THE HOSPITALITY ISSUE NOVEMBER 2021 255
designer BUILDING KNOWLEDGE Learning lessons from this year’s Stirling Prize winner
ROBERTO PALOMBA The new rules that are shaping the future home
INSPIRING PROJECT CREATIVITY
WARM WELCOME Creating opportunity by design for the hospitality sector
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Photo: Carlo William Rossi + Fabio Mureddu — AD: ps+a
CONCA design Ludovica+Roberto Palomba
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DESIGNER MAGAZINE NOVEMBER 2021 / ISSUE 255
Welcome to the November issue of Designer. We all seem to have spent much of this year ‘getting back to normal’ following the lockdowns of the pandemic. While the issue of Covid has far from gone away, it is certainly positive that in many ways we have adapted to find ways of mitigating risks and learning to live with the sensible measures in place to help reduce its spread. One of the most tangible changes this year has been the return of exhibitions. For many trade sectors, including ours, these are the lifeblood of the industry, providing one of the best and most practical ways for businesses to meet face-to-face with customers old and new. In recent months, shows such as Design London, Cersaie, Decorex, and numerous events held during the London Design Festival, brought people back together again. Similarly, ‘open house’ events such as Clerkenwell Open and Design Crawl Manchester have served to encourage a return to showroom visits – which are, after all, key for enabling specifiers to see and touch the products they could be working with.
There is every indication that next year will continue this move towards true ‘business as usual’, with key calendar staples such as KBB, the Stockholm Furniture & Light Fair, and Salone del Mobile, back in full effect. It will be just the boost we all need to put some of the recent challenges well and truly behind us.
M ar t in Martin Allen-Smith Editor, Designer
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SOCIAL
Understandably, these events have been smaller scale than they were pre-pandemic as exhibitors and visitors alike have adopted a generally cautious return to in-person meetings during 2021. However, what has struck me about these shows so far is the enthusiasm and the relief of many attendees at having such events back on the calendar.
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DESIGNER MAGAZINE NOVEMBER 2021 / ISSUE 255
CONTENTS 22 08 SOURCE Our monthly round-up of the people, products and events that matter from across the design sector 19 SHOWROOMS A visit to the extensive new showroom at the Netherlands HQ of kitchen brand Keller 22 ROBERTO PALOMBA We speak exclusively with international designer Roberto Palomba about his work as Chief Design Officer at Ideal Standard, how the pandemic has set new expectations for home living, and why right now is a great moment for design 28 NEW POSSIBILITIES As one of the sectors most severely affected by the lockdowns of the pandemic, the hospitality sector is looking to make up for lost
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28 time through bold and innovative customer offerings, with creative thinking shaping the way forward 42 THE WATER OF LIFE Saluting the rich history of a Scottish whisky brand with a striking new visitor centre that engagingly details the story of the product, its distinguished heritage, and the distillery’s natural local environment 51 HOTEL FUTURES Changes to the way we travel, work, rest and play post-Covid are forcing hotel designers to rethink the entire guest experience. Hotel Interiors Experience (HIX) 2021 explores how these social shifts have transformed the role of hotels, and considers the long-term opportunities 54 BUILDING KNOWLEDGE From a shortlist of diverse projects,
the winners of this year’s RIBA Stirling Prize has emerged as a striking university building that aims to engage the surrounding environment and create a welcoming space for study and collaboration 58 MAN WITH A PLAN Designer Werner Aisslinger discusses his latest designs for German manufacturer Kaldewei 62 NATURAL EVOLUTION Changing work patterns mean the spaces we work in have to adapt. This new company HQ – which utilises a former aircraft hangar – embraces the sea-change in flexible working to meet the future needs of its workforce 66 EXIT A modern light inspired by the traditional chamberstick candle holder
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DESIGNER MAGAZINE NOVEMBER 2021 / ISSUE 255
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EDITORIAL EDITOR MARTIN ALLEN-SMITH martin@thedsgroup.co.uk CONTRIBUTORS ANNA-MARIE CASAS PUBLISHING PUBLISHING DIRECTOR CLARA DEEKS clara@thedsgroup.co.uk MANAGING DIRECTOR ALLISTAIR HUNTER OPERATIONS DIRECTOR TRACY MEAD ADVERTISING BRAND MANAGER STUART SINCLAIR stuart@thedsgroup.co.uk
MARTIN ALLEN-SMITH
CLARA DEEKS
ANNA-MARIE CASAS
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DOM LITTLER
AMY NICE
MARKETING CREATIVE MARKETING MANAGER DOM LITTLER dom@thedsgroup.co.uk DIGITAL MARKETING APPRENTICE AMY NICE PRODUCTION ART DIRECTOR LEE THOMAS GRAPHIC DESIGNER BEN EMMERSON ACCOUNTS FINANCE DIRECTOR CHRIS CORKE accounts@thedsgroup.co.uk SUBSCRIPTIONS SUBSCRIPTION MANAGER DONNA FENNELL ADMINISTRATOR KIM BLACK
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Why compromise? +44 (0)1761 241133 sales@bathroom-engineering.co.uk www.bathroom-engineering.co.uk The Boat House, Wirral Park, Glastonbury, Somerset, England BA6 9XE
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Bathroom Engineering Ltd. is a joint venture and the sole U.K. trading division of TECE GmbH
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Dream Team Austrian furniture manufacturer Team 7 and bathroom brand Keuco have collaborated to create a new range of furniture, washbasins, mirrors and accessories. The Edition Lignatur range was designed by Tesseraux + Partner and includes single or double washbasins which can be recessed or table-top, sideboards, tall units and benches. All of the furniture is made from one of three premium natural woods: light oak, Venetian oak, and noble walnut.
The wood grain of each piece of natural wood used for the range is checked by arranging the individual slats that make up the natural wood panels to make sure they look good together and to produce a harmonious overall picture in the bathroom. This first procedure is a specific step called that the brands call “painting with wood”. Base units are then combined with washbasins made of Varicor or ceramic. The washbasins can also be combined with Keuco wall-mounted fittings.
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Keuco / Team 7 / edition-lignatur.de
Creative with Copper BC Designs is launching three new copper boat baths with matching basins as it looks to strengthen its offering to retailers going into 2022. The three new boat baths include an antiqued copper/copper, and antiqued copper/nickel and a copper/enamel version. Each is supported with a matching basin which can also be sold as a standalone piece. All three baths will be available in two sizes of 1500mm and 1700mm, with each one being handmade using techniques that have been around for centuries.
BC Designs / bcdesigns.co.uk
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THE NATURAL LOOK Among a number of new products on display on its stand at recent bathroom and tiles show Cersaie in Bologna, Italy, RAK presented RAK-Preziosi. The slab surface is made using innovative printing technology called through-body veining, which enables natural marble veins to pass through the entire thickness of an unglazed porcelain slab.
The surface is available in a range of sizes and a choice of several colours, including Green, Ocean, Pearl, Rio and Rock.
RAK Ceramics / rakceramics.com
Making the Light Choice
Inspired by the lampshades of the ateliers of the early 1900s, JIM is a system of suspension lamps with distinctive shapes and a versatile composition. The geometric shapes of the lampshades, contemporary colour palette and use of standard light bulbs make the design – by Patrick Norguet for lighting brand Lodes – suitable for both residential and commercial use. Suspended from a self-supporting cable running through a transparent tinted methacrylate hook, JIM offers a set of four metal shades with different shapes and diameters, whilst the suspension lamp sheds direct light downwards indirectly illuminating the hook above the lampshade.
Lodes / lodes.com
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A large dome shade of 50cm is available as a single suspension lamp, while the three smaller geometric shades – cylinder, cone and bell – can be used either individually or in cluster compositions on canopies. Colour options include White, Champagne, Bronze and Black for the shades, along with three different hook hues as desired (Turquoise, Honey and Grey).
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Interested? Visit quooker.co.uk or call 0345 833 3333 for our sparkling offer.
Scan the QR code to book a live virtual experience with a Quooker expert. You control the appointment and what you see. For further details and to book your own personal appointment visit www.quooker.co.uk
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RIGHT ON TIME
Arrival is a bold lighting design by Ludovica+Roberto Palomba for Artemide. The light is available in a variety of versions including as a table lamp, ceiling pendant or floor standing and in a black or brass finish.
Artemide / artemide.com
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Collaborating in Comfort
The Phlox Collection from Okamura and designed by Rainlight takes inspiration from nature. The collection of collaborative chairs and tables beckon colleagues to connect with curved forms intended to soften the workspace and invite a flow of activity and creative ideas. The comfortable rounded seats were created by Rainlight’s Creative Principal Yorgo Lykouria, with the aim of wrapping the body with fluid lines
and a soft supportive structure. The tables echo the curves of the chairs and rest on slender legs. Phlox is available in a selection of sizes, heights, shapes and natural finishes. The pentagonal shape is ideal for a small-sized gathering of two to three people. A medium sized table is versatile and ideal for meetings of around five or six people, while the tabletops feature an elegant and tapered knife-edge detail.
Rainlight Studio / rainlightstudio.com
EVOLVING CERAMIC
Italian bathroom brand SIMAS has introduced its new Folio range which combines the basin ceramic into a thin countertop with a thickness of 0.8cm. It is available in a range of different configurations.
SIMAS / simas.it
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DESIGNER MAGAZINE SHOWROOMS
KELLER
Keller and parent group DKG have opened a new Inspiration Centre at their Bergen op Zoom headquarters in the Netherlands. The single-storey building at the entrance to the factory is a blend of a large number of full-sized kitchen displays which merge with hospitality and break-out areas for meetings and presentations. Beyond the kitchen displays, there are numerous concept zones including sample and mood board areas which display palette inspiration for creatives. Of particular interest to architects and developers are the mock-ups of full apartments and kitchen/living areas. These allow the developers, architects and designers to harness ideas for their own bespoke creations.
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The UK team looks forward to welcoming guests to the space in the near future as travel restrictions become further relaxed. Tim Spann, Keller’s UK National Sales Manager, said: “The Inspiration Centre will be an everevolving space as new kitchen concepts are launched in this idyllic environment for selling the kitchen dream.” Upon entering the Inspiration Centre, the first kitchen that visitors will see is the Circo, a fully circular kitchen. Circo is a concept kitchen which takes a look into the future of truly and wholly sustainable kitchens. This area features kitchen units and tops made from a fully recyclable material developed by DKG working in tandem with Amsterdam University. The company says that the concept represents a true innovation in being bio-degradable – a useful last resort if the after-life route is chosen instead of recycling panels and components to make another kitchen or other furniture.
Keller / Drebbelstraat 7, 4622 RC Bergen op Zoom, The Netherlands / kellerkitchens.com 20
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DESIGNER MAGAZINE I N T E R V I E W – R O B E RT O PA LO M B A
Seizing the Opportunity
We speak exclusively with international designer Roberto Palomba about his work as Chief Design Officer at Ideal Standard, how the pandemic has set new expectations for home living, and why right now is a great moment for brave design
Roberto and Ludovica Palomba
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DESIGNER: Since we last spoke – at ISH in 2019 – quite a lot has happened in the wider world! How has the pandemic directly affected you as a designer and impacted upon your approach to work? Roberto Palomba: This has been an important time to think. We couldn’t travel physically, so we had to travel with our minds and in fact that process enabled us to discover many things. For example, many people discovered that their homes were not really responding to their needs. Before, they were just using it as a place to sleep, but now people have found news ways of living in their houses, and a new way to be with others too outside of the home. In this context, the role of the home became more important. In Italy during lockdown for example, you could not buy flour for cooking anywhere because everyone was cooking and rediscovering a part of life that had for many people had been lost. I’m not trying to say that the pandemic was a good thing because it certainly was not. But it was a moment to stop and think. This virus is a horrible monster, but our task is to look to the future and be positive. Even when things look dark, we have to light a candle and find the path ahead. That’s very important. For me, in some ways, nothing much changed in that I still work pretty much 24 hours a day! But on another level, a lot is different now. I’ve been thinking more about the word ‘comfort’. Before, comfort at home was just a moment in our day, whereas now we have become used to spending much more time there, so what it means to be comfortable is what makes a house a real home. The way we express ourselves has also changed. There has been a shift from ‘performing’ in public through the clothes we wear, towards expressing this personality through our homes. Influencers share their home environments on Instagram,
Old meets new: Tipo-Z Totem basin and (inset) historical advertising artwork
this becomes aspirational for others, and that changes everything because it means we have to design things that people feel expresses who they are. It is a big responsibility because of course you cannot change your sofa or your furniture every day as you can with your clothes, so we are really trying to understand the shades, colours, finishes and proportions as a way to create these performance spaces. There is a huge opportunity to turn the impact of this awful pandemic into some real opportunities for the years ahead. If we fail to do this then we will have been really stupid.
DESIGNER: At the time of that last interview (Designer, May 2019), we spoke about the beginning of your own journey with Ideal Standard and the potential to ‘create a legacy’. How have things progressed since then? Palomba: It has been fantastic. I don’t think there has been any other brand that has launched so many new products, and so many innovations. Really it has been quite a revolution in terms of positioning, aesthetic, design strategy and philosophy. It has all
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been supported with a magazine, the World Tour films, a new catalogue, new showrooms. There have been a lot of people involved in all of this – I am just one part of the process – but everybody has been working very hard. We all love this brand and we all love the possibility of bringing this brand back to be one of the leaders. It was fully understood that design was one of the pillars to achieve this goal of leadership and I’m proud to be responsible for such a delicate and strategically important element. Progress has been very strong and very fast, despite all the problems we have faced over the past year and a half. If we had not all experienced such a horrible moment as this pandemic, we could almost certainly have achieved even more. But I have to thank the whole team who have been supporting what we have been doing.
DESIGNER: Harnessing the company’s heritage to create new visions is an idea that comes through very clearly with products such as Conca for example. How do you achieve this mix of classic and modern, and how has it manifested in other new products? Palomba: For me it is not important for the consumer to understand my job, I just hope that they like the results. I’m not arrogant to feel I can explain or teach anything to anybody. I just have the hope that someone likes what I do. In terms of the heritage, the opportunity to tap into this was the most exciting part of joining Ideal Standard. Even before the word ‘design’ was being used to describe the community and function that we recognise today, the company was working with architects and designers to develop their products. It is in the company’s DNA.
My aim has not been to redesign, reproduce, or re-edit an old product, but to try to take those values to the next generation. Many of the people who will appreciate these new products were perhaps not even born when the original products were produced, so these new designs do not have to fit any expectations. The most important thing is that they carry the values from these old designs. DESIGNER: Are there more new products to come which are directly linked to this heritage principle? Palomba: There is one more product to come in this way, and it is a very classic line. Not only does it link back to one of the earlier products, but it is also inspired by the classic Victorian age. It is based on the proportions and curves but required a very delicate approach, which is important because if classical style is used in a very
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PALOMBA ON BRAND EVOLUTION “Ideal Standard is an old, established company but with a new skin. There are lots of new ideas and products coming through – and that includes many products that are being created specifically for the UK market, which we see as a very special partnership for the brand.” PALOMBA ON NEW PRIORITIES “Change brought about by the pandemic has been significant and is here to stay. For example, an appreciation of outdoor space is greater than ever. A house with an outdoor terrace will sell many times faster than one without, whereas in the past this would be seen as dead space which would be far better used as an extra room for example.” PALOMBA ON THE FUTURE “Many things will change in the next five years. In terms of design, we will have completely new rules. Things that were ‘optional’ before will become must-have, in terms of indoor/outdoor space, dimensions, illumination… for example, the city of Milan has invested so much in sustainability – those who come back here after two years away will see how much it has changed, and in a couple more years it will change even further. It will be a very green city.”
This page: Colours from Ideal Standard's Ipalyss collection Opposite: Products from Ideal Standard's Atelier collections, including (clockwise from top left): Ipalyss oval vessel basin; Conca mixer, basin and furniture; Joy basin mixer; and the Extra basin and furniture range.
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intelligent way then it can also be super-contemporary to some, and yet also appeal to those who much prefer a more classical environment. Classic is no less interesting than contemporary. Today we are living in a wonderful moment because anyone can express their own ideas and preferences without being labelled as ‘old fashioned’ or ‘too contemporary’ – you can be whatever you want. The key word to use here is ‘fluid’; you can even change, and this is a really important difference today. You don’t have to be ‘cool’. Instead, you can just be ‘honest’, move away from the expected, and take a risk. For example, this year, I designed the Home collection for Versace. In terms of the typical style of the brand, it is the furthest thing from ‘me’. It is almost the opposite of me. But they asked me to work with them because they want to change the rules of the brand, and wanted someone who would be curious enough to do it. It was fantastic that they were prepared to do this, and to ask me to come up with something. It was brave for them to do that and brave for me to take it on – sometimes being brave is an important part of our job as designers. If you’re not brave, you’re not so much a designer but more a stylist.
Ideal Standard / idealstandard.co.uk Palomba Serafini Associati / palombaserafini.com
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DESIGNER MAGAZINE HOSPITALITY DESIGN
NEW POSSIBILITIES As one of the sectors most severely affected by the lockdowns of the pandemic, hospitality is looking to make up for lost time with bold and innovative customer offerings. There is plenty of inspiration to be had from some of the creative thinking that is shaping the way forward
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msterdam-based design studio Concrete has created another Paris location for the Dutch hotel-and-lifestyle brand citizen, this time on one of the world’s most famous avenues. citizenM Paris ChampsÉlysées joins its three sister hotels in the French capital, making it the first city with a quartet of citizenM hotels. The hotel stays true to the brand’s promise of ‘affordable luxury for the people’ – serving it up in a wellconnected location. This one is based almost exactly between Arc de Triomph and Place de la Concorde, with luxury shopping and dining on Avenue de Champs-Élysées very close by. Guests enter via a transformational living room – citizenM’s signature space – passing a commissioned wall mural by Lucky Left Hand on their way. In the living room itself, other notable art pieces include Golden Age wallpaper by Ai Wei Wei, and Andy Warhol’s ‘Flowers’. citizenM Paris Champs-Élysées has three outdoor spaces: the courtyard on ground level; the canteenM terrace; and the cloudM rooftop bar. The bar – featuring views of the Eiffel Tower – will be open to the public, available for private hire, and is furnished by Vitra. Concrete / concreteamsterdam.nl
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he Hotel Mioni Pezzato & Spa in Abano Terme in Italy’s Veneto region, was recently renovated by interior designer Andrea Auletta, who focused on extending the spa to an area of 270 sq m. “Back in 2018, I was in charge of the restoration of the Hotel Mioni Pezzato & Spa,” explained Auletta. “And this year, I have focused on the expansion of the spa, with the creation of a new building located in the large and beautiful garden that is connected with the hotel.” The structure is made up of different types of rooms: three Turkish baths, a Finnish sauna and an Ice Room – the latter has a temperature close to zero degrees, a snow shower and an ice wall.
The three Turkish baths are different from each other in terms of their functional aspect, as well in the type of aromatic atmosphere. The Finnish sauna is characterised by glass window that overlooks the garden, and this configuration is also in common with one of the Turkish Baths. In total, the spa offers customers five different and very unique experiences. From the outside, these structures are cubes that harmoniously integrate with the green space. Today this green area still has a fresh and new appearance, but Auletta points out that it will continue to grow and become denser, promoting the integration in the garden of these stone structures.
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Inside the spa, the materials used are travertine effect grés and wood slats for the ceiling, all with water and fireproof treatment. There are also two large backlight pictures to simulate one of the lakes in the Euganean Hills area, where the hotel is located, with steam emissions and a flight of ducks, a typical landscape of the area. The finishings are different in each cabin, in accordance with the service they offer: white marble to represent salt in the saline cabin; eucalyptus with dark
green tones with reeds that descend from the ceiling, generating a singular play of light rays; white in the ice-room with cold light; while another features a glass window overlooking the garden and has a honey warm light. The spa is connected with an area of the hotel where there is a series of swimming pools, a mud treatment area, a massage area, a large relaxing area, the result of Auletta’s earlier work in 2018 and now perfectly integrated with this new area.
Andrea Auletta Interiors / andreaauletta.net
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ocated in Shoreditch, East London, The Light Bar is housed in a former electric light generating plant that was the inspiration for the borough’s 1900 motto ‘more light, more power’. Architecture and design studio Macaulay Sinclair restored this landmark building – a Victorian power station built in 1893 – reflecting its architectural character and rich history. The building had played a pioneering role in the development of electric power in London, but was threatened with demolition until it was saved by the local community’s #savethelight campaign. Preserving the building’s original concrete floor, exposed steelwork, and glazed brick walls as part of the impressive double height interior, the design scheme aims to enable customers to engage with its Victorian engineering past. The addition of the mezzanine now enables The Light Bar to trade across three distinctive floors all linked with a bespoke feature steel staircase. The building’s architecture has been illuminated with festoon lighting and copper light fixtures with exposed filament lamps. A mix of teal and green accent colours, marble bar counters, bespoke mid-century furniture and lush planting all combine to soften and elevate the original features.
Macaulay Sinclair / macaulaysinclair.com
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he fashion house of Dolce & Gabbana put Sicily on the fashionista map and spread the island’s crafts worldwide by incorporating iconic Sicilian images in its bold prints like the colourfully decorated horse cart, ripe lemons and oranges. This was an early inspiration for the interior design concept created for the revamped four-start RG Naxos hotel by THDP, a London-based interior designer and architectural practice with a team of 50% British and 50% Italian designers. The hotel, set in Giardini Naxos, Sicily, boasts sea views from all the common areas, as well as most of the guest rooms. Detailed local research guided the narrative of the entire concept project, which started with the refurbishment of the main public areas, lobby and lobby bar, guest check in, the restaurants Panarea and Sciara, and the creation of a new pool terrace and Fluido bar. The interior design concept was inspired by the natural beauty of the volcanic beaches, the sea, the nearby Mount Etna’s super-natural presence and the features of the island of Sicily and the ambition was to bring them into the centre of the hotel. By adding local decoration, artworks and colours the goal was to add character, a deep sense of authenticity and a refined
and resort-based palette of natural tones with touches of colours of the sea. The lobby was a large open space of over 700 sq m, previously decorated in a heavy baroque style. The concept from the outset was to re-activate this space, giving it a new heart and focal point – and to be appealing to both guests and to walk-in locals. The reception has been inspired by the Sicilian attitude of welcoming and it has been translated in three large reception desks with dark grey lava top fabricated by Nero Sicilia, the feature rear wall is tiled with hand painted local tiles by La Fauci, with accent decorative lights from Aromas del Camp and which are made of copper and rattan. The restaurant Panarea has materials, features, and shapes that reminds guests of antique craftsmanship, incorporating hand painted tiles in the niches at the entrance with traditional motifs from La Fauci. La Sciara Restaurant’s design meanwhile has been inspired by the existing wall covering of lava stone. The metalwork in the restaurant is a rich copper tone, accented by rich blue lacquers, and the table tops feature rich glazed textures applied with glass onto the lava stone.
The new Quintessenza bar is located in the heart of the lobby. It utilises local materials to create a new feature in the centre of the space. The bar top from local company Nero Sicilia is made from volcanic lava stone extracted from the quarries of Mount Etna glazed in cracked white glass. Its fluted and curved front is formed from woven faux leather by Natutex, while the rear bar features antique mirror with the joinery finished in Italian Oak and Rattan. The seating in the Quintessenza features two room divider style banquet seating, fitted with USB and power. The bar offers a range of seating options from the bar stools facing the bar from Gervasoni to the lower relaxed armchairs are from Miniforms and Torre 1961. The tables and banquets were manufactured to THDP’s design by Riabita.
THDP / thdpdesign.com
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DESIGNER MAGAZINE HOSPITALITY DESIGN
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esigners from interior design firm, Clairoux, recently unveiled their latest project: the Place Carmin restaurant, located in Montreal’s Quartier International. Restaurateurs Mélanie Blanchette and François Nadon are the duo behind this new French brasserie, for which Clairoux was entrusted with designing an intimate dining room, a bar space with two private dining rooms for groups, and a terrace. For this commercial project, Clairoux transformed its clients’ vision into a new modern space with timeless charm. The designers, who brought this new take on the French brasserie to life, opted for sleek design, with every detail carefully thought out. Natural light reflects off the soft shades of the walls, harmonizing with honey-coloured cabinets to warm the space.
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Elsewhere, the design features striking ceramics in the mezzanine washrooms, natural tones, light natural wood, and brass set off by brick. The space features comfortable chairs with rounded forms, and select fabrics such as leather in tawny hues. The owners worked with local creators and a large team to make this project a reality. The unique wallpapering, bespoke lighting, and neon sculptures were all crafted by local companies under the supervision of Les Deux Marteaux.
The interior design firm and its collaborators have created a tranquil, vibrant, and welcoming space. Place Carmin has been designed to accommodate groups, especially from the business community. The restaurant, which seats up to 100, is divided into distinct areas, each with its own ambiance: a livelier section near the bar; a more intimate bistro space near the kitchen; and a private room that can be reserved for events.
Clairoux / clairoux.com Photographer: Julien Perron-Gagné
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WHITE TULIP www.duravit.co.uk
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Photography: Neil Spence
The Water of Life
Saluting the rich history of a Scottish whisky brand with a striking new visitor centre that engagingly details the story of the product, its distinguished heritage, and the distillery’s natural local environment
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cottish single malt whisky maker The Glenlivet has undergone a major renovation of its distillery in Speyside, Scotland, to incorporate a bold new 855 sq m visitor centre designed by Blacksheep, the London-based specialist F&B design studio, designed to immerse guests in The Glenlivet’s rich history. Blacksheep is responsible both for the interior and experience design, which takes direct inspiration from the wilderness of the Cairngorms National Park landscape that surrounds estate in which the distillery sits. Harnessing raw materials directly from nature, Blacksheep has crafted a distinctive visitor experience. It attempts to articulate the authenticity of The Glenlivet brand and, with a focus on hospitality, breaks down whisky traditions to define a series of innovative experiences that expands the enjoyment of whisky to a new generation. The visitor centre is spread over the ground and lower floors of the distillery. Visitors enter the experience at the reception where they are greeted by a spectacular custom chandelier by London-based florists, Grandirosa, which is made from local dried wildflowers. This sits above a large table with hand turned legs designed by Blacksheep made by Elmwood Projects of Glasgow from Antique bleached oak. From here visitors then embark on a guided explorative journey through a series of spaces that bring the story of the brand to life.
The Provenance Room provides visitors with an interactive masterclass in the distillation process. Set within one of the original washback drums, the room features a digital animated ceiling and stone water pump enabling tasters to immerse themselves in the manufacturing process. The Tasting Room is a dramatic circular space with a round custom walnut table at its centre. A sculptural central display rises from the table displaying a selection of The Glenlivet whiskies. The room is wrapped with a circular walnut counter and stools facing the central table reinforcing the rooms’ theatrical purpose.
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To the left of the reception lies the lounge, which acts as a waiting area ahead of the tour and features comfortable sofas and armchairs in a blue upholstered fabric. These are complemented by leather lounge chairs and deep buttoned poufs. An intricate, bespoke, hand-crafted plasterwork inspired by Scottish foliage and nature, created by the master craftspeople at Locker & Riley, sits above a feature working fireplace, giving the room a cosy and welcoming domestic ambience. The lounge also includes a display of George Smith, the founder of The Glenlivet, and his original pistols from The Glenlivet’s historical archive presented in a bespoke cabinet designed by Blacksheep. All the paintings on display are from The Glenlivet’s private collection that further add to the story of the space. The visitor experience also includes The Glenlivet Warehouse, featuring the distillery’s whisky casks. A custom lighting scheme by Into Lighting brings a touch of drama to the space and celebrates the casks’ precious contents. Following in the footsteps of Smith and his legendary hospitality, the new visitor centre reflects his high standards and welcoming nature, using innovative technology combined with exclusive bottlings, immersive tours, and whisky tastings.
The Sample Room is The Glenlivet’s retail space. It is arranged like an old-fashioned apothecary, with a central wooden display of The Glenlivet’s finest collections. At its centre sits the Winchester, a £19K bottle of The Glenlivet whisky in a bespoke cabinet designed by Blacksheep.
The History Room can be found by the entrance to the Speyside Room with a triple height illuminated bottle wall alongside graphics on the key people in The Glenlivet story. A concealed sliding door hides the entrance to the Speyside Room and beyond.
The Speyside Room features a dramatically sweeping indoor field of barley by Grandirosa. This is the whisky’s key ingredient and has been harvested and preserved at one of the local farms that supplies The Glenlivet. The walls of the space feature large LED screens that tell a different element of production story. Distinctive stained oak hand carved panelling has been used throughout, evoking the inside of a whisky barrel and adding to the overall ambience of the space.
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L O N D O N HALCYON
INTERIORS
W I G M O R E
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P I C T U R E D :
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Designerati speaks to some of the most creative and inspiring storytellers. These design and architecture influencers create some of the most Instagram-worthy spaces and fill your feed with inspiration.
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ASH ELM BAVARIAN BRASILICA BEECH OAK IROKO CHERRY MAHOGANY WENGE
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24/10/2021 23:30
DESIGNER MAGAZINE EVENT PREVIEW / HIX
Hotel Futures
Changes to the way we travel, work, rest and play postCovid are forcing hotel designers to rethink the entire guest experience. Hotel Interiors Experience (HIX) 2021 explores how these social shifts have transformed the role of hotels, and considers the long-term opportunities… As Europe’s hotel and hospitality industry sets about rebuilding its recovery and in-person events make their return, the launch of HIX 2021 marks an important moment for the hotel community as a new event for the hotel sector aiming to deliver inspirational design experiences. Over two days – 1819 November 2021 at London’s Business Design
Centre – HIX will showcase established and emerging design-led brands alongside a conference which will explore the story of social change over the past 18 months, setting the scene for 3,500 hotel industry professionals to share ideas that aim to transform the guest experience. Joel Butler, Co-founder of HIX, said: “All Together Now has been our mantra since the first UK lockdown.
When a group as creative and energetic as the hotel design community are separated from one another for so long, this rallying cry seems like a pure and simple objective for HIX.” The exhibition will offer a visual showcase of ‘100 design stories’ from suppliers including Chelsom, Morgan, Bette, Sanderson Design Group, Hansgrohe, Hypnos, Villeroy
& Boch, and others from across the entire hotel and design supply chain including bathroom, fabrics, FF&E services, furniture, lighting, surfaces and technology. Each stand will tell its own unique story, providing designers, interior architects, developers, suppliers, and hotel operators with an opportunity to see new design concepts and experiences.
Bathroom brand Bette will be among the exhibitors at HIX 2021
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Running parallel to the exhibition will be the HIX Talks, featuring a series of seminars exploring one of the seismic social shifts to have occurred since the start of the pandemic. Starting in a challenging place of anxiety and the need for hotels to carve a new value proposition, discussions will move towards community and togetherness, trust, compassion and new opportunities for hotels as workplace. Among the speakers confirmed are: Robbyn Carter, Founder of Brooklyn’s new Studio Carter; Vince Stroop, Founding Partner of stroop; German design visionary and Owner of sieger design & SIEGER, Christian Sieger; Tina Norden, Partner at Conran and Partners; Jason Steere, Managing Director of Brand & Experience at The Student Hotel; and Technology and communication leader Dex Hunter-Torricke, formerly of Google and Facebook, who will share insights in building trust and meaningful loyalty with communities, specifically tomorrow’s Generation Z travellers. Other speakers Balkaran Bassan - Areen Design Cedric Etienne - Silent Space Erik Nissen Johansen - Stylt Trampoli Ab Hena Yadav - Studio Carter James Chappell - Horwath HTL Tom Dixon - Tom Dixon
HIX Event / hixevent.com
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DESIGNER MAGAZINE ARCHITECTURE / RIBA STIRLING PRIZE
Photography: Alice Clancy / Dennis Gilbert / Ed Reeve
Building Knowledge From a shortlist of diverse projects, the winners of this year’s RIBA Stirling Prize has emerged as a striking university building that aims to engage the surrounding environment and create a welcoming space for study and collaboration
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he Royal Institute of British Architects (RIBA) has named the Town House building at Kingston University, designed by Grafton Architects, as the winner of the 25th RIBA Stirling Prize. With its first building in the UK, Dublin-based Grafton Architects have designed a purposefully democratic and open space, as its name suggests: Town – referring to the building’s civic dimension, and House – reflecting a sense of home and belonging. Many of the students at Kingston are the first in their family to attend university and this building sends an important message to them, their educators and the local community, that this is a place where everyone is welcome and valued. Set back from the street, the project extends the public realm, blurring its boundary with the pavement and inviting students, locals and visitors in. A 200m long six-storey, deep colonnade offers shadow and shelter, with terraces and gardens above creating shelves of connected public space. The facades are permeable: open and transparent at the lower levels – revealing views to the passer-by of the engaging activities taking place inside, becoming more shaded at upper levels.
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Equally open and spacious inside, users and visitors are greeted by the public forum, leading to an amphitheatre. From the ground floor, eyes are drawn up through the building through voids and staircases to complementing social and study spaces. Close attention to the acoustic design enables the bustling public forum, quiet library, archive, dance studio and theatre to co-exist. Large volumes allow people, light and air to flow naturally through the building, which also uses a thermallyactivated concrete frame to reduce operational energy use. Speaking on behalf of the 2021 RIBA Stirling Prize jury, Lord Norman Foster, said: “Kingston University Town House is a theatre for life – a warehouse of ideas. It seamlessly brings together student and town communities, creating a progressive new model for higher education, well deserving of international acclaim and attention.
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“In this highly original work of architecture, quiet reading, loud performance, research and learning, can delightfully co-exist. That is no mean feat. Education must be our future – and this must be the future of education.” Explaining the ideas behind the winning project, Grafton Architects, said: “We imagined a place where students would feel at home. This building is about people, interaction, light, possibilities. It is about connecting to the community, the passer-by, an invitation to cross the threshold; a three-dimensional framework with layers of silence and layers of sound. Space, volume and light are the organisers. The building edges are not boundaries but active gathering spaces, terraces, galleries. Being outside under the big sky is always just a few steps away. “Kingston University gave us this educational vision which we translated into a spatial open matrix. We are absolutely delighted the Kingston Town House has won the prestigious Stirling Prize.”
Grafton Architects / graftonarchitects.ie RIBA / architecture.com
24/10/2021 17:51
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DESIGNER MAGAZINE INTERVIEW – WERNER AISSLINGER
MAN WITH A PLAN German designer Werner Aisslinger shares the background to his latest collaboration with bathroom manufacturer Kaldewei to create the new Superplan Zero shower floor
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DESIGNER MAGAZINE INTERVIEW – WERNER AISSLINGER
DESIGNER: Please tell us a little about the design process behind Superplan Zero, and how the initial ideal progressed through to the finished product. Werner Aisslinger: Superplan Zero is the evolution of the existing Superplan shower tray which launched in 2005. So this is a redesign of a very important existing product line. The challenge was to find a design that was connected to the history of the original product but which also offered something completely new and different. The starting point was to follow the product story but to add our own interpretation. In this case, we decided that it should be completely flat so that it is truly a walk-in shower floor. It sounds simple, but there are many technical considerations, not least how to ensure it can handle the necessary water flow for drainage purposes. As Kaldewei is a worldwide brand, this means ensuring that products meet the regulations in all of the world’s markets in which it operates. Added to these factors, the design had to consider Kaldewei’s production processes – manufacturing steel enamel is a big, heavy and complex process – and it also had to be a design that would stand the test of time and continue to look good for decades to come. All of these factors led us to decide that we needed a very minimalistic shape, but also friendly and not too sharp-edged. It needed visual fluidity. So overall, it was a project that brought together the complexities of technology, production processes, and longevity. The result is the right product for the right moment for Kaldewei. DESIGNER: Of course, this is not your first work with Kaldewei. How has the creative partnership with the brand evolved and developed since 2017 when you worked on the Grid and Tricolore concepts?
Aisslinger: Kaldewei has restructured the whole development team and its approach to design during this time, but we have worked closely with them throughout. We have found a good way to work together. Kaldewei is a big company, but they also need people like us because our studio is a real mix of different design disciplines. We do product design of course but we also have architects here and work on many interior architecture projects, particularly hotels and offices, so we are very aware of what the big hotel chains have in mind, what the key trends are. So we are not just product designers, we also have the knowledge and experience from within various architectural sectors and I think that is helpful for Kaldewei to be able to tap into that and to better understand the future direction for spatial design. So our working together really does feel like a partnership. DESIGNER: What are the challenges and benefits of working with a material such as steel enamel. And what other materials do you particularly like to work with?
Aisslinger: I am very interested in sustainability and feel very lucky to work with a company that has such a sustainable production method. If Kaldewei was a company that made things using plastic or acrylic, I don’t think I would have been so excited to work with them. As a design studio, it makes it much more interesting for us to work with a manufacturer and a production process that is already closely tied into sustainability, creating a longlasting product. Longevity is the ultimate challenge for us designers anyway so in that respect especially it is great to work with steel enamel. DESIGNER: What was the impact of the pandemic/lockdown on the work you and your studio undertakes? Has it in any way altered the creative approach now and going forward? Aisslinger: Like many others, out studio suffered during the pandemic because many of our large architectural projects were put on hold. We had a big project at Frankfurt Airport, another at Helsinki Airport, and several hotels
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The Superplan Zero super-flat shower surface, designed by Studio Aisslinger for Kaldewei and made from steel enamel
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that we also temporarily stopped. We as an architectural studio had several of these problems to deal with, but the workflow for other ongoing work was fairly easy to handle. Members of our team were able to take work home, and we were also able to maintain good communication with our clients using video conferencing. Now, things are much better. It feels like we are moving into a postpandemic situation DESIGNER: What is the future direction for design both in the bathroom and the home in general? Are there any new emerging trends that you think could help to shape the work you do over the coming years? Aisslinger: I think pretty much everything that will happen over the next few years will be under the roof of sustainability. Whatever we design or create has to have a good CO2 footprint, with an emphasis on local suppliers and not imports from China or South America, and to address the real challenge of local materials – to source what you have in your region. Both design and production in the future will have to match all of these aims, not just because of government rules and regulations, but also because of the demands of
the consumer. Appreciation of sustainable products will continue to grow – consumers are increasingly aware of these issues and want to look behind the curtain, to understand how goods are being produced, and they don’t want to buy something that may have been made by children in Bangladesh. They want to buy with good conscience. This is the big topic of the next few years for everybody – designers, manufacturers, suppliers alike. DESIGNER: What new projects are in the pipeline for your studio? Aisslinger: We do so many new projects. Luckily, almost every week there is new work coming in. We have been working on some largescale office projects, and have just started on new hotels that had been on hold for a while. There’s also a cool workspace in Texas, US, which we are about to finish, and a club and a museum in Berlin. Next week, I’m presenting a new watch design that we have created for a German watch brand, and we also have new furniture designs for several brands which are progressing well. Running a creative studio like ours is great because there is always a wild mix of projects going on.
Kaldewei / kaldewei.co.uk Studio Aisslinger / aisslinger.de
The Tricolore (left) and Grid design concepts were earlier collaborations between Studio Aisslinger and Kaldewei, first presented at ISH in Frankfurt in 2017
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DESIGNER MAGAZINE W O R K S PA C E D E S I G N
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DESIGNER MAGAZINE W O R K S PA C E D E S I G N
Changing work patterns mean the spaces we work in have to adapt. This new company HQ – which utilises a former aircraft hangar – embraces the sea-change in flexible working to meet the future needs of its workforce
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nline retailer The Very Group has transformed its Liverpool-based campus into the ideal setting for collaboration, innovation, learning and socialising, as the company moves towards a new, permanent hybrid working model. The renovations, completed by Greenmount Projects, will create the optimum team working space when the group’s 2,800 Liverpool-based colleagues begin to split their time between home and office working towards the end of this year. For the flooring in the vast 10,000 sq m space spanning over two buildings, The Very Group turned to flooring manufacturer Interface and construction services specialists Greenmount Projects to install a range of products that not only improve the wellbeing of occupants, but also positively impact the world around us. The project also had a tight turnaround of 12 weeks, which meant the teams had to work quickly to complete the complex design by the deadline.
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As the central hub of the company’s UK operations, it was important that the flooring incorporated The Very Group’s trend-led ethos, while also supporting creativity and collaboration. One of the core ranges selected to deliver on the brief was NY+LON Streets. Inspired by two of the most iconic cities in the world, London and New York, it helps to create spaces that become community hubs for users. The styles featured in the collection can mix and match with other Interface carpet tiles or LVT which made it easy for designers to create a variety of inspiring environments. Molly Durkin, Designer at Greenmount Projects, said: “The head office supports a wide variety of teams, so it was important that the design catered to all working styles, encompassing quieter desk spaces, as well as collaborative breakout areas. Employee wellbeing is extremely important to The Very Group, and we very much believe in the impact that biophilic design can have in this area. We incorporated natural elements throughout the build, from the planters to the flooring.” With 3,500 colleagues across the UK, The Very Group’s HQ is home to a vast number of teams, so installing flooring that was able to support a high footfall was key. To ensure durability, especially in the places that needed it most such as the kitchen and break areas, Interface’s new LVT collection, Brushed Lines, was selected. Inspired by nature, the collection combines linear textures with organic forms and dusty hues. It contains 39% recycled content and is easy to install and maintain.
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To further encourage teams to reconnect with nature, Interface’s Human Nature collection was also integrated into breakout areas to help fuel inspiration and collaboration. Inspired by biophilic design principles, the collection takes its cues from the visual, tactile textures of nature. The natural patterns of Composure were also introduced into the scheme, which is designed with the flexibility to flow easily through large spaces, meaning it reduces distractions and helps promote a sense of calm within the space. Rachel Wylde, Account Manager at Interface, said: “The Very Group’s goal is to become a fully sustainable business, so it adheres to strong ethical and environmental standards. This makes the
sustainability benefits of the products they use and the partners they work with very important to them. All of Interface’s flooring is carbon neutral throughout its full product life cycle through our Carbon Neutral Floors Programme. “What made this project extra special is that it was one of the first projects in the UK to use our NY+LON Streets collection, which comes as standard with CQuest Bio backing. Our new bio-based backing incorporates materials that when measured on a standalone basis are net carbon negative. We’re delighted that we were able to work with Greenmount Projects to get the project completed in time, creating a beautiful and inspiring HQ for The Very Group.”
Greenmount Projects / greenmountprojects.co.uk Interface / interface.com
24/10/2021 17:57
NOVY EASY Luxury reinvented
Winner category Company
The Novy Easy simplifies cooking in the kitchen. The Novy Easy is the latest addition to Novy’s collection of vented induction hobs. Featuring four high performance flex induction zones and a central surface vent, this simple to use induction hob and extraction combination features a sensor that automatically regulates the extraction speed to make the cooking process easier. novy.co.uk
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DESIGNER MAGAZINE E X I T / A F L I C K E R O F I N S P I R AT I O N
EXIT
One last thing from this month’s magazine…
A contemporary interpretation of a traditional chamberstick candle holder, Hiroto Yoshizoe’s new portable lamp for Ambientec aims to bring the charm of an antique heirloom into a modern light design. Fascinated by the motion of light, Ambientec’s founder and CEO Yoshinori Kuno was struck by Yoshizoe’s prototype of HYMN when he saw it on display at the 2019 SaloneSatellite in Milan. Its most interesting feature was its ability to translate the hypnotic dynamism of a candle flame into a luminous modern design object. The development of the patent-pending project took two years of research and development. It combines striking design, LED technology and fine craftsmanship, and the distinctive element of HYMN is the pendulum in movement thanks to the repulsive force of magnets. Its base and handle is made of anodized aluminium in gold or black finishing. Yoshizoe said: “The original idea came to me in an unusual moment. I was in an ancient church in Florence. Suddenly, in a chapel illuminated by a thin beam of natural light from outdoors, I was captivated by a single luminous spot floating in space. The magic of that one candle casting its light all around is exactly what we have managed to capture in the design of HYMN.”
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Ambientec / ambientec.co.jp
Photography: Giuseppe De Francesco / Rie Amano
24/10/2021 17:58
KALDEWEI SUPERPLAN ZERO SHOWER FLOOR
Choreographed precision and elegance
The steel enamel SUPERPLAN ZERO shower floor combines the strength of steel with the exquisite beauty of glass. Its refined and graceful lines fit perfectly with the overall look of the room. PHOTOGRAPHER Bryan Adams
Visit KALDEWEI.COM DANCER TATIANA MARTINEZ
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24/10/2021 23:34
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