Cliff House Design Book

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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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Chapter__one

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