbia. Kenny Rens: 146 Queen St, Woollahra NSW (02) 9363 0219

Story: Christopher Holder Photography: Murray Fredericks

hat to do with a undersized tenancy? Make it smaller. I know that seems insane but when Paul Kelly and his client Nick Diamond sat down to discuss some options for a Woolhara shop front, Paul made his pitch: chop the site in half. Create a luxe sushi bar at the front and then a secret restaurant and bar at the back. This wasn’t entirely a hair-brained hail Mary, Paul Kelly has done the hard research ‘yards’. He’s scoured the nether regions of Tokyo: descending in and out of izakaya and yakitori bars and restaurants, taking the pulse of some tiny venues that nonetheless teem with life.

a PAUL KELLY DESIGN project

BLACK BELT SUSHI The Kenny Raw shopfront is relatively conventional. High-class sashimi is conspicuously prepared by a Japanese sushi master and served in gorgeous balsa wood boxes embossed with the Kenny Raw logo. Come nightfall, those in the know can walk through to the back of the sushi restaurant to a burnt timber panel featuring an intentionally anonymous bronze plate with the Kenny Rens logo inscribed. Slide the timber panel aside and instantly you’re transported to a another dimension. Kenny Rens is an assault on the senses. The star of the show is a wood-fired robata grill spitting flames and smoke. Close enough to scorch your eyebrows is an array of bench seating. The 25 seater is crammed. Paul Kelly puts it this way: “The benches are small, the seats are hard, the grill is hot and smokey; the drinks are cold and the food is amazing. Sounds like a great restaurant!” And that about encapsulates Kenny Rens: it’s brash and unapologetically so. Everything is cranked to 11, including the music belting out through a high quality Bose sy stem. “It’s loud,” notes Paul Kelly. “You can hardly hear yourself think over Living on a Prayer or The Final Countdown. That’s the intention: high turnover. As a customer you feel privileged to have a seat but it’s not designed for you to settle in for the evening.”

FUN SIZE Paul Kelly’s Kenny Rens concept brings crazycramped, totally bonkers Tokyo hospitality to Sydney. The ‘why’ is based on the space restrictions of the site, not because Paul and Nick are on a mission to bring home an izakaya in their Qantas hand luggage. For it to work financially you need people — lots of people; and you need alcohol — lots of alcohol. Nick Diamond is carrying the financial risk on this full-throttle throw of the dice and already has his eye on another site that would otherwise be unworkably small: “Engaging Paul Kelly Design was more than hiring an interior designer. I totally trusted Paul Kelly to flesh out the concept and to build me a brand. Now, I have an opportunity to roll the concept out to another site, albeit on a slightly larger footprint. “Getting the Kenny Rens concept right is a huge plus. It’s tight and intimate, yet fun and vibrant.”

Strap Yourself In: Kenny Rens is noisy and claustrophobic… in a good way. The undersized space uses uncompromising materials like granite and other stone, with a limited colour palette of blue, white and charcoal. It’s an intimidating space that’s not for the faint hearted, which, again, is the intent.

you feel privileged to have a seat but it’s not designed for you to settle in for the evening

SOUP TO NUTS

Paul Kelly Design (ably assisted by branding work done by Folke Army) consulted on all aspects of the design: the interior architecture and design, the menus, glassware, aprons, signage, the planning applications… the artwork: “The artwork is a real feature,” continues Paul Kelly. “We engaged a local artist [Amy Finlayson] who used a royal blue and off white to layer paint, invoking a Japanese seascape. We took that and rolled it such that it cracked and crinkled. It really does look like a found piece of Japanese art. It’s intense, yet stunning.”

ANATOMY OF SMALL SPACE The Japanese have made an art out of the micro. In Tokyo, where space is especially at a premium, small bars and eateries are an institution and can remain so because of the pressure of population. “There isn’t the luxury of space in Tokyo,” observes Paul Kelly. “The same applies here at Kenny Rens. It’s absolutely tiny and the design is about maximising the space rather than slavishly trying to emulate a Tokyo restaurant.” With so much thought gone into making the most of the small footprint it’s resulted in a remarkably efficient hospitality operation. “Because of the size limit the menu is concise, as is the drinks selection,” continues Paul Kelly. “There’s not much variety but it’s all of a really high quality. Operationally, the back of house facilities are carefully designed. The robata grill is central to the spectacle but much of the preparation and cooking is down behind the scenes.” Turning everything up to a 1000 and churning through customers sounds like a hospitality version of pulling on a squirrel suit and jumping off a cliff every night — adrenalin-fuelled and intense but you know one day you’re likely to crash and it won’t be pretty. Getting Nick Diamond’s coalface perspective as the operator was instructive: “Turning a profit on a tiny operation like this is tough. You have to be a hands-on operator; be careful with your staffing; and watch every dollar. On those Friday and Saturday nights everything needs to be firing to make the most of those busy periods. Managing that demand is the challenge.” For the foreseeable, Nick’s happy to keep pulling on the proverbial squirrel suit: “There’s one word to describe the feeling of running Kenny Rens: awesome! I love it. It’s a lot of hard work but it’s so rewarding when it’s busy. I love the intensity; I love talking to customers and I love talking about the food. It’s a very rewarding feeling.”

CONTACT:

Paul Kelly Design: (02) 9660 8299 or www.paulkellydesign.com.au

Bose: 1800 061 046 or pro.bose.com

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Pawn 2.0 The beloved Pawn & Co. is backâ&#x20AC;Ś now with added organocktail. 177 Greville St, Prahran VIC (03) 8506 0616 or www.pawnandco.com.au

Story: Christopher Holder Photos: Eugene Hyland

Beer with Hops: The legendary albino wallaby returns. Albeit with a cyber skull, after it lost its head during a late-night encounter. The Organocktail maker (opposite) takes pride of place behind the main upstairs bar.

on’t try this at home. A bar where everything is for sale? Pawn & Co. should come with a warning for other would-be operators: in the wrong hands Pawn & Co. would be more ‘Gold Coast theme park’ than ‘coolest bar in town’. Thankfully Pawn & Co. is in the right hands: a seven-person crew; all good mates; all come from backgrounds without privilege, just a strong work ethic and a passion for doing things well. If each in the group have their own unique attributes then Josh Lefers is undoubtedly the creative firebrand of the band. His head is a plasma ball of firing synapses. Josh is showing me the organocktail maker. Where other operators are trying to push premixed cocktails through fastflow taps into students’ mitts, Josh is designing his own ‘infernal contraption’ that’s jerry-built from a decommissioned pump organ. In short, it’s nuts. But its fun. Yet how do you stop ‘fun’ being tacky? How do you stop being that venue which was mildly diverting one night then ‘never again’… like a theatre restaurant? The answer is, back up the fun with rock-solid F&B fundamentals. “It’s a novel concept,” says Josh. “If you want to interact with the pawn shop aspect of the venue then you’re more than welcome. It’s 2am, you’re there with your date and you spot a trumpet. Buy it; play it. That’s fun. But you don’t have to interact. Fundamentally, Pawn & Co. is a bar and a really good one at that. Our mission is to help you have a fun time in our venue. So it’s not enough to have a cool idea or a strong concept, you have to back it up with great execution, and we have the team to pull that off.”

much their venue had inveigled its way into the culture of the area. There was outrage. There were tears. There was unstinting support from the hospitality venue community. It was humbling. “We really, really didn’t want to move. And the community support was huge. We had 3000+ signatures to save the venue. We realise we’d become an institution in the area, which isn’t easy to do in under five years. “The final night in the original venue, people were in tears. I was consoling a patron who was clutching an Edwardian Oxford English Diction as a memento of the old venue, sobbing. It was a touching time.”

I’LL TAKE IT

FOR SALE

Like the memorabilia and esoterica on show in the venue, there’s nothing new about Pawn & Co. Some five years ago Pawn & Co. launched nearby on Chapel St. South Yarra. It got done over by a developer deal that kicked them out of the tenancy. During a period of uncertainty and hand wringing the venue ran a Save Pawn petition and it was then that Josh and the others realised just how

The Pawn schtick is simple but elegantly powerful: everything’s for sale. The venue is built as a pawnbroker of the future… but with a steampunk aesthetic. Most items have a price tag. Mostly items are priced such that you don’t have to be on your third Absinthe to spring for something that takes your eye. Yet it’d seem Josh would rather some choice items not disappear too soon. The

EVERYTHING TO LOSE With so much sentiment for Pawn & Co., relaunching was the easiest and the hardest thing to do. In fact, I put it to Josh that he had everything to lose: “I agree. There was so much love for the original Pawn that it would have been very easy to betray that in some way. But we approached the new Pawn with a lot of diligence and love.” Version 2 of Pawn came with five years of extra experience and resources. Josh was pleased to see his concepts fully fleshed out. This time around they hired film set builders to realise some of the components. “The idea of installing tram carriages downstairs came with so many potential problems. I have another venue with a semi trailer inside it [Truck Stop Deluxe] and putting that in place represented a world of pain. So engaging [set builders] On Set was one of the best things we could have done.”

price tag on the Star Wars storm trooper at the front door positions it well out of the impulse purchase zone… saying that, I’ve no doubt it won’t be long before a fanboy punter shares a cab home with the $1500 souvenir. However you interact with Pawn & Co. it’s a bar with a smile on its face. Satisfying stuff for Josh: “Personally, as the designer of the space, I’m super stoked to feel such love for it across the board. Hearing the snippets of conversation, the feedback… it’s sweet for me. And even sweeter is to have achieved it with my friends and partners. “The first time around we scrimped and scraped. This time around we had the resources for me to articulate my concepts in the way I’d hoped. So to repay that faith my partners have in me is very rewarding.”

PAWN PA

Safe as Houses: The resplendent DJ throne in all its glory (top). The ladies’ bathroom is decked out as a safe deposit bank vault.

Some 12 months ago, prior to the eviction notice, the Pawn & Co. directors invested in a new PA. As the Pawn & Co. star rose, and as it became increasingly attractive to bigger name DJs, they new they needed to up their audio game. The new Pawn has raised the bar even further. EventCraft was engaged as the AV consultant and installer, headed by Jason Rooney: “First job was to assess the building. We brought in an acoustic consultant to map the venue and determine what sort of amplified sound would be possible. Josh: “We spent quite a bit of money we didn’t reckon on, getting this place soundproofed to a degree. We were determined to be great neighbours. Jason: “Get a SEPP N-2 done [State Environment Protection Policy – Control of Music Noise from Public Premises]. It’s the legislation you need to abide by. People ignore it, spend $50k on a bigger sign out front or a social media push… and you might have full venue, but you’ll need to do it in the long run or you’ll get shut down.” Josh: “Late night venues like ours need to be across a lot of regulation, and it’s our job to know our obligations and adhere to them. Liquor licensing, council rulings, EPA… let me tell you, these are not agencies you want to have a problem with; quite the opposite. If you want a successful, sustainable business, then operate responsibly. We put in too much time, love and money, to lose it all because of stupidity.” The PA design is a cracker. Downstairs a pair of full range dB Technologies 15-inch loudspeakers cover the main area. They’re inverted to allow the HF horn to shoot under the steampunk creative fixed to the lowish ceiling. Two d&b 27A passive cardioid subs fill out the bottom end. The subs back on to the foyer and the cardioid design means the front entrance is spared most of the sub output. Often cardioid sub setups require multiple boxes and processing, the 27A does it all in the one enclosure, which is nifty. A d&b 20D amplifier powers the PA. The foyer has a couple of dB Technologies 8-inch two-way loudspeakers addressed as its own zone and independently delayed to be in sync with the ground floor DJ output or upstairs if the headline DJ is taking over the venue’s sound. All the zoning and processing is managed by an Ashly DSP which was existing – about $3000 worth of processing sitting the cupboard from the previous tenant which was welcome. The upstairs main room boasts a top spec d&b rig. Y7P full-range loudspeakers do most of the work. Four 18-inch d&b subs provide all the low-end grunt you could ever want. “Originally the design was to have the DJ booth to the side,” recalled Jason Roonery. “We spec’ed four subs in order to electronically steer the low end away from the front wall. The position of the booth is now, more conventionally, shooting sound down the length of the room. So four subs is overkill but it’s a happy problem to have.” The previous upgrade saw Pawn & Co. move to d&b but the team still did their due diligence and auditioned a handful of other premium alternatives. They came back to d&b. Josh sees the benefits in investing in high-quality audio: “There’s a level of quality you need to provide when you’re attracting ‘name’ DJs. Admittedly we’re a bar, not a festival or a nightclub, but great audio is still non-negotiable.” Eventcraft: 0408 475 964 or www.eventcraft.com.au NAS (d&b, DB Technologies, Ashly): 1800 441 440 or sales@nationalaudio.com.au

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ON THE QT QT takes its brand of designled sass to the capital of chic. 133 Russell St, Melbourne VIC 3000 (03) 8636 8800 or www.qthotelsandresorts.com/melbourne

Story: Christopher Holder

Hit The Roof: QT Melbourne’s rooftop bar is certainly the place to be and it’s easy to see why — great views of the city and a relaxed mix of alfresco and indoor partying. QT management is fond of the island bar — all QT bars are four sided. It allows people to gaze over the bar at each other, it works as a room divider and allows one side to be busy while the other can be more chilled. Outdoor furniture by Tait with some of Nic Graham’s custom items inside.

t’s a homegrown success story. Saying that, QT Hotels (a division of Rydges) doesn’t shout its domestic credentials from the reception desk. QT is funky, sassy, savvy and could just as easily be a native of Brooklyn or Berlin. Starting life on the Gold Coast, QT really broadcast its manifesto when it moved into the old Gowings department store building in Sydney. It was the perfect digs for a boutique hotel: quirky, oozing personality, and right in amongst the downtown bustle but blocks from Sydney CBD sterility. QT Melbourne had big shoes to fill. Harsh critics of Sydney would suggest a washed up bottle of Reschs on Bondi Beach is seen as Sin City ‘design’, while Melbourne is quick to distinguish art from artifice — in Melbourne, the emperor is most definitely wondering around in his birthday suit. Nic Graham is QT’s unofficial ‘Designer in Chief’. He’s been the interior architect on the Gold Coast and Sydney properties, and was called up for QT Melbourne. Shelley Indyk took care of the room designs while Nic and his team was responsible for all the other common areas, such as the lobby, the restaurant and bar, the rooftop bar, the laneway noodle bar Hot Sauce, and the knife shop (more on that later). “We didn’t want it to look like an Armani suit,” reflected Nic Graham. “If it was an Armani suit it’d be with a graffiti t-shirt and a pair of Nike runners.”

Okay, as design statements go, that’s intriguing if a little abstruse. What’s an Armani suit hotel then? “For me,” he continued, “the ‘Armani suit’ is an attractive hotel that obviously has been built with a good budget, and has been filled with items from Space Furniture. There’s nothing wrong with that but it’s not what we wanted to do. We have used some expensive finishes but we’ve also done things quite raw and pared back.”

THE CUSTOM IS ALWAYS RIGHT Speaking of furniture, Nic estimates that 90% of what you see pictured here was custom designed by him and his team. Nic Graham again: “Was it fun? It was the best part! It was also quite taxing. We would design then prototype the item… or when we ran out of time, not prototype and play a game of roulette to see what showed up on site! “I developed a number of pieces I had manufactured by Stella Works, which is represented by Living Edge in Australia. They started the QT Collection with the first chair designs we did in Sydney, so it was a nice opportunity to expand the range. We had some fun with other signature pieces. The restaurant chairs, for example, are a bit more ‘1930s gentlemen’s club’ and we definitely like to share a nod and a wink with the vintage mid-century look: studs and brass and combination brass and timber legs etc.”

AUDIO: NOT ON THE QT!

QT Hotels takes its music very seriously with its playlists reflecting the spirit and style of the brand. QT wanted to take the audio performance of its F&B spaces up a notch and called on its long-time AV collaborator, Kayder, to look into how it might make that step forward in performance. Kayder director, David Edgar, in turn, phoned Technical Audio Group’s Technical Director Anthony Russo to discuss how it might use Martin Audio’s CCD range of high performance install speakers in the rooftop bar and QSC’s in-ceiling speakers and networked amplifiers. “This is a flagship property for QT and it wanted the public spaces to have the best possible audio. The Rooftop Bar really pumps on the weekend and we needed a loudspeaker system that could respond, but also sound great at low volumes during more relaxed periods. The coaxial CCD range from Martin Audio is a superior-sounding loudspeaker. The frequency response is incredibly even, and the eight-inch models in the Rooftop Bar can handle anything the DJs throw at them.” Kayder: (02) 9523 7516 or www.kayder.com.au Technical Audio Group (QSC, Martin Audio): (02) 9519 0900 or www.tag.com.au

Interior Architects, Nic Graham & Assoc, took the concrete and glass basis of the architectural sheel and layered and softened the interiors with a beautiful collection of custom furniture, rugs and fabrics, wallpapers, then finished it off with artwork.

ANATOMY OF A NEW BUILD The $80m build was done by Built. and based on a from-the-ground-up 12-level structure. (It occupies the site of the old Greater Union Cinemas, for those familiar with that part of Melbourne.) Two levels are dedicated to private apartments. Alongside a ground level cafe and spa, the building incorporates a restaurant, two bars and a number of meeting rooms. Perched on top is a rooftop bar that has been doing amazing business in the summer months. Having the restaurant and bar on the first level proved a challenge,” noted Nic Graham. “You have to provide guests with a transition from the ground floor, which is why we have the broad staircase. The level itself was difficult because it’s so broad and open. I prefer more enclosed spaces. On a good night it works beautifully but on the inevitable quiet night it feels a little abandoned. It’s very different to the Gowings building where we inherited the enclosed spaces — there was a more gradual and deliberate reveal from the front door to the back.” CONTACTS Nic Graham & Associates: (02) 8305 3288 or nicgraham.com

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Works with

uestions with

Dino Mezzatesta

Venue speaks with the new Chief Operating Officer of Hotels, Retail and Food & Beverage at The Star. Mezzatesta is now in charge of around 1600 staff across the precinct’s hospitality venues.

e have 29 different venues across the precinct and we certainly offer a variety of experiences, from our casual dining to our fine dining. We do around 6500 meals per day in our casual dining space, about 2000 meals at our fine dining space, and for our own staff, who are a very important part of our functionality here, we can do anywhere from three to four thousand meals a day. Hotels, retail, food and beverage all really talk hospitality. It’s all under a hospitality banner and they all support each other. We don’t have any part of our business where we talk in isolation. We talk as a group. We’re very passionate about customer service. We recently embarked on our Star Qualities Program. This is all about making sure our people have ownership, and making sure that they can deliver the experience at every level. We’re dedicated to finding and training Australia’s next generation of world-class chefs through the Star Culinary Institute. It was launched back in May 2012 and it aims to set a new standard for apprenticeship programs, offering a dynamic, friendly and supportive environment for our apprentice chefs to achieve and excel. There is something for everyone at The Star. You can go from a beautiful ice cream at Messina’s, right through to the extravagant dining at Black, or Balla, or certainly at Sokyo. We have an events centre that caters for the most exquisite and delightful banquets, and in January we have had a very successful Superbowl where we did over 11,000 covers for the day. We have an events centre which is unique, and if you look at that offering,, you know how we position ourselves in the market. We’re able to do everything from the A-list concerts down to the most exclusive banquet dinners. And then we’re renowned for the Dally Ms, for the ARIAs, for the AACTAs, and we’re very proud to have those relationships and those arrangements in our business. The new projects comprise some significant development in this precinct. And while some of them are short term, some of them are longer term. This includes a new hotel in the Ritz-Carlton tower, which has been widely publicised, and is a magnificent building that will be a great addition to this precinct. With that comes an element of increased food and beverage offering, increased re-

tail offerings, and our footprint continues to grow. We’re becoming a true destination in our own right, we’re certainly a place to come, play, and game, and wine and dine in an environment suitable for all people at all levels. Everyone wants to feel welcomed, and wants to feel privileged and special. And the launch of our new loyalty program encapsulates that very essence. We don’t just reserve that service to our existing members, we want to grow that membership base, and we also want to look after every other individual that visits the Star, whether it may be on a regular or an irregular basis. Are we ready for new competition in Barangaroo? We’re always ready. And it’s not just for that competitor, it can be any competitor. It’s a competitive space, but we like to think that we’re really building a destination here. We have over 4000 employees and we have a daily visitation of anywhere from 30,000 to 45,000 people. When you look at those mechanics and those metrics alone, then you know you certainly need leadership — and leadership of a style where you’re accustomed to big numbers. But you also nurture your people and grow your people, and you develop a good succession plan. And you also want to be best in market. When I look at my capabilities and my learning over the many years I’ve spent in the hospitality industry, I’d like to think I’m in a good position to take this journey and continue to grow.

Are we ready for new competition in Barangaroo? We’re always ready. It’s a competitive space, but we like to think that we’re really building a destination here

TAKE ME TO THE RIVER Beaumonde Catering is on point at Perthâ&#x20AC;&#x2122;s newest hospitality precinct. Beaumonde On The Point 306 Riverside Drive, East Perth WA (08) 9218 8088 or www.thepointbarandgrill.com.au

Story: Jen Temm Bar Images: Fine-Line Photography

CONTACTS Webb Plus: (03) 9468 2570 or www.webbplus.com.au

AUDIOVISUAL CONTACTS PAV: (08) 9378 0888 or hello@pav.com.au Show Technology (Martin, MA Lighting): 02 9748 1122 or www.showtech.com.au NAS (SoundTube pendant speakers): 1800 441 440 or nationalaudio.com.au Bosch (Electrovoice): 1300 026 724 or sales.communications@au.bosch.com Panasonic: au.panasonic.com.au

utting 30m over the Swan River with spectacular sunset views at Perth’s eastern gateway, On The Point is Western Australia’s newest hospitality district and the culmination of a 30-year development saga. First proposed in the 1980s by Palmers Wines founders Stephen and Helen Palmer, the Point Fraser development was tied up in red tape for three decades before final plans were given the go-ahead by the City of Perth with construction beginning in 2014. Collectively, venues in the completed precinct will total more than 5000sqm, with an end value estimated at $50m.

FIRST IN, BEST DRESSED The first tenants to open and the heart of the purpose-built waterside hub are Beaumonde On The Point, a state-of-the-art multipurpose function centre, and The Point Bar & Grill, launched just in time for Christmas last year after a tight 12-week fitout. Owned and run by current WA Corporate Caterer of the Year, Beaumonde Catering, led by managing director Brian Leyden, the $5m venue covers a 2000sqm space and offers wide open spaces bathed in natural light with uninterrupted views of Perth’s foreshore. “We’ve gone for a very European, high-end design,” explains Leyden. “We were committed to getting something a bit different to what you see around Perth, we didn’t want just another pub. If we were going to spend that sort of money we wanted to make sure it was going to be right; we wanted a sophisticated, relaxed atmosphere with a big lounge and bar, balconies overlooking the river, booth seating and a very good quality food service.” Leyden brought in interior designers Webb Plus to develop the interior of the function centre and bar, with Perth’s Gervas Design and builder Ferguson Corporation completing the build onsite. With the views providing much of the wow factor, the design focussed on developing a flow through the space.

SWANNING ABOUT “The building itself is a very strong steel structure that’s glazed all the way around,” says Webb Plus design director Adrian Downes. “There’s no real walls as such, and with the outlook over the river and the terrace on the east side it was really just about getting the flow from indoors to outdoors as unrestricted as possible.” In its largest configuration the function centre holds 1000 in cocktail mode or 500 seated. Different room configurations allow for smaller functions with classroom capacity for 600 guests at conferences and meetings, and boardroom capacity for 60. With most of the walls fully glazed and the need to cope with different sized groups, the main design feature in the function space is the feature ceiling, which borrows elements from Webb Plus’s striking geometric design used in Melbourne’s Sofitel On Collins function centre. “They were very keen to see some of that brought in,” Downes says. “It’s actually a very simple triangulated series of frames with LED pendant lighting that throws light up onto a painted metallic surface that can be colour-changed for themed events. It’s a grid structure so they can hang decorative elements or banners off the track between, and they can move things around for different functions. “The ceiling is really what ties the whole space together and gives an element of grandeur, that wow factor, otherwise it’s just a big box. The effect of the lit geometric boxes is that you’re not quite sure where the ceiling finishes, it just blurs that.”

END-TO-END AV For the function space AV, versatility was key to cater for everything from weddings and private functions to corporate conferences and meetings in different room configurations, with a noexpense spared approach. “There’s no point taking shortcuts,” Leyden says. “We’ve got the latest technology in lighting, sound systems, everything we wanted. What stands out is the multifunctionality: it can switch into theatre mode very easily, everything is remote controlled, we’ve got colour-changing lighting systems so we can theme the ceiling, we have table spotting technology with moving lights — everything on the wishlist was installed.” Leyden commissioned PAV – Install for an endto-end service, designing the AV systems from the ground up, installing the equipment and managing it in-house, working closely with PAV installations manager Carl Blewett and suppliers to ensure the best possible outcomes. The extensive equipment list includes 3 x Panasonic 7000-lumen projectors with 150-inch Screen Technics motorised screens, Shure ULXD radio microphones, Electrovoice amplification, a GrandMA on PC for full lighting control and networked digital signage using LG commercial displays. One highlight of the design is the complement of 52 x MH6 Martin moving head lighting fixtures used as table spots and for effects. Being able to offer table spots for a function has traditionally been the preserve of large, well-resourced ballrooms, and has been a real point of difference for the casinos and exhibition centres. But Martin’s well-priced MH6 brings professional looking individual table spots into the realms of the financially possible. For that decorative feature ceiling, 26 x SoundTube RS600i pendant speakers hang inconspicuously between the pendant lights for even coverage and the best possible speech and music intelligibility throughout the expansive space. Control is provided by newly released RTI 10-inch touchscreens located at the rear of each of the function spaces to easily manage the audio systems, house and feature lighting, video systems and blinds. The bar area further packs a large-format ‘hero’ display: a 3.9mm pixel-pitch high-definition LED screen (2.5m x 1.5m) on top of a complement of (comparatively) smaller LG commercial displays. A full Electrovoice audio solution includes 11 x ZX1 loudspeakers, 8 x EViD 4.2 surfacemount loudspeakers, and 4 x 12-inch ceiling mounted subwoofers, all powered by Electrovoice amplification. Touchscreen control allows for ease of setup and adjustment of AV configurations. “It’s a very good standard of audio and video throughout,” Blewett says. “It’s all equipment we’ve used at other venues from regular suppliers so everything has been tried and tested, except for the SoundTube pendant speakers which were just the right speaker for that purpose.”

INNER GLOW The design brief for the bar space was for an upmarket feel to cater for a slightly more mature, 30-plus demographic: “We wanted it to be smart and sophisticated but not in a stuffy way, it had to be very relaxed,” Downes says. “Dealing with such an open structure, we didn’t want to enclose it with anything too solid. It’s all about layering, from the bar space to the transitional space to the external areas, and filtering the views without enclosing the space as well.”

Pull-out pleated awnings extend the indoor/ outdoor area, and circular booths in lightweight cage-like structures create subspaces that can be rented out to groups without restricting the views by day. By night, the booths can be curtained off for privacy with LED strips that light up the fabric to create glowing private islands.

CROSSTOWN TRAFFIC With Beaumonde Catering well settled in, other new tenants are due to land shortly, including the much anticipated Balinese bar and restaurant Ku De Ta, and Chinese restaurant 8 On The Point. Another three eateries are due to open in coming months along with more casual cafes and bars.

The entertainment hub continues the eastward reorientation of Perth’s leisure scene spurred by the new football stadium at Burswood, the expansion of Crown Casino and other proposed developments. A $54m footbridge linking East Perth to Burswood will give pedestrians and cyclists direct access from Perth Stadium to On The Point and its generous car park, and is expected to be used by some 14,000 sports fans on match days. “It is pretty unusual for a private catering business to so something of this scale,” says Leyden. “We’re only a small organisation; we’re very careful in what we do, and we know we’ve got a very good long term lease and this business will be a solid earner.”

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Bose Professional Rocks Hard Hard Rock Café Dubai: www.hardrock.com/cafes/dubai

H Check out Venue YouTube Channel to see our interview with Hard Rock Café’s Katherine Misquith and Bose’s Biju Abdul Majeed.

ard Rock Cafe Dubai is a thoroughbred live venue, with cover bands entertaining enthusiastic audiences seven days a week. The original PA wasn’t cutting it. The room is acoustically tough with lots of hard surfaces, and unless the sound is carefully directed it can result in a multitude of unwanted echoes and reflections, reducing the punch and clarity of the music. The Hard Rock Café asked the regional Bose office to demo its brand new ShowMatch DeltaQ array loudspeakers. ShowMatch is a new loudspeaker from Bose. It’s a roadready, mid-sized compatriot of the well respected RoomMatch PA Bose released around five years ago. The system comprises three full-frequency elements with their three different vertical dispersion patterns (5°, 10° and 20°). From there you have a choice of horizontal dispersion waveguides you can fit into the box. Bose won the day, with the venue being impressed with ShowMatch and asking Bose to spec an appropriate system. The Hard Rock Café Dubai system comprises six ShowMatch boxes a side. The top two elements are 5° x 55°, the middle elements are 10° x 70°, the fifth is 10° x 100° and the bottom box in the hang is 20° x 120°. “The bottom box is really for the front row,” explains Bose Senior Design Engineer, Biju Abdul Majeed. “We’ve created the ideal and optimised pattern for the room and the audience to

CONTACTS Bose Professional: pro.bose.com AVI-SPL (installer): avispl.com

achieve the best possible intelligibility. That first row is sold at a premium and needs the best possible sound. It’s hard to cover though, with the two arrays being 14m apart! But the 120° dispersion waveguide made it possible.” Bose PowerMatch amps power the system including the four aside subwoofer arrays. The requirement was for a powerful sound where everyone in the lower floor area could enjoy 100dBA+ and high intelligibility. Up the steps into the bar the desire was for the PA to allow for easy conversation. At around 85dB you still need to raise your voice but the intelligibility is such that conversation is still perfectly manageable. AVI-SPL took care of the install, in fact, it took only one night to complete the installation, keeping the interruption to the venue’s operations to a minimum. For Assistant General Manager Katherine Misquith, getting the PA right was absolutely crucial: “We’re one of the premier venues in Dubai and people rightly expect a lot from the experience. And they’re not afraid to tell you when they don’t like the sound — something we found out the hard way with the previous PA. I’m delighted to say, that since getting Bose on board we’ve only had positive feedback from the patrons and the bands — some of which have been with us for years — who are delighted… they’ve never sounded so good.” — Christopher Holder.

07 3376 4122 • info@atprofessional.com.au • www.atprofessional.com.au

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You have to look closely to see the ALAs and MKBs installed in the pictures above and at left.

1 Heritage Property: University of Queensland’s Custom House; + 1 AT Bespoke System: Acoustic Technologies ALA and MKB wall subs = Complete, efficient coverage with zero impact on architecture and decor. Acoustic Technologies is the source for AV integrators seeking bespoke solutions for type-specific projects. Perfect for those “heard but not seen” projects.

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Taking the Plunge The Baths Middle Brighton: 251 Esplanade, Brighton VIC (03) 9539 7000 or middlebrightonbaths.com.au

hef Paul Raynor came to Australia in the ‘90s as part of the so-called Britpack, originally to run the restaurant in the short-lived relaunch of the Georges department store. In the ensuing years he’s worked at the Stokehouse, Werribee mansion, and then went on to run his own café in St Kilda. It was then the The Baths Middle Brighton opportunity came along. Convinced of its potential, Paul and his wife went ‘all in’, mortgaging all they had to buy the restaurant venue. Now, some eight years on, running a steady, successful business, they’ve decided to relaunch The Baths Middle Brighton, with a new look and feel from interior design from Wendy Bergman of Bergman & Co. The relaunch brings greater clarity to Paul’s vision of The Baths being a true multifunctional venue: the café downstairs, restaurant upstairs, and a dedicated function area — all with extraordinary views over the bay. The Bergman refit is modern, bright and flexible. Environmentally sustainable Morocco natural oak cork flooring shipped in from Portugal was the first medium chosen, and formed the foundation of the redesign with its organic, swirling texture imitating that of the sand below and highlighting the authentic raw exterior elements.

CONTACTS Bergman & Co.: bergmanandco.com Please Please Please: pleasepleaseplease.com.au VN Projects: (03) 9387 3000

Impressive 3m-high windows remain a focal point, showcasing the unmatched Melbourne view of sea, boats and dolphins, plus stunning colours of the setting sun. The art deco stone panels around the fireplace remain a feature within the newly created lounge area, with a redesigned cosy nook, featuring comfortable bespoke timber and leather seating by Sam Healy of Brown Suga, idyllic for enjoying the outlook, no matter the weather. In keeping with customised and sustainable products, bespoke art deco elegant wall and pendant light fittings have been created by Paul Grummisch from Please Please Please. The black string lights, paired with the black Pedrali Nemea chairs, create a black trim tailoring that echoes the deco railing on the exterior of the building and is balanced with custom made Victorian ash wood tables made by the construction team behind the renovation, VN Projects. Natural finishes, textured surfaces, straight lines and emulating the bayside views of water and sand were the fundamental design principles used to form a strong Melbourne identity at The Baths Middle Brighton. The overall result is a stunning space drinkers and diners are enjoying for a multitude of reasons.

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Claypaky Sharpy Party Nearly 100 Claypaky Sharpys were selected to deliver an immersive eight-hour light show to 2000 partygoers at an underground club night that was hosted by trailblazing Dutch techno music agency Claydrum at Complex nightclub, Maastricht for their New Year’s Eve celebrations. Dutch production designer Joël Lemmerling, from Maastricht-based production company, Stöd, selected 96 Sharpy fixtures to create a fastidious design formulated by gridded white, coloured and UV light beams and clever manipulation of angles. “We wanted a fixture that could deliver perfect beams of light that were easy to see, even with colours that are normally less visible, like red and UV,” says Lemmerling, who utilised the Sharpy’s 14 option colour wheel in conjunction with its interchangeable gobo wheel, strobe effect system and eight-facet rotating prism in the design. To create lighting looks that fitted with the fast beats of the night’s popular DJs, Lemmerling rigged a series of eight flown trusses hosting a grid of 12 Sharpys each to ensure a tight, uniform formation of beams. Using the Sharpy’s super quick pan (540° at max 2.45 sec) and tilt (250° at 1.30 sec) movement Lemmerling created a dynamic, interweaving light show that, through the clever use of mathematics, at times appeared to bend the the Sharpy’s 0°- 3.8° adjustable light beam. “We were able to achieve the light show’s precise geometry by focusing on the rigging and the placements of the fixtures,” reveals Lemmerling. “We drew a grid on the floor to get the perfect alignment for the Sharpys and every one of the 96 fixtures was adjusted by hand. It took some effort but was absolutely worth it.” Show Technology: (02) 9748 1122 or www.showtech.com.au

Hotel ME’s Bangin’ PA This is no ordinary hotel. Sited at the tip of the Baja peninsula in Mexico and part of the Meliá luxury hotel group, Hotel ME, Cabo San Lucas is in many ways a long way from anywhere, yet it is the centre of attention when it comes to entertainment. d&b audiotechnik loudspeaker systems have been installed throughout the venue, including its bar, two restaurant locations, and poolside. “Sound quality is an essential part of the ME identity,” said Meliá Sales and Marketing Director, Jairo Torres Vicaña. A complex system by any measure, acoustic expert Mauricio Castro of Hi Tech Audio (Mexico City) designed specific sound solutions for each environment. “I unified the character of the sound throughout the hotel by choosing only components from d&b’s xA and xS-Series of installation loudspeakers. It was a demand of the brief that hotel guests would be hearing only top quality and consistent sound wherever they experienced it.” Almost 70 loudspeakers in total, yet Castro was able to use just 10 amplifiers from d&b’s install range. “It took some time and attention for me to time align the complete system so guests would notice only subtle changes in level as they moved between different locations, but once set the system was, to quote one DJ: ‘bangin’.” NAS (d&b): (03) 8756 2600 or sales@nationalaudio.com.au

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L-Acoustics in $90m Vegas Theatre MGM Resorts International’s Park Theater is the newest jewel on the Las Vegas Strip. Hosting an audience of 5200 in its standard configuration and with a maximum capacity of 6300, the $90m theatre is a showpiece of cutting-edge technology and the latest trends in theatrical design, including an L-Acoustics K2 loudspeaker system. The Park Theater officially opened its doors in midDecember 2016 with a double-bill of Stevie Nicks and The Pretenders. In true Vegas style, the room’s technology is nothing short of dazzling. A projection mapping system scales 80m across the top of the stage and onto 15m-high screens on either side, illuminated by seven HD projectors and two 4K projectors. Scéno Plus specified a true LCR system with left/ right stereo line arrays of L-Acoustics K2 elements and K1-SB subs, with dialogue/lead vocals routed through a centre cluster of Kara as its own channel. The sound system at the Park Theater today consists of two hangs comprising 16 K2 enclosures and six K1-SB subwoofers per side flanking a centre cluster made up of 14 Kara boxes and four ARCS II outfill enclosures. 12 SB28 subs are ground-stacked down below to anchor the system’s generous lowend, while eight X8 and two X12 coaxial enclosures are distributed across the 40m-wide stage to further extend the coverage and frequency response of the mains. 10 additional X8s serve as under-balcony fills, with the entire PA system powered and processed by 21 LA8 amplified controllers. L-Acoustics: www.l-acoustics.com Hills: (03) 9890 7477 or www.hills.com.au Scéno Plus: scenoplus.com

Holy Moly Holy Moly joins the Untz Untz nightclub (nee Cheers) in Hawthorn, as the street level entrée to the two-level venue, boasting a 24-hour liquor license and $5 pizzas by Henry Chan of Lucky Coq and Bimbo Deluxe fame. Holy Moly features the work of interior designer and club veteran Michael Delany and artwork by local and independent artist Billie Justice Thomson. It’s designed as the ultimate hangout. Great audio plays a pivotal role in creating the atmosphere. Buzz Speaker Hire took care of the installation with venue owner Nick Foley opting for club favourite PA marque, Void Acoustics as the speaker of choice. A main system comprising a pair of the visually striking Air Vantage full-range loudspeaker is paired with the uncompromising Stasys 218 dual-18 subwoofer. Void Acoustics’ Indigo 6Pro surfacemount loudspeakers do the rest of the work. Buzz Speaker Hire: 0452 600 017 or www.buzzspeakerhire.com.au Audio Logistics (Void Acoustics): 1300 859 341 or www.audiologistics.com.au

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Yes Sir Amsterdam, The Netherlands www.siralberthotel.com

love a hotel that’s pressing a flute of prosecco into my hand before I’ve had time to see my credit card swiped. There’s a libertine louche-ness to Sir Albert’s atmosphere that I like very much. It’s ‘boutique’ in the true sense of the word, and there’s a club house intimacy that’s as intoxicating as the Italian sparkling. Sir Albert is the original SIR Hotel in a rapidly expanding portfolio of properties that’s migrated from The Netherlands to Germany and back again via Ibiza. Sir Albert provides the DNA sequence of what a SIR Hotel is all about. Each hotel curates and combines historical buildings, distinctive interior design, and entertaining programming that embraces the local community. SIR hotels are created and managed by the award-winning Amsterdam-based hotel development and management company Europe Hotels Private Collection (EHPC).

SMOOTHED DIAMOND  A one-time diamond factory, Sir Albert Hotel’s industrial past has been buffed by warm, welcoming interiors. BK Architecture was responsible for the transformation, carefully preserving the high ceilings and large windows, and using sustainable and energy efficient technology in the process. Set in the upbeat De Pijp district, the Latin Quarter of Amsterdam — a mashup of diverse cuisines, bars and a strong café culture. A well-stocked library and pleasant fireplace greet guests of the 90-room boutique hotel, while the Izakaya Asian Kitchen & Bar with a private terrace offers sweeping views of the city. Italian furniture manufacturers like Maxalto, Moroso and Ceccotti sit alongside limited edition works by standout Dutch designers such as Piet Hein Eek and Joy Erven.

BOUTIQUE A boutique hotel isn’t simply a small hotel with a Philippe Starck stool and a splash of contrasting colour. A true boutique hotel promises a distinctive, authentic experience, with personalised service. It promises the opportunity to rub shoulders with like minded travellers; it promises familiar faces on staff who know your name, favourite room, and the fact you like a room-service roast beef sandwich at 8pm. Sir Albert delivers on these promises. As a Design Hotel and as part of the Europe Hotels Private Collection, management knows that its patrons could just as easily stay in the Marriott, but they’re after an experience, not simply a night’s stay… oh, and a prosecco.

The Study: This is Sir Albert’s version of a hotel lobby. Chill like you’re in the library of an eccentric million. The books aren’t props, they represent a seductive array of must-read coffee-table-style tomes, in the most part. Linger, have a morning coffee by the fireplace, have an afternoon prosecco… have a morning prosecco. Forgotten your laptop? Not to worry, grab a Sir Albert iPad.

Rooms & Suites: All of Sir Albert’s 90 stylish rooms and suites are impeccably designed and peppered with interior design easter eggs that surprise and delight.

Creative Space: Sir Albert’s Creative Space is an urban think tank that’s open and connected. A ping-pong table and a corkboard wall will get the creative juices flowing, and a chill-out area with sofas beckons for some downtime.

L’Hôtel Marrakech Morocco

L’Hôtel Marrakech is a privately owned ‘riad’ (traditional Morrocan palace built around a courtyard) set in the heart of the old city. The 19th century L’Hôtel is originally the central part of a Caidal palace, comprising five spacious suites, not usually found in the riads of Marrakech surrounding a wide courtyard garden and swimming pool. It’s a retreat that combines delicious food and great service while capturing the elegance of hotels of the 1930s. Owned by the scion Jasper Conran (Terence’s son), the riad combines superb Moroccan craftsmanship with pieces of antique furniture, textiles, lighting and art from his collection, making it feel more like a home than a hotel. The restoration has been executed using local craftsmen and traditional materials. An atmosphere of relaxed grandeur has been created, white voile curtains flow on the terraces giving privacy to the generously proportioned suites. Simple whitewashed walls, high zouak ceilings, warm, soft, restful colours and unfussy decoration give a relaxing feeling of charm and serenity.

The roof terrace offers views to the High Atlas mountains and the skyline of Marrakech. It is a place to unwind after a day’s haggling with rug salesmen, and somewhere to lay out on sun loungers. Breakfast, lunch and afternoon tea can be taken under the pergola. Cocktails can be enjoyed amongst orange blossom and fig trees, a wilderness of honeysuckle, bougainvillaea jasmine and scented roses whilst watching the sun go down over the snowcapped mountains. In the evening, dinner can be enjoyed in the dining room. On cooler nights the curtains are drawn and a fire is lit whilst traditional Moroccan food is served. On warmer evenings large glass doors open out onto the courtyard garden allowing the gentle sound of the water fountain and the scents of the garden to flow through rooms. The hotel is available for private hire and an ideal place to go if you wish to enjoy a large private home without the responsibilities of ownership or for shooting an Agatha Christie Whodunnit episode. L’Hôtel Marrakech: l-hotelmarrakech.com

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