Hospitality Style - Fall 2011 by Kristin Zeit

HOSPITALITY STYLE FALL 2011 / SPENDING PATTERNS

FALL 2011 KAMEHA GRAND BONN PIZZA EXPRESS KAMEYA INN SPECIAL REPORT: COSTCONSCIOUS CREATIVITY Q+A PAUL PRIESTMAN, PRIESTMANGOODE

HOSPITALITYSTYLE.COM

SPENDING PATTERNS

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/ / / CONTENTS HOSPITALITY STYLE / VOL. 4, ISSUE 3 / FALL 2011

/ / / FEATURES 16 MOVEABLE FEATS Marcel Wanders crafts a wonderland of modular furnishings and multipurpose accents to give every inch of the Kameha Grand Bonn cross-market appeal. 22 REALITY CHECK Innovation, not investment, is fueling design trends—including the restrained elegance of the five-star Argos in Cappadocia, the artistic slant of Sir Plantin, the cool of Comfort Inn’s new prototype and the new turn-out for Sleep Inn.

HEAVEN ON EARTH A made-to-order palette of materials, ranging from scraped plywood to diatomaceous earth, creates a retreat fit for the gods at Japan’s Kameya Inn.

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EXPRESS YOURSELF Pizza Express’ Living Lab near London wheels out a cutting-edge lifestyle look and options for customizing everything from lighting to music.

38 INDUSTRIAL STRENGTH Paul Priestman, co-founder of Priestmangoode, talks revolutionizing affordable hotel rooms, rejuvenating cruise ship staterooms and planting 60,000 trees.

/ / / DEPARTMENTS 4

FROM THE EDITOR/ ADVISORY BOARD

THE EDGE CrossBar, New York

FABRIC SHOWROOM

CARPETING SHOWROOM

LINENS SHOWROOM

THE CLIENT Ted Jacobs, Starwood Hotels & Resorts

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/ ON THE COVER / Color, pattern and unusual materials have become the basics of modern luxury in projects like Kameha Grand Bonn. Internationally renowned designer Marcel Wanders shows just how workable intricate and theatrical design can be. From seating to space planning, this five-star hotel offers operational flexibility for serving a mixed market of corporate and conference travelers. / COVER PHOTOGRAPHY / COURTESY OF MARCEL WANDERS, AMSTERDAM

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/ / / FROM THE EDITOR

PRICELESS CREATIVITY Chef Todd English summed up the point of this issue when he was talking about his new CrossBar restaurant (p. 6). In his view, what makes a restaurant luxurious is the total experience, not the price point. Our Fall edition follows that line of thinking from mid-tier concepts like Gensler’s prototype for Choice Hotels International’s Comfort Inn brands (in our Special Report, p. 22) to five-star showstoppers such as Marcel Wanders’ Kameha Grand Bonn (p. 16 and at left). As these projects prove, imagination and resourcefulness can make magic happen whatever the client’s spending limit. Japanese architect/ designer Yasutaka Yoshimura had all of $180 per square foot to design and execute the executive floor rooms, corridors and a lounge for the Kameya Inn (p. 28). “It’s certainly possible to create luxury looks on a smaller budget,” he says. He brings new meaning to that message by looking for alternative materials to deliver interiors that are unique. He researched wood scraping methods to style unusual wall surfacing that would react differently as daylight and artificial light played off the rippling plywood. For Pizza Express’ new Living Lab prototype (p. 34), Ab Rogers transformed some very humble elements—laminates and vinyl—into a sculpture garden of circular booths and oversized pendant dome lights. How many trendy

restaurants and bars that are a lot pricier than this pizzeria offer clients the chance to dock their iPods tableside and shut out the world thanks to cleverly suspended acoustic panels? More upscale restaurants will follow suit, and that’s great. The easy flow of ideas up and down the spectrum of hospitality sectors is making for some dynamic design thinking. Many of the innovations Priestmangoode (p. 38) introduced with its sleek/chic cabins for Yotel and later work for Accor’s select service brands wouldn’t have happened without a lot of years spent designing luxury train and airplane cabins. Now, the U.K.based firm is taking what it learned from hotels and applying it to cruise lines to knock the stuffiness out of staterooms. Because designers are learning to work with so many materials—as well as working with manufacturers to develop bespoke pieces—there’s a real freshness that comes from good editing. Every hotel or restaurant in this issue focuses on a few, usually infrastructural, features that make for a one-ofa-kind identity. Guests can’t help but look twice, or three times, at the ancient village walls that frame parts of Argos in Cappadocia or the deconstructed paintings that decorate Sir Plantin (both in our Special Report). Fortunately, innovation doesn’t come exclusively with a high price tag.

11262 Cornell Park Dr. Cincinnati OH 45242 p: 513.421.2050 / f: 513.421.5144 www.HospitalityStyle.com

/ / / EDITORIAL EDITOR

Mary Scoviak SENIOR ART DIRECTOR

Kimberly Pegram COPY EDITOR

Matthew Hall

/ / / SALES PUBLISHER, HOSPITALITY PRODUCTS

Michael Schneider michael.schneider@stmediagroup.com p: 513.263.9379 BUSINESS DEVELOPMENT MANAGER, WEST

Gerry Kreger gerry.kreger@stmediagroup.com p: 323.999.0991

BUSINESS DEVELOPMENT MANAGER, SOUTHEAST

Scott Rickles scott.rickles@stmediagroup.com p: 770.664.4567

BUSINESS DEVELOPMENT MANAGER, SOUTHWEST

Stuart Freeman stuart.freeman@stmediagroup.com p: 972.782.2584

/ / / CORPORATE PRESIDENT

Tedd Swormstedt DESIGN GROUP DIRECTOR

Kristin D. Zeit

AUDIENCE DEVELOPMENT DIRECTOR

Christine Baloga

PRODUCTION COORDINATOR

Keri Harper

SENIOR EVENT MANAGER

Kristy Lohre

DIRECTOR OF BOOK DIVISION

Mark Kissling

REPRINT INFORMATION

800.925.1110, ext. 399 SUBSCRIPTION SERVICES

EDITOR

P.O. Box 1060 / Skokie, IL 60076 P: (847) 763-4938 F: (847) 763-9030 HS@halldata.com

/ / / ADVISORY BOARD MISHA BEDNER project director HBA/Hirsch Bedner Associates ALISA CHODOS principal and partner LaCour Chodos Interior Design RONEL CORBIN U.S. corporate director of spa operations ESPA International ERIC DANIEL prototype director WD Partners

JAMES DILLEY associate director Jestico + Whiles JP FORD senior vice president Lodging Econometrics EDWIN FULLER president and managing director Marriott International KELLY GONZALEZ associate vice president, new-build design Royal Caribbean International

HOSPITALITYSTYLE.COM / FALL 2011

ED GRUN principal and leader of hospitality practice Gensler JAMES HAMILTON design director Graven Images LIANA HAWES senior project designer Wilson Associates

TED JACOBS vice president of luxury brands Starwood Hotels & Resorts Worldwide Inc. JENNIFER JOHANSON president/ceo EDG HO KWONCJAN managing director, design services Banyan Tree Hotels and Resorts

GEORGE LAGUSIS senior vice president, design and construction Fairmont Hotels & Resorts WILLIAM LANGMADE President Purchasing Management International ALEJANDRO LILLO Partner GRAFT RAMSEY MANKARIOUS chief executive officer Cedar Capital Partners LLC

WENDY MENDES vice president RTKL Associates ROBERT PUCCINI president/ceo Puccini Group CLAUS SENDLINGER president and ceo Design Hotels JAMES STAPLETON vice president/operations manager FRCH Design Worldwide

DAVID SUSSMAN senior vice president, hotel development and design Kimpton Hotel & Restaurant Group ADAM TIHANY founder and principal Tihany Design SVEN VAN ASSCHE vice president of design MGM Mirage Design Group

PATRICIA WALKER senior interior designer Studio GAIA GLENN WILSON vice president, international interior design Marriott International HOWARD J. WOLFF senior vice president WATG

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/ / / THE EDGE

BY MARY SCOVIAK

COURTESY OF CROSSBAR RESTAURANT, NEW YORK

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HOSPITALITYSTYLE.COM / FALL 2011

LEAP OF FAITH

A former church rectory in the heart of New York gets resurrected for a new life as Todd English’s CrossBar restaurant.

/ / / CrossBar, the latest offer from culinary star Todd English, serves up dinner with a generous side of theater. Unlike many celebrity chef restaurants, English’s self-described “approachable and affordable” eatery connected to New York’s Limelight concept makes the design as provocative as the fare. Just as his meatcentric menu seems pretty bold in these increasingly vegetarian times, CMS Architecture and Design’s decision to play up the building’s origins as a church’s rectory provides ample food for thought. Diners wouldn’t expect a white linen tablecloth restaurant in the Flatiron/Chelsea neighborhood, not even from a James Beard award winner. But they probably wouldn’t imagine they’d be enjoying their serrano-wrapped pork tenderloin or crispy pork belly at an onyx and cast-iron communal table shaped like a cross, either. Drama like this is the new gold standard for style-setting restau-

/ 1 / Swagged draperies in plush red velvet provide a soft frame for the original wooden ceiling beams and exposed brick walls. A newly added fireplace with a spit alludes to the rotisserie-centered menu. / 2 / Indirect ambient lighting shines through the slatted ceiling to create a contemplative mood. / 3 / “Our intention was to play directly into the building’s history as a 19th century rectory,” says CMS’ Chris Smith. That includes positioning this cruciform detail front and center for the view from the second floor.

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rants. Working with a $1.5 million budget for the 99-seat restaurant, New York-based CMS layers points of interest throughout CrossBar’s two levels. The cruciform references keep the setting’s history top-of-mind. Actual church pews serve as the banquettes. Red and black constitute the basic palette— equally right for the Goth set as for Francophiles who get the satire of “Le Rouge et Le Noir (The Red and the Black),” a reference to church and state. Preserving the unique architectural elements such as existing brick walls and heavy timbered joists did more than serve up the right mood. “It was one of the biggest money savers in the project. It helped us realize economies of scale while showing off the original finishes and wooden ceiling beams,” says Chris Smith, principal with CMS. What couldn’t be saved was re-invented, like the new tin ceiling. “Making materials look as if they were born in that rectory was a major challenge, as was creating impact in this fairly small space,” says Smith. CMS bridged the old/new gap with fresh takes on the classics, such as the graphic black-and-white concrete tile floor, the hand-blocked velvet panels used as wall accents and the antique iron and glass chandeliers. “Both on the menu and in the design, we felt it was important to mix it up,” says English. “Restaurants are about good food, good service, friends and a stimulating visual environment—not price point.” HS

FALL 2011 / HOSPITALITYSTYLE.COM

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fabric

FANCY THAT

Textiles have largely moved past minimalism. Colors and patterns are adding a bit of softness to architectural spaces. Theyâ&#x20AC;&#x2122;re also bringing back a more dressed-up feel to lobbies and restaurants. Baroque-inspired damask patterns and high-impact motifs add gravitas to airy, open-plan interiors. More contemporary designs in richly textured leather (real or faux) give modern design a punch. Whatever the aesthetic, materials have eco-consciousness all sewn up, with renewable and recyclable fibers taking center stage.

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/ 1 / Sina Pearson Textiles www.sinapearson.com Global Village Collection is MBDC Cradle to Cradle certified Silver. The 100 percent olefin line is available in four patterns and 20 colorways.

HOSPITALITYSTYLE.COM / FALL 2011

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/ 2 / Kravet Contract

/ 3 / Enduratex

www.kravetcontract.com Line of Crypton-finished textiles now includes more than 145 fabrics. This eco-friendly range focuses on bright colors and contemporary patterns.

www.enduratex.com Fashioned to look like ostrich hide, faux-leather Ossie is available in 13 SKUs.

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/ 4 / Chella Textiles

/ 5 / Arc-Com Fabrics

www.chellatextiles.com Sketchbook Floral is reversible and made from solution-dyed acrylic. Available in six colorways.

www.arc-com.com Constantineâ&#x20AC;&#x2122;s large-scale motif is crafted from Trevira heavy chenille yarn. Inherently flame retardant, the fabric is suitable for upholstery or panel applications.

/ 6 / Texstyle/ Jamie Stern

/ 7 / Fabricut

www.texstyledesign.com Python is made from embossed leather dyed and hand-tipped in silver or gold. A two-hide minimum is required for custom colors.

www.fabricutcontract.com FR-One includes both bold colors and neutral shades. All styles are Oeko-Tex Standard 100 certified.

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FALL 2011 / HOSPITALITYSTYLE.COM

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fabric

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/ 8 / Carnegie Fabrics www.carnegiefabrics.com Haven (shown) is one of six patterns in the Destination line. Manmade fibers reference silk, wool and other natural materials. All patterns pass NFPA 701 flame retardancy tests.

HOSPITALITYSTYLE.COM / FALL 2011

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/ 9 / Valley Forge Fabrics

/ 10 / Paul Brayton Designs

www.valleyforge.com Tencel+Plus features eucalyptus fiber along with cotton and polyester. Collection includes pillow inserts, duvet inserts and towels. Machine washable.

www.paulbraytondesigns.com Coordinating patterns in the Luxury Collection are designed from the same yarn bank for ease of color matching. This eco-friendly line is suitable for high-traffic areas.

/ 11 / Brentano Fabrics

/ 12 / Camira

www.brentanofabrics.com Polyester Flourish contrasts matte and lustrous areas. Available in a 54-in. width, the fabric features a Crypton finish.

www.camirafabrics.com David Foxâ&#x20AC;&#x2122;s textile collection includes Nuna, Nuna Melange, Adrenalin Satin and Adrenalin (shown). All patterns are 95 percent Pure New Wool.

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fabric

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/ 13 / Pearson Textiles

/ 14 / WeatherMax

www.pearsontextiles.com Woven in Argentina, Deconstructed Damask has the dĂŠgradĂŠ look of fabric that has been cut into strips and reassembled. The line has a 33-by-27-in. repeat.

www.weathermaxfabric.com Outdoor fabric has a fiveyear warranty on color and is breathable and recyclable.

HOSPITALITYSTYLE.COM / FALL 2011

/ 15 / LTM Textile Resources www.ltmtextileresources.com The Jason Ahn-designed Planetary Collection features an antibacterial treatment, moisture barrier and stainrelease finish.

/ 16 / Mitchell Fabrics

/ 17 / Lebatex

/ 18 / Robert Allen

www.mitchellfabrics.com Sta-Kleen Lyra simulates a two-tone leather grain. Available in seven coordinating colors.

www.lebatexinc.com Designed by Stacy Garcia, the Plush Solid collection includes Cashmere, Vixen and Vamp (shown). Cashmere is a woven herringbone polyester, while Vamp and Vixen are crafted from polyester velvet.

www.robertallendesign.com Designed by DwellStudio, Modern Luxury offers more than 100 designs, including a tape-yarn fabric and pearlized linen. HS

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The event that brought hospitality design back to New York returns in November with a fashion-forward lineup of exhibitors and events.

To exhibit contact: Michael Schneider at 513.263.9379 or michael.schneider@stmediagroup.com or Alex Cabat at 914.421.3372 or acabat@glmshows.com.

Presented by

In Partnership With

200 EXHIBITORS t An edited list of established and emerging vendors, each showcasing new and unique FF&E designs—a product mix you’ll see nowhere else.

BDNY EDUCATIONAL FORUM t Keynotes and panel discussions featuring trailblazers in hospitality design, free with Show admission.

NEW! BDNY TREND WALK t Five winning conceptual displays depicting trends forecasted by internationally renowned designer Stacy Garcia.

BOUTIQUE DESIGN AWARDS t Presentation of the 2011 awards by Boutique Design magazine for the best Hotel, Spa, Restaurant and Nightclub designs, along with Designer of the Year.

PLUS, NETWORK WITH FELLOW DESIGNERS AT THE OPENING KICK-OFF PARTY AND OTHER EVENTS ON THE SHOW FLOOR.

MARCEL WANDERS, AMSTERDAM

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HOSPITALITYSTYLE.COM / FALL 2011

BY MARY SCOVIAK

MOVEABLE FEATS

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Kameha Grand Bonn’s multifunctional spaces customize the design experience for the operator as well as the guest. / / / Guests have been the primary beneficiaries of the trend toward customizable hotel design. Kameha Grand Bonn in Germany extends that same luxury to the operations side. “Because of our proximity to Bonn’s city center as well as Cologne, we needed a program that would make every square inch of this hotel a lieblingsplatz [favorite haunt] of corporate FITs, travelers on government business, groups and people attending social functions,” says Carsten K. Rath, president and founder of Lifestyle Hospitality & Entertainment Management AG (LH&E), the property’s leaseholder and operator. He gave design superstar Marcel Wanders an amazing “play-

ground” in which to achieve that: nearly 151,000 sq. ft. within the curving glass-walled shell designed by architect Karl-Heinz Schommer. This five-star’s extreme flexibility is Wanders’ response to his client’s mandate for public areas that can be all things to all markets. Without sacrificing his flair for expressive interiors, this Dutch master uses modular furnishings and multifunctional elements to erase the old boundaries between lobby and meeting space as well as between business and social centers. For example, the signature red sectional sofas can expand to provide gathering space for more than a dozen people or separate off into loveseats for private conversa-

tions. Wanders favors round rugs, not only because he was referencing Delft-inspired patterns and flowing lines, but also to encourage guests to pull up seats around the circle and enjoy some intimacy within the public space. Even in a sprawling footprint like the Kameha Grand’s, lobbies can eat a lot of space without generating enough revenue to pay their way. Wanders addresses this by suspending decorative lightweight panels from the ceiling to enclose “meeting islands” within the glistening glass box of the lobby. He decorates the columns to look like oversized vases. While the impact reflects his belief that design should be larger than life,

/ 1 / Glass patio doors and a mirrored wall visually expand this suite’s bathroom into a spacious retreat. Guests can decide how much connection they want between the living room and bath. / 2 / Porcine sculptures support tables in the PureGold Bar.

FALL 2011 / HOSPITALITYSTYLE.COM

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/ 6 / Four gigantic gold-toned urns play with the idea of proportion within the vast confines of the Kameha Dome.

/ 3 / Like the composer who inspired it, the Beethoven Suite layers harmonizing patterns into a symphony of style. Also striking the right chord are the Blüthner piano, an iPod dock and state-of-the-art stereo equipment.

/ 4 / Marcel Wanders elevates a simple back wall to high art with this dramatic image floating above the bathtub. / 5 / The pattern of lights being turned on and off behind Kameha Grand’s glass front provides dramatic visuals for approaching FITs and event guests.

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HOSPITALITYSTYLE.COM / FALL 2011

the functionality creates a series of niches where people can work or network. They can also just enjoy his sense of humor. In the PureGold bar, guests can sink into quilted armchairs and put their drinks or laptops on a table that features a pig sculpture as its base. Or, they can move to the Stage Bar and Lounge and get a taste of the future in pedestal chairs that look as though they’re upholstered with tufts of fabric flower petals. Known for product design like his seminal “Knotted Chair” well before he became a noted interior designer, Wanders introduces a rich blend of interesting seating to answer the “life and style” taste preferences of the hotel’s broad target market. To make the Next Level brasserie user friendly for singles, couples and groups, Wanders frames the perimeter with a low-backed banquette. Outsized white flowers bloom against intricate aqua and lavender patterns printed on the banquette’s back. The effect is like a low mural running beneath the windows. Black and chrome chairs face the neatly geometric tables, building more versatility into a small space. Elegant black button-back sofas bring a modern, masculine ambience to one section of the Zino Platinum Cigar Bar. For fans of the traditional men’s club, there are other areas with leather chairs and a deep color palette. Those who prefer Mod can nestle into

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Stage’s chairs with high, hooded backs made from gleaming white polypropylene. Wanders continues to indulge a wide range of fantasies in the 190 rooms and 63 suites, not just provide the essentials. For the five “topic” suites, that means taking a fresh approach to theming. Businesswomen find not only pampering design in the Diva Suite, with its filigree-patterned lighting, but a make-up table with a welllighted mirror and ample storage areas. Other perks include a wish list of magazines and complimentary branded cosmetics. The Fair Play Suite is a techno-haven for

sporty types, with in-room Wii and a tennis-court green carpet. The Beethoven Suite celebrates local history and also features a grand piano, as well as a glossy black bed and coffee table. For the Hero Suite, contemporary business accoutrements allow guests to feel like a ceo in a Neo-Edwardian space of clean lines and restrained colors. Here, too, multipurpose spaces were top of mind. The Beethoven Suite interconnects with the Corner Suite. For guests or groups who need more space, the exclusive fifth-floor King and Queen Suites can be joined to create one

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/ 7 / Modular sofas expand the functionality of the Stage Bar and Lounge for groups or private conversations. The bar, faceted like a gem, reflects the activity throughout the space. / 8 / Oversized cigar bands work as decorative wall accents in the Zino Platinum Cigar Lounge.

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/ 9 / A Delft-inspired flower blooms beneath the color-changing lights of the pool.

/ 10 / Visual impact in the King Suite’s dining room starts with the open frame of the chair backs, then spirals upward as the white flowers lead the eye to the swirling mural imagery.

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2,500-sq.-ft. super suite. Both the Telekom Suite and the Hero Suite have in-room meeting capabilities. The Telekom suite also has video conferencing software. Whether in guest rooms or public spaces, Wanders delivers on Rath’s challenge “to reconsider everything commonly perceived as best practice.” Following on the designer’s trendsetting interiors for Luxe Suites in Amsterdam, Hotel

Rivington in New York and Miami’s Mondrian, Wanders offers another antidote to “typical business hotels that are very serious and practical, usually very boring, too.” In his view, “Corporate and event hotels should be exciting, stimulating and inspiring; they should offer a high standard of living and a corresponding lifestyle. The Kameha Grand Bonn is a place full of surprises.” HS

FALL 2011 / HOSPITALITYSTYLE.COM

TREND / DISCRETIONARY SPENDING

REALITY CHECK

BY MARY SCOVIAK

Overspending is the ultimate in poor taste. Creativity has replaced conspicuous consumption to move the design needle for hotels across the rate spectrum. Need proof? Check out the redesigned Comfort Inn and Sleep Inn brands, Belgium’s Sir Plantin and Turkey’s Argos in Cappadocia.

HOSPITALITYSTYLE.COM / FALL 2011

FIVE-STAR DISCIPLINE The rough-hewn beauty of a restored ancient village frames Argos in Cappadocia in timeless elegance. “Modest yet elegant is the formula for modern luxury,” says this Turkish entrepreneur. “This place was a village, not a palace. Our aim was to preserve the soul of that village, adding only what was essential to meet guests’ expectations for a five-star experience.” The 42-room resort shows that ostentation and open-ended budgets don’t exist even in the five-star realm. For the most part, guests share the aesthetic of the original inhabitants thanks to the painstaking work that rebuilt the walls and preserved details such as the niches that now hold valuable art and artifacts. But they don’t have to forgo millennial crea-

ture comforts such as travertine cladding and sinks in the cave spaces or private swimming pools in the Splendid Suites. “Any site with this kind of heritage is innately luxurious because it is rare,” says Ilicali. “What sets Argos apart is that the design doesn’t lie about what existed here and what we’ve added. The old parts are old, and new parts are new, but in harmony with the old. Our guests understand that, as does the media. Payback is running much faster than we expected and we’ve won a number of awards. As the philosopher Mevlana said, ‘Be seen as who you are.’”

DINC ALTUG PHOTOGRAPHY, ISTANBUL

It took owner Göksin Ilicali and his Argos Design and Construction team 15 years to transform the tangled debris of a 2,000-year-old village and the warren of caves and tunnels that surround it into the five-star Argos in Cappadocia resort. Not surprisingly, the challenges of installing modern ventilation through ancient stone chimneys, fitting luxury bathrooms under the curve of the rock caves and hauling out hundreds of truckloads of soil pushed the project well beyond its initial schedule and budget. But one thing that didn’t change over a decade and a half was Ilicali’s insistence on restraint.

FALL 2011 / HOSPITALITYSTYLE.COM

TREND / LUXE DISCRETIONARY FOR LESS SPENDING

UPSCALE ARTISTRY

DINC ALTUG PHOTOGRAPHY, ISTANBUL

Antwerp’s Sir Plantin goes graphic in a big way to stand out in a crowded field. Getting the most from the design budgets for threeto four-star boutique hotels comes down to one thing: focus. The trend now is to channel guests’ attention to signature elements they can’t miss. Alon Baranowitz, architect with Amsterdam- and Tel-Aviv-based B.K. Architects, did exactly that with the oversized art that defines the 178-room Sir Plantin hotel in Antwerp. Scaling up the visuals was critical to building a fresh identity, since the layout of the pre-existing hotel couldn’t be changed and the renovation had to be achieved within tight constraints. “We used grand gestures as a modus operandi for the design of Sir Plantin,” says Baranowitz. “We couldn’t afford elaborate details or costly materials. However, we needed drama; we needed emotional landscapes in which to immerse our guests. We found our answer in the bosom of Flemish art.” For this Avantgarde Hotels member with what Baranowitz calls “five-star style aspirations,” he recast

the ground floor as a gallery for reinvented Baroque pieces. “We developed the idea of extracting and separating out exquisitely drawn details from different works by Flemish artists so that those little glimpses would become showpieces by themselves. We framed these sections and curated them as exhibitions, sometimes stacking them, as we did with three paintings of lips in the lobby or the nine images of eyes,” he says. Creating suitable settings for the art meant using a bold, complementary palette. Corridors are black to give the feeling of being “out of space and time,” says the designer. Guest rooms mix historic and modern references. Oversized images of 17th-century ladies watch over the beds. Four different colors were chosen for the guest rooms: red, yellow, green and lilac. Each color is associated with a specific lady. “Statement graphics like these are replacing expensive FF&E as a means of making an impact. It’s not about paying for a name or a label anymore,” says Baranowitz.

FALL 2011 / HOSPITALITYSTYLE.COM

TREND // LUXE FOR LESS SPENDING TREND DISCRETIONARY

CASUAL COOL Chic boutiques were among the first to pioneer luxury at a lower price point, but now the chains are joining in. When Gensler associate Matthew Rowan first discussed the Sleep Inn and Comfort Inn redesigns with their parent company, Choice Hotels International, he saw an opportunity to reintroduce “delight” into the affordable brand experience. “We did not want to knock off the five-star experience,” he says. “Based on studies we’d seen and guest reaction to some preliminary renderings we’d done, anything that was perceived as stuffy or overly high-end was a turn-off. People wanted accessible luxury, elements that were like home but better than home.” The first thing that had to go in the brands’ design formats were the clashing colors and vivid prints that were staples for far too long. “People know they’re only chosen to hide stains and wear and tear,” says Rowan. He and his team replaced traditional casegoods with smaller, lighter pieces that are multi-

HOSPITALITYSTYLE.COM / FALL 2011

functional. Following the lifestyle hotel trend, bathtubs were eliminated. That left the designers free to introduce a more pampering shower and a sleek vanity that makes room for towel storage underneath. Investment pieces add impact. “We wanted to convey a sense of quality by using a real wood veneer for the casegoods, for example. Because of the volumes we were dealing with, we found some amazing suppliers who were able to produce all of the pieces we wanted within the budget and deliver amazing results,” says Rowan. Starting with off-the-rack pieces and adding a few select custom elements enabled the team to achieve a unique look without the hefty price tag of fully custom work. It also left budget for residential touches travelers requested most—like fireplaces. “The idea was that creating this richer, more neutral and soothing design would make the properties unique within this hospitality segment,” he says. HS

COMFORT INN RENDERING COURTESY OF GENSLER

Gensler brings right-priced indulgence to Choice Hotels’ new prototypes.

SPLISH SPLASH

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HOSPITALITYSTYLE.COM / FALL 2011

BY MARY SCOVIAK

HEAVEN ON EARTH The mythical mountain home of Japan’s gods inspires the other-worldly beauty of Kameya Inn’s new executive floor.

SHIN SUZUKI, TOKYO

/ / / “Design heaven.” It’s not the

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typical commission, but it was K.K. Hiroyuki Komatsu Brand Design’s vision for the new executive floor of the Kameya Inn in Tsuruoka, Yamagata, Japan. Known for his creative campaigns for Levi’s and Adidas Originals, Hiroyuki Komatsu saw the 3,800-sq.-ft space as a reimagined Mt. Hourai-san, the floating mountain above the sea where the Japanese gods and a mysterious turtle (kame means turtle) are said to reside. He turned to an innovative collaboration involving Tokyo-based Yasutaka Yoshimura Architects (YYA) and guest designers from the nearby Tohoku University College of Art and Design to make his lofty idea a 3D reality. The budget for re-creating the ambience of Japan’s Olympus atop a 130-year-old inn was a down-toearth $180 per sq. ft. “It was a great opportunity to say something new,” says YYA founder Yasutaka Yoshimura. “Luxury hotels tend to be strongly

influenced by style. This project freed us from stylistic convention. It gave us the chance to use spatial composition as the essence of the luxury hotel experience.” YYA and the academic contingent forged a creative dialogue. While the university team concentrated on the design of the largest suite, 1111, the seasoned architectural/design team developed the programs for the other three suites, the lounge and the connecting areas. Working with faculty and the up-and-coming generation of students proved inspiring, says Yoshimura. “They came up with the concept of clouds and incorporated it into the suite with the curved walls and ceiling. Their spirit gave us a stronger desire to challenge ourselves, to try something new.” Breaking new ground became a theme for the Hourai project, the name given to the hotel’s new VIP level. To get the right curve behind the bed, YYA first had a crosssection of the wall printed on the plywood to actual scale. Then, the

/ 1 / The curve of the wood extends halfway up the windows not only to provide drama but as a practical means of masking the view of the buildings that stand between Kameya Inn and the ocean.

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panels were installed in a series to ensure that the curvature would fit perfectly into the allotted space. “The carpenters told us they had never done anything like this before,” says Yoshimura. He got the same reaction from the factory that manufactured the Naguri-textured walls. The design team wanted a different wall treatment that would reflect and refract light to change the mood of the space from day to evening. Yoshimura was fascinated by the properties of the Naguri technique, which can mean sculpting or scraping out surface areas to create patterns. “We were looking for the effect of the sunlight and moonlight flickering on the surfaces of the mountain and the ocean,” he says. Working with 6-in.-wide pine, the manufacturer found a way to

translate YYA’s three-dimensional profile for the wood into data that could be fed into the numerically controlled surfacing machines. “The wall is always interesting. At dusk, the shade of the wood is uneven, dramatic. At night, you can really see the grain,” says Yoshimura. “It looks different in daylight than it does in artificial light.” The designers took the experiment further, forming thinned-down strips of wood into glued laminates that could be shaped into custom furnishings. “We liked the idea of creating hexagonal patterns to reference a turtle’s shell,” says Yoshimura. Another advantage was that some of the tables and desks could be attached directly to the walls to save space. “Even the suites in Japanese hotels are quite small,” he says. “So every square

/ 2 / The bedroom wall is beauty by the numbers. “The curvature we used corresponds to the maximum coefficient possible of the elastic pliability of the material. Pretty simple, really,” says Yasutaka Yoshimura.

/ 3 / “Lighting is instrumental in creating a luxury atmosphere,” says Yoshimura. In the lounge, that means using a subtle wave of spotlights to focus on the rich wood of the bar and the lounge seating.

/ 4 / The sculpted surface of the floor-to-ceiling pine eliminates the need for additional artwork.

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inch has to be functional and has to contribute to the design.” To keep divine inspiration flowing, the team had the white walls finished with diatomaceous earth (a soft rock that creates a fine whitish powder when crumbled) to add sheen. They specified solid cypress wall and ceiling

“ Every square inch has to be functional and has to contribute to the design.” — YASUTAKA YOSHIMURA

material with a substrate color to bring a natural glow to spaces with wooden walls and ceilings. Japanese paper covers the walls of the lounge, combining its inherent lightness with a bit of nostalgia for traditional design. For contrast, the bathrooms are tiled in black to introduce the

HOSPITALITYSTYLE.COM / FALL 2011

feeling of evening on the sacred mountain. “I liked the impact of walking into the white cloud-like environment of the sleeping area, then retreating into the dark bath,” says Yoshimura. Lighting was important in making that transition comfortable. “We used a few bright spotlights to illuminate the rooms but, for me, ambient lighting is critical to a high-end experience. We used very subtle lighting in the bathrooms because bright light doesn’t reflect well off of black surfaces,” he says. Being cold is never desirable, even for mere mortals. So YYA used cork for the bathroom floors because of its low thermal conductivity. “We put a lot of effort into selecting the materials,” Yoshimura says. “Like art, they provide cohesion, creating an environment, not just a room. And that, to me, is real luxury.” HS

/ 5 / Reminiscent of Mt. Hourai-san at night, black tiles form a shimmering surround for the luxurious rectangle of the soaking tub.

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EXPRESS YOURSELF Turn down the lights. Turn up the music. Turn your kids loose in their own interactive play space. Customization is the new order at Pizza Express. BY MARY SCOVIAK

HOSPITALITYSTYLE.COM / FALL 2011

a beta-test site for design and menu innovations, the most successful of which will be rolled out across the 300-plus unit chain. It’s also a proving ground for how much new materials and technology can facilitate truly trendsetting interiors at any price point. Collaborating with teams of culinary, sound, lighting and graphics experts, Ab Rogers Design uses laminates, butchers’ tiles and vinyl alongside pioneering lighting and acoustics to deliver a hip, customizable dining experience in a casual setting. It’s not just a third space; it’s “your” space. Customers can adjust the lighting to suit their mood and plug-and-play their own music at tableside iPod docks. Easy conversation is also on the menu thanks to sound-absorbing liners in the parabolic lights and suspended circular panels. Even kids have the luxury of choice. Before or after eating, they can retreat to a dedicated interactive zone conveniently positioned

JOHN SHORT STUDIO, LONDON

/ / / Pizza Express’ Living Lab in suburban London is

/ 1 / “We were inspired by the flowing, organic form of pizza,” says designer Ab Rogers. Despite the swirling pattern, the tables and banquettes keep a low profile to maintain an open feel. / 2 / Strategically angled mirrors and directional lighting put the focus clearly on the pizza makers. What guests don’t see is the operational innovation—such as the use of under-the-counter space for refrigerated food containers. / 3 / The gleaming ribbon of the main counter conveys cleanliness and freshness. It’s also the perfect backdrop to intensify the bold, fresh colors of the fare, says Ab Rogers.

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with clear sight lines for the watchful eyes of parents and staff. That’s a lot of bang at a brand that promotes a two-course meal for a little over $20. “Bang” is what the chain wanted when it commissioned Ab Rogers and his London-based team to help re-invent this perennial favorite among the U.K.’s highstreet pizzerias. “The brilliance of the brief lay in the opportunity to challenge the fundamentals of Pizza Express,” says Rogers, who has taken on everything from rejuvenating Little Chef to creating the Learning Centre for the Tate Modern. “The Living Lab idea meant we could redirect the focus on the dynamics of the interior. In the new design, the pizzaiola would once again be the hero and the kitchen would be the heart of the restaurant.” Keeping the focus on the pizza maker and the food itself dictated an open plan. Mirrors above the display kitchen provide a secondary view of the culinary theater—fitting for the company that introduced some of the first open kitchens to London. The emphasis on the fare continues at the tables. “We decided to use white plates and warm lighting that’s tightly focused to make the colors of the ingredients pop,” says Rogers. However, since Pizza Express’ leadership wanted to stress the social side of dining as well, the designers had to find solutions that would carve out intimate spaces without dividers or walls. “We researched a variety of dining experiences from the Blue Frog in India to the Cibreo in Florence to find a language that would be open and intimate, nurturing and entertaining,” says Rogers. He developed a series of niches

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/ 4 / Behind the red and white palette is a very green restaurant. The laminates have a low carbon footprint and the floors are FSCcertified English oak.

/ 5 / Building from the 180-seat Living Lab in Richmond Upon Thames, the new Pizza Express in London’s Brent Cross Centre customizes the color scheme but keeps the same innovative space plan and attention to detail, like the wall treatment.

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capped by the oversized dome lights to personalize the perimeter. Moving to the center, he relied on shape and proportion to encourage guests to linger rather than grab and go. That’s what suggested the curve of the chairs at the platooned central tables as well as the semi-circular form of the conversation booths. Careful sourcing was critical to get this bespoke look on a fast-fashion budget. “Having a simple palette of modest materials helped,” says Rogers. “Abet Laminati supplied all of the tabletops in Straticolor [with its colored layers] and all of the kitchen worktops in Pral. Sourcing from one manufacturer gave us greater purchasing power. But we worked closely with all of the suppliers and visited the factories at every key stage of production to check that the details were right prior to implementation. Measure twice, cut once— that’s still the formula for value engineering.” Although each element contributes to a look that’s cool enough for a date night and comfortable enough for families, it’s the integrated approach to design that makes the Pizza Express prototype in Richmond enviable even to its upscale competitors. Sergio Luzzi, the renowned acoustician based in Florence, provided the solutions for the pendants and ceiling panels. Technology experts worked with the lighting designers to integrate iPod speakers into the domes. Games designer Spiral consulted on the entertainment for the kids’ space, while fashion designer Matthew Miller styled the street-worthy uniforms. Italian chef Antonio Romani contributed his cooking and operations expertise. So did the brigade and wait staff, whom Rogers’ team shadowed to understand what worked and what could be improved. “Knowing when to stop with the design was critical, but so was not allowing any element of the technology or aesthetics to take away focus from the food,” says Rogers. Customers agree. Year-over-year sales improved nearly 15 percent in the months following the relaunch—one reason six restaurants will see a redo this year and another 20 are the on the waiting list for a techno-chic makeover. HS

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BY MARY SCOVIAK

INDUSTRIAL STRENGTH Paul Priestman, working alongside Priestmangoode co-founder Nigel Goode, uses lessons learned in the transportation industry to shift affordable hotels’ style into high gear.

/ / / Before Priestmangoode unveiled its design for Yotel in 2004, most mid-spend travelers would have been happy enough with a clean, no-surprise guest room. Paul Priestman and Nigel Goode taught them to expect more. Blending their innovations in luxury airline cabins, high-speed trains and product design—skills they’d honed since the firm’s startup in 1989—with the cool of Japanese capsule hotels, the 38-strong London-based design team kitted out a small room with high-end touches such as wood paneling, techno-chic accents that included moodchanging lighting and flip-down desks. This led to work from France’s giant Accor, including a revamp of Motel 6, Etap and Ibis, as well as commissions from Norwegian Cruise Lines for a new generation of studio cabins targeting young, single travelers. Now, there are talks with an unnamed high-end hotel company and a new office that just launched in China. Here, Priestman talks about invention, inspiration and the influence of the Gaia theory on his work. HS: Priestmangoode built its reputation in transportation sector with high-end passenger spaces on planes as well as in product design. Why did Yo! founders Simon Woodroffe and Gerarde Greene ask you to design the first Yotel in 2004, especially since you’d never designed a hotel? Paul Priestman: We had a very specific skill set. One of the investors in Yotel had seen our work on small luxury spaces in an aircraft magazine. Airline cabins

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are among the most difficult spaces to design: they need to reflect privacy, luxury and comfort in an open and restricted space. There is a very quick turnaround between customers, so everything needs to be easy to clean and the high level of usage means the materials need to be incredibly hard-wearing. The requirements of hotel rooms are very similar to those of airline cabins. The main difference is that you tend to spend more time in a hotel and you have more space to play with, which allows more flexibility. Yotel was the ideal project for crossing over into the hospitality market. What was your diagnosis on why affordable hotels were missing the mark and the market? A lot of hotels, particularly low- to mid-budget properties, are not very contemporary. They’re designed for someone’s idea of an average type of person. What many chains’ leaderships seem to miss is that even the more mature guest now likes modern design. Motel 6 was quick to grasp this and have been incredibly successful as a result. I think consumer taste is evolving very rapidly, and the challenge for the hospitality industry is to keep ahead of these changes and to lead the way in terms of luxury and comfort at a low room rate. You’d worked mostly at the luxury end of the transport sector. Why did you embrace the twoand three-star end of the hotel spectrum? Small budgets often instill panic in a designer, but we enjoy working with them. Our aim at Priestmangoode

is not just to design beautiful products and interiors, but to make businesses more efficient; to use design to transform a business. The work we did for Etap, for instance, was not just about creating trendsetting interiors. Our goal was to design the cheapest-tobuild hotel room in Europe, a better environment for consumers and a more cost-effective operation for the hotel chain, which we did. What are the biggest design differences between predominantly U.S. chains such as Motel 6 and European-based flags such as Yotel, Ibis and Etap? American and European hotels and attitudes toward hotels vary greatly. In America, for instance, rooms are bigger, consumers are generally much more free and relaxed, and service is considerably better. In Europe, the quality of the build and finish tends to be better— European consumers are more demanding and expect a higher standard. Sometimes trained hospitality designers get indignant about cross-disciplinary firms taking a piece of their turf. How do you respond? The multi-disciplinary nature of what we do enables us to transfer skills learned from one industry to another, which in turn often leads to innovative design solutions. In addition, our work as product designers means we always design with the end consumer in mind. I think there’s a danger sometimes of interior designers creating interiors that aren’t very practical,

FRAN MONKS, LONDON (PAUL PRIESTMAN); COURTESY OF YOTEL AND PRIESTMANGOODE, LONDON; COURTESY OF PRIESTMANGOODE (ETAP)

Paul Priestman

/ Yotel /

Paul Priestman ///////////////////////////////////////////////////////////////////////////////// BORN 1961 EDUCATION Central St. Martins, Royal College of Art CAREER Priestman Associates, founded in 1986; Priestmangoode, co-founded with Nigel Goode, 1989 OFF-HOURS Planting trees. Priestman bought some land in the north of England previously used for farming and is returning it to its original state as native woodland. So far he’s planted 60,000 trees.

/ Etap /

INSPIRATION “Great thinkers. At the top of that list is James Lovelock, who developed the Gaia hypothesis that the Earth is a vast, selfregulating organism. Great ideas often distill very complex subjects into one simple understandable vision. For me design isn’t limited to products, graphics or industrial design; it’s about creative thinking, and encompasses many fields including science, engineering, philosophy, etc.” FALL 2011 / HOSPITALITYSTYLE.COM

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ones that are designed more for the designer than for the consumer. For example? My biggest pet peeve in hotels, especially business hotels, is wardrobes. I never use them. I’m often not there for more than a day, and I worry that I might leave something behind. In our designs for Yotel, Etap and Motel 6, we’ve taken away the wardrobes entirely. Short-stay hotels have no need for them. They take up valuable space that could be put to better use.

/ Norwegian Epic /

/ Motel 6 /

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What’s the best tool in the box for adding interest without overspending? Lighting, which has the ability to transform a space and convey different moods. In our studio cabins for Norwegian Cruise Lines’ (NCL’s) new Norwegian Epic, the spaces we had to work with were very challenging. They were small and, because they were located at the center of the ship with no windows, were also very dark. Our designs also had to appeal to a younger age group, a first for a cruise liner. We put in backlit portholes that re-create the look of natural daylight, so passengers would feel more connected to the outside. We also used mood lighting throughout that can change color at the touch of a button. This is one of the most useful design tools as it enables passengers to tailor the room to their liking, rather than being dictated to. The response to the new studios has been overwhelmingly positive—so much so that we’ve been brought in by NCL to design all the cabins on its next ship. What’s the hottest design trend overall? Flexibility. Different consumers want different things and I think it’s important to bear that in mind when designing spaces. Flexible space is at the core of our airline work. Our interiors for Lufthansa’s A380 aircraft and for the first-class cabin have the look and feel of a lounge. The seats are more like furniture that you would want in your home, with luxurious materials like leather and suede. But, equally important, passengers

COURTESY OF NORWEGIAN CRUISE LINES, MIAMI; PRIESTMANGOODE, LONDON; COURTESY OF MOTEL 6 (CARROLLTON, TEX.), PRIESTMANGOODE, LONDON

How do you get the luxe look for less? The choice of materials is obviously crucial, but multifunctional elements can be equally important and help create a feeling of space. In aircraft interiors, one component often needs to do five different things, and this is a design aspect we’ve used a lot in our hotel rooms. Our work for Etap, for example, was designed around the Totem: a central column in the middle of the room that acts as a room divider. It has a desk and mirror on one side and a sink and mirror on the other. The Totem delivers all the services—plumbing, electrics, internet/phone cables. Having one item perform all these functions means you free up space elsewhere, which automatically creates a more luxurious feel to a room.

where imagination meets execution. Expertly crafted furniture made in Dallas, Texas. Choose from eighty-nine in-stock leathers, hundreds of in-stock fabrics and available in COM. Visit us online at www.americanleather.com.

hospitality

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/ Recovery Lounge /

Describe your creative process. It’s important to start with an original idea. So we never start by looking at other designers’ work. Later in the process is when you look at other work, test your idea against others—to see what works, what doesn’t and then use that to refine your design. Last year, for instance, we designed the Recovery Lounge, a concept design for a better, more efficient and more cost-effective recovery suite for day surgeries in hospitals. We didn’t look at any healthcare interiors before we began; we just looked at the work that we’ve done in airlines and hotels and thought about how we could apply what we’d learned to healthcare. We came up with a 10-point manifesto of design solutions, one of which was the recovery lounge. Once we had the manifesto, we consulted healthcare professionals, nurses, doctors and hospital directors to make sure that what we were proposing was feasible, particularly in light of stringent health and safety regulations. What are you working on now? Among other things, we’re talking to a high-end hotel company. There’s also a lot of activity around our new office in China. Aside from our regular client work, we

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like to develop our own ideas and projects, to prompt discourse about design. Our latest concept is the Moving Platforms—a completely interconnected rail infrastructure where local trams connect to a network of non-stop, high-speed trains enabling passengers to travel from their local stop to a local address at their destination (even in another country) without getting off a train. We’ve been designing high-speed trains for a few years now. My experience of various systems around the world led me to conclude that it’s entirely unsuitable to put in a 21st-century, high-tech, highspeed train on an infrastructure that was developed in the 19th century for steam trains. If we’re going to spend billions of dollars around the world developing high-speed rail networks, we need to rethink the infrastructure that supports them and ensure that rail travel is seamless, better connected. (Visit www.priestmangoode.com to see a film clip of the concept.) What persuaded you to open an office in China now? We’ve been working out there for a few years as part of a long-term contract with Sifang Locomotive. At the moment, China is a huge market for growth for us, particularly in the travel and mass transportation sectors, where we still do a lot of our work. We feel that it’s important to have a presence on the ground. Our experience of working in China has shown that cultural understanding is hugely important. Working locally will enable us to better service clients, contribute to the creative economy as well

as strengthen the international nature of our company. I also think that increasingly, the major new brands will be coming from China and we want to ensure we’re at the heart of that economic development. The sheer scale and ambition for the country’s expansion as an economic power means we are seeing opportunities there we wouldn’t see anywhere else. What project would you most like to get? We would like to work on an eco-resort chain. We’re very interested in new technologies in construction, carbon-neutral holidays and more responsible materials. A few years ago, I was in a hotel room and saw a sign that said, “Please use water sparingly,” but there was no way of measuring that. I started thinking about this and designed the Waterpebble, a small product you put in the shower which measures the amount of water going down the drain. Using a set of traffic lights going from green to amber (halfway through your shower) and red (time to stop), the Waterpebble reduces your shower time by a fraction each day by simply changing to amber and red earlier. Over a period of a few months, it can help reduce water usage by a third. One of the U.K.’s leading holiday makers is in the process of installing these in every one of its hotels around the world. That’s the sort of thing we’re interested in. From an environmental point of view, we’re facing many challenges at the moment, and the hospitality sector provides a great opportunity to lead the way in green thinking on a large scale. HS

COURTESY OF PRIESTMANGOODE, LONDON

have the option of privacy. Our open-plan cabin has no fixed partitions, but each seat has a motorized retractable privacy screen that comes out of the seat shell to create a semi-cocoon-like enclosure, allowing privacy at the touch of a button.

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PATTERNS OF CHANGE The carpet industry was one of the first hospitality supplier sectors to embrace eco-responsibility and make it look great. Recycled and recyclable fibers have transitioned from their initial earthy palette of olives, browns and grays to a rainbow of hues in dynamic patterns. Now, the feelgood factor is getting even stronger as more and more manufacturers seek certification from GoodWeave, a program aimed at ending child labor throughout the world. In addition to pushing social and environmental agendas, major mills and small artisanal studios are stepping up creatively with rugs and carpets that can take center stage or be customized to fit any vision.

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/ 1 / Milliken Hospitality

/ 4 / Kravet

www.millikencarpet.com Apsley House blends overscale damask details with silhouettes. Line can be customized by building patterns layer by layer.

www.kravet.com Wilton Collection includes four new geometric designs in six colors with coordinating borders. Available as area rugs and wall-to-wall carpeting.

/ 2 / Kim Parker Home www.kimparker.tv GoodWeave-certified Mums and Asters is made from 100 percent New Zealand wool and comes in five standard sizes.

/ 3 / Company C www.companyc.com Landscape is based on an exclusive oil painting by Jennifer Hansen. The hooked and tufted rug is available in teal or crimson and is GoodWeave certified.

/ 5 / Aqua Hospitality Carpets www.aquahospitality.com Both the 32- and 36-oz. versions of Splish Splash feature 25 percent recycled pre-consumer content. Nylon carpet also contains an indoor air freshener.

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carpeting

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/ 6 / Azru Studio Hope

/ 7 / Warp & Weft

www.azrustudiohope.org Handmade in Afghanistan, these wool rugs come in standard sizes from 2-by-3 ft. to 10-by-14 ft.

www.warpandweft.com Versailles Chocolate, part of the Modern Collection, is made from Himalayan wool and Indian mulberry silk. Standard sizes are 9-by-12 ft. and 8-by-11 ft. Custom sizes available.

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/ 8 / Shaw Hospitality Group www.shawhospitalitygroup.com Global Reason features a 36-in. square repeat. The collection coordinates with other styles and can contribute to LEED certification.

/ 9 / Rosemary Hallgarten www.rosemaryhallgarten.com Inspired by the work of British ceramist Janice Tchalenko, Glaze features a mottled pattern constructed of 100 percent wool. Options include fireretardant treatment.

/ 10 / Madeline Weinrib Atelier www.madelineweinrib.com Made from 100 percent New Zealand Wool, Bossa Nova has a 20-ft. maximum width.

INNOVATIVE. INSPIRING. INTERACTIVE. HospitalityStyle.com HJWFT ZPV JOTJHIU BOE JEFBT UISPVHI r %BJMZ CSFBLJOH OFXT BOE SFMFWBOU TUBUJTUJDT r &YDMVTJWF GFBUVSF TUPSJFT BOE DBTF TUVEJFT r 3FQPSUT PO QSPEVDUT BOE JOEVTUSZ IBQQFOJOHT r #MPHT BOE QFSTQFDUJWFT PO IPU UPQJDT r *OTQJSJOH HBMMFSJFT EFWPUFE UP IPUFMT SFTPSUT SFTUBVSBOUT DBTJOPT NJYFE VTF DPNQMFYFT DSVJTF TIJQT BOE TQBT 1-64 5IF Hospitality Style PULSE F OFXTMFUUFS EFMJWFST B RVJDL TUVEZ PG JOEVTUSZ USFOET BOE FYDFQUJPOBM QSPKFDUT QFSTPOBMJUJFT BOE QSPEVDUT FBDI XFFL 4JHO VQ BU )PTQJUBMJUZ4UZMF DPN

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carpeting

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/ 11 / Silk Road Weaves www.silkroadweaves.com The hand-knotted Elements Collection takes its colorways from air, earth, fire and water. Square, rectangle and runner styles all feature a chemicalfree wash.

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/ 12 / Classic Rug Collection www.classicrug.com Ottoman Collection features eight designs, including Garden (shown). These GoodWeavecertified rugs are available in custom sizes and constructions.

/ 13 / EcoFiber Custom Rugs

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www.ecofibercustomrugs.com Batik-inspired Yogyakarta comes in cut or loop pile and a variety of pile heights. These wool rugs are handmade in Nepal.

/ 14 / OW Hospitality www.owsphinx.com The Luxury Brights Axminster collection offers 20 patterns.

/ 15 / Liz Gamberg

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www.lizgamberg.com Math and nature come tighter in the hand-sculpted Six Birds. The GoodWeave-certified rug comes in custom colors and sizes.

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/ 16 / Emma Gardner Design

www.studioel.com

www.emmagardnerdesign.com Hand-tufted Rebound can be crafted with silk or a combination of fibers. Like the other patterns in the Geometric/Graphic range, this line of GoodWeave-certified area rugs is available in custom colors and sizes.

Introducing a new collection of abstract architectural images by Stephen Donwerth. Available in custom sizing on paper, canvas, clear acrylic, eco-friendly bamboo, and brushed aluminum (shown). Let us provide site specific art solutions for your next project.

www.facebook.com/StudioELArt

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