Chapter__one
Introduction external Structure A short detour from the main Cork to Waterford
Hotel. At first glance, the external design of
road will find you in Ardmore. This small, coastal
the Hotel may appear to be a rather unusual
village has evolved over many centuries into
combination of architectural elements. The
a picturesque holiday destination. The village
building constructed over seven levels has two
contains the substantial ruins of a 5th Century
floors above ground level with five floors cas-
monastery founded by St Declan and is believed
cading down the cliff face towards the sea. The
to be one of the oldest Christian settlements in
mesmerising views over Ardmore Bay while
Ireland – predating St Patrick. In addition, there
being the very best asset of the property were
is a fine example of a round tower (a form of
instrumental in informing the architects from a
architecture unique to Ireland) dating back to
Planning perspective.
the 12th Century. Each of the 39 bedrooms and social areas has This historic village continues to exist as a sea-
unimpeded sea views. To ensure this remarkable
sonal destination for generations of the same
design-feature the structure of the building was
families. It is here that The Cliff House Hotel,
substantially elongated and pushed into the cliff
originally founded in 1920s, was re-imagined
face. Consequently, this embedded construct
in 2008 with notable sensitivity to the history
is visible from a 360° perspective, including all
of the property and the community in which
external elevations and roof areas, yet does not
it dwells.
obstruct the sea views of any dwellings adjacent to the property. Planning constraints meant that
Perched on a cliff face overlooking Ardmore Bay
the Hotel had to be built to a similar height and
stands the latest incarnation of The Cliff House
bulk as the previous structure while retaining Detail left
cupa Stone
Detail right
sedum roof
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Chapter__one
an echo of its predecessor. In addition, the
with the lines and form of the building as, unlike
materials used in the construction process, ie.
most conventional properties, the roof area of
a green ‘living’ sedum roof, weathered timber
the Hotel is clearly visible from the roadway /
frame, indigenous brown stone used for the
walkways to the rear of the property.
pathways and an imposing glass front elevation that reflected the sea and sky all helped to
Unlike breaking ground in a green-field site, this
integrate the hotel into its natural environment.
build brought its challenges – not least the Irish
The striking absence of colour in the construct
weather! The reward for the collective efforts
with the external structure using only muted
of the team involved is a revived yet wholly new
natural tones of wood and stone and pristine
Hotel that retains the spirit, style and charm of its
white walls ensured the property would sit
beloved predecessor with a spectacular design
comfortably within a small village setting and
to bring a very modern dynamic to the property.
blend with the style of the earlier hotel.
One of the important design imperatives was that any guests who might have visited the
More specifically, the limestone terraces were
‘old’ Cliff House Hotel would feel a sense of
chosen to reference the 12th Century round
continuity with the new property. Essentially,
tower and the Cupa stone, on the rear elevation,
that the Hotel would open its doors with an
became a ‘cliff’ in its own right.
embedded personality that was at once reassuring and familiar.
From a practical point of view, the various chimneys and air ducts had to be integrated into the external structure in such a way as to not jar
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Chapter__one
Introduction /main hotel lobby You never get a second chance to make a first
since it is here that expectation levels are set.
impression so when designing a hotel in this cat-
As a crossroads for all of the many activities
egory that vital first impression is paramount. The
during someone’s stay the lobby sets the scene
hotel lobby is not just an area that is aesthetically
for the overall experience and it together with
pleasing; it is a high-traffic, high-function area.
staff and customer service indicates the level
Hotel design must therefore take a functional
of luxury and service that can be expected. Fur-
space and make it faultless yet fabulous. The
thermore the design and style of the lobby will
humble lobby is not just the place to check in;
indicate the type of clientele that will be staying
it is a place where guests quickly check things
in the hotel. Are they young and hip? Are they
out in terms of dĂŠcor and efficiency.
more mature or fashion forward? Are they a sophisticated mixed group or are they likely to be
The lobby is the most common meeting area for
conservative and more businesslike? Once you
the guest so while there are many design factors
determine who the clientele will be it is clearer
that come into play throughout the guest expe-
to know who you are designing for.
rience, the lobby is one of the most important
Detail left Detail right
inside lobby curved staircase in lobby
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Chapter__one
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Chapter__one
Designing for customers needs and function The diagrams (below) show how the lobby sets
•
the stage for the key functions of the hotel. As a central hub this area must facilitate seamless traffic
causing congestion •
flow while at the same time being functional and pleasing as visitors interact with the space. The
Provide space to congregate in without Use directional signage that is visible, clear and self-explanatory
•
group size of people and the length of time that
Provide easy access to stairs, elevators or ramps
they stay in this transient space vary so while the
•
Have comfortable waiting areas
lobby may seem like a relatively insignificant ‘room’
•
Ensure ease of access information or con-
it is actually very important and it is essential that
cierge desk
it functions on many levels. 2. Small Groups, Couples and Singles 1. Designing for Large Groups
Small groups are more likely to pick up on any
When considering a design for an area that will
minute flaws in a space and this quick judgment
manage large groups of people the idea is to
can negatively affect the overall impression of
maximize on style and minimize on wait time. The
the hotel. People do this subconsciously. They
interior design of this space will set the scene for
make concisions decisions on what they think
the visit. On a functional level the guest’s deter-
about the interior based on a first impression. In
mination of how easy it is to get from one place
general if a guest stays in the lobby longer than
to the next will influence how well organized they
fifteen minutes they will have enough time to take
feel that the hotel is.
in their surroundings and examine the area down to the smallest detail.
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Chapter__one
ui tie Na augue feugait, quat. Ed dolesse magna conseq r at landiat. minis exeriliquat landiat. Na augue ilissed minis exe 2.1 Is the space clean, well dusted and pleasantly scented? -
The way to control this in the design is by the use of fabrics and materials that are forgiving to stains and high traffic through a use of darker colors, heavier patterns and textures.
-
Avoid dust tramps in the design that may be hard for cleaning staff to reach.
-
Offer areas in the design that will generate a fragrance that is pleasing through the use of fireplaces, windows that open or areas provided for floral arrangements.
2.2 Is the space wearing well over time? -
Moldings help protect walls from damage and scuff marks.
-
Use paint finishes or wall coverings that are easily cleaned.
-
Select fabrics with a high rub rating for more commercial or hospitality use.
-
Use of color can be both pleasing and forgiving of discoloration or dirt occurring through
Detail left Detail right-top Detail right-bottom
boxes Shell rectangle mirror and lamp Shell oval mirror
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everyday use.
Chapter__one
Designing for customers needs and function 2.3 Do the design details for the interior design,
-
-
3.
Barrier Free Design
furniture layout and accessories support the
The design of a hotel must provide for easy acces-
fundamentals of the brand or design of the
sibility to a wide range of services that allows the
hotel?
hotel to deliver superior accommodations and
Transitions from one material to the next must
guest experience. Barrier free design is more than
be carefully considered to deliver cohesive
just providing the design elements demanded
design throughout.
by disability law. It gives everyone the ben-
Design detail transitions of materials should
efit of using available space easily and without
not be notice in a space; the key to success-
encumbrance.
ful design is when the guest does not notice these design elements. -
•
A barrier free space needs to be perceived
Well executed design details provide the
as one design and not as something that
hotel with a high level of sophistication.
is added onto after the design was conceived.
2.4 Is the design of the interior unique and does
•
it possess its own special characteristics? -
-
The design of a space needs to set the tone
A well designed space delivers barrier free design without calling attention to itself.
•
In essence barrier free space should accom-
for that exclusive experience that the hotel
modate a wide range of clientele from children
is providing.
to the elderly, from the disabled to the non
The guest’s positive interaction and enjoy-
disabled. Barrier free space is one space that
ment of the space is confirmation that the
is used by everyone equally.
design meets the needs of the overall experience of the hotel.
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Chapter__one
Detail left Detail right
lobby area fireplace lobby coat stand
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Chapter__one
View from the bay
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Chapter__one
Spiral staircase in lobby
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Chapter__two
The hotel entrance lobby area The Cliff House entrance is at the rear of the
to greatly reduce the unsettling and sometimes
Hotel – a seemingly bizarre idea until one appreci-
chaotic nature of this area.
ates how the building is structured and located. Essentially, the Hotel guest drives up to a cupa-
On entering the property, all guests are immedi-
stone clad rear elevation – a ‘cliff’ in its own right
ately drawn to the dramatic views over Ardmore
with window flower boxes slotted into this stone
Bay which are beautifully exposed by a four floor
facade reflecting how wild flowers grow out of
glass elevation at the front of the property. On
the actual cliff face as well as embracing the style
any day, the weather sets the mood for the lobby
of window boxes used in numerous properties
as the changeable colour of sky and sea offer
throughout the village. The glass doors set into
a dramatic backdrop to the reception space.
this imposing fascia, draw the guest inwards
This ever-changing view is the first exciting
into the heart of the Hotel. As with all lobbies,
introduction to an extraordinary property that
the importance of getting the design absolutely
has, at every turn, brought the sea to the very
right is critical as this is the place where a visitor
threshold of the Hotel.
will make his first and most reactive appraisal of the hotel.
To complement this dramatic view, and with a strong reference to the days of exalted railway
All hotel lobbies are the circulating centre of
travel of the early 20th century, a cosy seating
the property where people arrive, depart and
area is tucked into a quiet corner of the lobby.
congregate. The lobby experiences a continu-
This, coupled, with a functioning fire place and
ous stream of activities and movement hence a
hand-picked Campaign furniture pieces unfolds
well-executed and implemented design is critical
a sense of tradition and comfort. Detail left Detail right
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Hotel main entrance Ardmore church
Chapter__two
The continuous use of the limestone used
As with the exterior of the hotel, there is no
throughout the Lobby floor and outside terrace
garish or eye-catching colour used in the Lobby
areas helps to unify the internal and external
area. All tones are muted with allusions to the
spaces – in essence, bringing the outside in – as
main colour themes that will unfold within the
well as grounding the Hotel to its historic roots
accommodation and social areas of the Hotel, ie.
by referencing the stone used in the Ardmore
the use of the aubergine coloured carpet in the
Round Tower. The bespoke fire surround that
seating area as well as the tartan tub chairs with
dominates the main lobby uses Irish timber and
an aubergine strain and the coloured tassels on
although initially conceptualised as an open fire-
the room keys displayed on the backdrop to the
place was restricted, during the planning process,
desk. The significant use of antique furniture in
by fire regulations governing public spaces and
the seating area, namely a Campaign bed and
consequently became enclosed. The balustrade
reading lectern cleverly create the feel of an
encasing the lobby has an impressionist swirl
old-world railway station waiting room.
design that references the local fishing nets [GC – laser-etched glass with wooden hand rail). The
There are two beautiful shell pieces – a mirror
reception desk, constructed to be a functional
and a lamp - that reference the sea and fishing
space from which staff can undertake their tasks
heritage of Ardmore. Significantly, there are no
with ease is framed by a bespoke wall of fine
artworks on the walls instead the cupa stone
wooden pigeonholes, displaying old-style room
is again used to great effect to create a solid
keys. This stylish backdrop gives an oblique nod
and grounded feel to the Lobby that might oth-
to the old cubbyhole systems employed by early
erwise seem as though it were floating above
20th century hotels around Europe.
the sea.
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Chapter__one
Heading area
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