IFDM Contract & Hospitality Book | International | Fall Winter 2019

EUR 35.00 | USD 45.00 | contract.ifdm.design

CONTRACT & HOSPITALITY

CONTRACT & HOSPITALITY

COLLECTABLE BOOK

Fall | Winter 2019

Fall | Winter 2019

GRANVILLE SEATING SYSTEM | CHRISTOPHE DELCOURT DESIGN TAPE ARMCHAIRS | NENDO DESIGN FIND OUT MORE AT MINOTTI.COM/HOSPITALITY

H Pavilion by Kettal Studio Boma & Bitta Collection by Rodolfo Dordoni HEAD OFFICE KETTAL / CONTRACT BARCELONA: Aragรณn 316, 08009 Barcelona, Spain. T. (34) 93 487 90 90 SHOWROOMS KETTAL BARCELONA - LONDON - MARBELLA - MIAMI - NEW YORK - PARIS

CONTRACT & HOSPITALITY

FEATURES

Color stories

20

Technology that colors the world

Interview

34

PEOPLE Peter Marino

26

In the realm of the sublime

PEOPLE Patrik Schumacher

Fall | Winter

86

Being part of the XXI Century

Editor-in-chief

PEOPLE Giuseppe Varsavia

148 Passion, tension and discipline

Ateliers Jean Nouvel

16 Rønnede, Denmark | Camp Adventure’s Tower Effekt

18 Pittsburgh | Union Trust Building Elkus Manfredi Architects

80 Sharjah Emirate | Al Faya Lodge Sharjah Collection | Anarchitect 82 Suzhou, China | Loong Swim Club X+Living

84 Chiangmai, Thailand | Little Shelter Hotel Department of Architecture Co.

142 Videbæk Park, Denmark | Art Pavilion Henning Larsen

144 Tokyo | Mori Art Museum

Shiota Chiharu: The Soul Trembles

184 Dubai | Manuel Alvarez Diestro

186 Al Wakrah, Qatar | Al Janoub Stadium Zaha Hadid Architects, Aecom

188 Osseo Luxury Sailing Yacht | Igor Jankovic

Project and Feature Manager

Swarovski Manufaktur Wattens, Austria

42

Cut out for design

48

The Levee Tel Aviv Home-tel, a sophisticated new hospitality concept

Marni Tokyo

54

The Japanese garden according to Marni

RYSE Seoul

58

Beauty is objective

NoMad Las Vegas A version of restrained opulence to Las Vegas

ROOST East Market Philadelphia

70

Like being at home

Arup Melbourne | Sydney

74

Sydney calling Melbourne

St Regis Maldives Vommuli Resort

92

Maldivian inspiration

Sir Victor Hotel Barcelona

Dolce&Gabbana Milan | Rome

Private office Chicago

W Dubai The Palm

104 In search of the exceptional 110 Use with sensitivity

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Matteo De Bartolomeis matteo@ifdm.it

BnA Alter Museum Kyoto

100 Hyper local, hyper social

58

Publishing Coordinator Managing Editor

‘Artful’ rest

Paolo Bleve bleve@ifdm.it

Projects review

34

64

146 Lindesnes, Norway | Under | Snøhetta

02

WONDER 14 Doha | National Museum of Qatar

YEAR IV

114 W Factor

Veronica Orsi orsi@ifdm.it

Alessandra Bergamini contract@ifdm.it

Collaborators

Alessandro Bignami, Manuela Di Mari, Simona Marcora, Francisco Marea, Antonella Mazzola

International Contributors New York Anna Casotti Los Angeles Jessica Ritz

London Francesca Gugliotta

PR & Marketing Manager Marta Ballabio marketing@ifdm.it

Graphic Department

Sara Battistutta, Marco Parisi grafica@ifdm.it

Web Department web@ifdm.it

Translations

Stephen Piccolo

Advertising

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Closed by the editorial staff 6th September 2019

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All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the copyright owner. A record and picture file is available at Marble.

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Let’s keep in touch!

FEATURES

     ifdmdesign

118

Doko Bar Shenzhen

Galeries Lafayette Paris

Artyzen Sifang Hotel Nanjing, China

Kalida Sant Pau Centre Barcelona

nhow Marseille

TWA Flight Center New York

Soho House & Co Mumbai

Oodi Central Library Helsinki

Versace Florence, Italy

The Shanghai EDITION

August Antwerp, Belgium

118 Hashtag EatingShow 122 The fashion experience 126 An intense heritage of light and color 130 Caring architecture 136 Marseille reloaded 154 Back ‘in flight’ 162 Home from Home 166 A curved horizon of straight lines 170 Design codes 172 All under one roof 178 Mystical atmosphere of modern times

Monitor

191 A wide view on major international projects

Design inspirations

219 A selection of the most innovative products

for the contract sector by international brands

Next

233 A preview of the upcoming global projects

136

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NEXT IN THE WORLD

240 Europe, Africa, Orient: major projects for the future

LUCIEN SOFA design Stefano Gaggero RIVIERA SIDE TABLES DRAGONFLY ARMCHAIRS EATON OTTOMAN MARMADUKE COFFEE TABLE design Roberto Lazzeroni

www.flexform.it

EDITORIAL

PAOLO BLEVE | Editor-in-chief

A world of relationships, between control and rating

T

echnology and selectivity, two terms that appeared in the editorial of the Collectable Book in March, now return with a vengeance in this fall edition. As always, thanks to the legion of color experts and chromatic trendsetters that have been following Judith van Vliet for years into the depths of the world of forecasts and previews of sector trends: what will be the paradigms of the ideal buyer in 2020? And what – as a result – will be the colors that match these models of behavior or the impulse to consume? Technology and selectivity float back to the surface, now in the company of Control. China, by the end of 2020, will have fully implemented the technological and logistical system that will allow the Government to gauge the behavior of all citizens and assign them a rating. The color story Eye am watched addresses precisely this development, and if anyone is expecting a dismal, anxiety-prone palette as a result, it’s time for them to think again: the matched hues can best be described with the term ‘balance.’ No warm colors, but no sinister tones either. Will transparency win out over privacy? We shall, you shall, see…

In the previous Book we described how the world of work has been invaded by increasingly colorful spaces, but that was clearly a reaction to decades

spent in black and white, at best with some daring leaps into beige. Today the projects for new corporate headquarters – and there are some outstanding ones in this Book – again have more sober interiors. And the East continues to take the design lead: just admire the BnA Alter Museum, a hotel where every room is an artistic tableau invented and made by the courageous and visionary kids of BnA in Tokyo; or the private offices in Toronto formulated by the Italian-Japanese duo Alvisi Kirimoto, which combine West and East with a light touch. Then, as always, you can enjoy coverage of a wide range of projects selected from many different latitudes.

Happy reading!

IFDM | 11

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OUTDOOR LIVING

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WONDER. DOHA | NATIONAL MUSEUM OF QATAR | ATELIERS JEAN NOUVEL The Museum’s winding, 1.5-kilometer path, made of 11 permanent galleries, is a journey through a series of unique environments, each of which tells its part of the story of Qatar through a special combination

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Š Iwan Baan

of architectural space, music, poetry, oral histories, archaeological and heritage objects, commissioned artworks, art films.

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WONDER. RØNNEDE, DENMARK | CAMP ADVENTURE’S TOWER | EFFEKT © Rasmus Hjortshøj, courtesy of EFFEKT

Set in the Gisselfeld Klosters Forest, the observation tower features a 900 meter elevated boardwalk zig zagging in and out between the trees, culminating in a 45-metre tower with a 650 meter long inner spiraling ramp.

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WONDER. PITTSBURGH | UNION TRUST BUILDING | ELKUS MANFREDI ARCHITECTS

© Andrew Bordwin

Originally built in 1918, this long-neglected Flemish Gothic masterpiece has been restored and repositioned, its interiors transformed from a underutilized pass-through into a vibrant work/play destination.

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CONTRACT & HOSPITALITY

Technology that colors the world From biochemistry to digital processing, next year’s colors will be influenced by technology, with its increasing impact on behavioral dynamics and international innovation. ColorWorks® is back with a preview of trends for 2020

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COLOR STORIES

Trend

F

our stories to narrate next year’s color trends.

Two were previewed in the Spring-Summer edition of Contract&Hospitality Book, and two now conclude the telling, picking up the threads of an exclusive interview with an expert in this sector, Judith van Vliet, ColorWorks® Designer and leader of the ColorForward® team. She introduces us to the varied and multifaceted world of colors and chromatic trends, and everything related to this topic, including innovation in a wide range of sectors, changes and new orientations of the society, emerging movements on a global level. The point of contact between these two (apparently) distant conceptual spheres is precisely ColorWorks®, the design & technology center of the Masterbatches business unit of Clariant, which prepares an annual ‘color forecasting guide’ – ColorForward® – as the result of research conducted by the international experts of its four centers (São Paulo, Chicago, Merate and Singapore). Their job is to identify the new developments and changes emerging from the society and its dynamics, interpreting them in four macrothemes and translating them into a rainbow of hues – 20 in all, meaning 5 for each story. Resuming our path along the palette of trends for 2020, we come across strong, lively, fresh tones, and the corresponding themes provide a glimpse of the conflicted condition and search for balance of the society. Cactus green, pale red, intense blue-green, bright yellow and ice blue go into the previously narrated story care-LESS; a story that reveals the phenomenon of ‘selective empathy’ with which society reacts to the enormous quantity of negative news. The colors of the futuristic, image-packed story Be Right There are equally intense and energetic: spotlights aimed at the major technological and scientific discoveries that will revolutionize (already starting next year) the conquest of space, with the support of big international tycoons. Vibrant orange, dark blue, anthracite gray, synthetic green, silvery lilac: these are the colors that shape the theme, and now give way to the final two stories of ColorForward® 2020, Genevolution and Eye am watched, balanced between biochemistry that influences genetic mutations and the digital dimension that shapes behavior rating.

Author: Veronica Orsi

CONTRACT & HOSPITALITY

COLOR STORIES

THIRD STORY.

Aesthetics

Shèhuì xìnyòng tǐxì

In Heather we trust

(社会信用体系)

Catch me if you can

Eye in the sky

Yes, Sir!

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EYE AM WATCHED

“Where’s Wally?” has become a question that is easy to answer today. Thanks to widespread facial recognition and artificial intelligence systems, the protagonist of the popular series of children’s books hasn’t got a chance at remaining concealed. There are over 245 million active surveillance cameras in the world, while China is gearing up to reach a level of 626 million by the end of 2020, to implement the Social Credit System, a mechanism the Chinese government has been developing for some time to evaluate the ‘reputation’ of citizens, due to entering in full operation next year. The system is based on a ranking and feedback system (for those who have seen the British TV series Black Mirror, the dynamic resembles the “Nosedive” episode, the first of the third season): positive behavior leads to an increase of personal credit (leading to advantages in terms of travel, transportation discounts, access to major national services, etc.); otherwise, negative behavior leads to restrictions (winding up on the ‘blacklist’ can prevent access to private schools for your kids, block the possibility of travel abroad and slow down your web connection, for example). While the concept of privacy definitely loses ground, the values of transparency and security – in keeping with the objectives of the System – should receive a significant boost. Without looking too far afield, a system of personal evaluation is already in place in western society as well: just consider the Uber app, through

Trend

which you can submit ratings of both drivers and passengers; or Facebook, which since last year is applying a system of censorship regarding what are seen as ‘hateful user accounts.’ In Europe and America there are already many private credit rating agencies that screen clients through reliability parameters: in Germany, for example, Schufa Holding rates the credit of three quarters of German citizens and over 5 million companies: the Schufa Score, or rating for solvency, has an impact on applications for loans and credit lines, on the possibility of renting a home or signing a contract. The comparable company in the United States is FICO. What are the colors that best reflect this trend? The palette as a whole is very well-balanced, and not very warm, to augmenting transparency. It starts with the pale lilac known as In Heather we trust, taken from the ColorForward 2007 palette: a light, pale, harmonious hue.

Shèhuì xìnyòng tǐxì(社会信用体系) – which means Social Credit System in Mandarin – is pure effect: a transparency that reveals the tones of the rainbow, to concretely suggest the pixels of video images, but also to conceptually refer to the many contrasting opinions on this topic. The LED lights of cameras are referenced by the high-impact fluo tone of Catch me if you can whose omnipresence is reflected, in a much more delicate way, by Eye in the sky, a sky blue with pearly inserts. Finally, the controversial overtones of this story are represented by the military green of Yes, Sir!, a rather dingy tone somewhere between ochre and olive green.

CONTRACT & HOSPITALITY

FOURTH STORY.

COLOR STORIES

GENEVOLUTION

Pure avant-garde spirit permeates the fourth and final Story, completing the overview of color trends for 2020. While humankind has always studied, altered and replicated any material or chemical process on a basic level, now the same passion is applied to the study of living organisms. Biochemistry guides progress at a molecular and genetic level, to discover what defines the codes of life, i.e. DNA. The main innovation in this field is genetic editing, through the CRISPR/Cas9 system, based on the use of the Cas9 protein capable of cutting sequences of DNA, thus permitting modifications to the genome of a cell. This opens up new perspectives in the field of clinical experimentation (such as that of finding a cure for HIV or cancer), also regarding alteration of genetic heredity to determine specific characteristics in descendants. This ability to manipulate evolution necessarily calls for responsibility and ethical considerations: up to what point can we exploit such technology? This question has led to the founding, on the part of a group of European scientists, of the Association of Responsible Research and Innovation in Gene Editing (ARRIGE), with the goal of providing global governance to permit the development of these practices in an ethically responsible context.

There are also benefits for sustainability, since the CRISPR/Cas9 system can produce genetically modified foods or animals. This year the first meat was grown in a laboratory starting with animal DNA: a solution that might be an answer to worldwide nu-

tritional needs (just consider the fact that Americans alone consume over 26 billion pounds of beef per year). Furthermore, in the inorganic world CRISPR/ Cas9 can intervene in processes of ultra-personalization: cements that use microbes to keep things whole or to repair breaks, coatings that use advanced polymers for self-repair. All good causes, but the solutions might just alter the delicate balance of the earth’s ecosystem. The varied results of this trend are reflected in corresponding colors, each different from the next, combined to create an intense mixture. The emblem of the Story is Pick and Choose green, a rather unnatural “bug green” with a touch of pearl, to represent the idea of biohacking. At the opposite extreme, there is .1 [/’point/ /’one/], which with its pink tone containing a touch of black and very elegant pearl indicates the human side of this theme. The bright violet of Morph it chromatically embodies the transformation of materials and living beings (in the materic formulation of ColorWorks it also contains a pigment that intensifies the color in contact with light). The concept of ultra-personalization revealed by the theme is conveyed by Breathing Matter: a cement gray, more conceptual than natural; in the plastic version it is made with a black resin inside it to create marbled effects with green/red nuances, depending on the light.

Finally, Chez in Vitro is a reference to food 2.0, to the synthetic meat that will be the food of the new millennium: hence the choice of a red with dark tones and a pearly effect. Reducing natural hues, the focus shifts to artificial colors to represent the technology and chemistry that will determine future evolution.

Trend

Pick and choose

Aesthetics

.1 [/’punto/ /’uno/]

Morph it

Breathing Matter

Chez in vitro

IFDM PRESENTS THE COLORS OF THE YEAR 2020 Unshockable and In Heather we trust: two trend colors for 2020, analyzed

by Color Works® and narrated in the Color Stories, are elected “Colors of the year 2020” by IFDM. They will dress the covers of the Contract&Hospitality Book in the Spring/Summer and Fall/Winter editions for the next year.

NEW STORIES 2020 The next appointment is in March, for Color Trends 2021 and the related stories, in our SPRING-SUMMER issue!

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S C A N

Y O U R

S A F E

U N I Q U E S A F E S AND EXCL USIVE CABINET RY

MILAN

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LONDON

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MOSCOW

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SHANGHAI

www.agresti.com

CONTRACT & HOSPITALITY

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PEOPLE

Peter Marino

CONTRACT & HOSPITALITY

PEOPLE

Peter Marino

IN THE REALM OF THE SUBLIME Refined details, perceptive interfacing of art and design, delicacy of forms and exquisite style make every project by New York-based architect Peter Marino a mise en scène of elegance

A

protagonist of contemporary creativity, a devotee of beauty in all its forms, and one of the world’s leading art collectors, the architect Peter Marino never fails to get noticed thanks to his eclectic look, accentuated by a constant, signature accessory: the black belt. His sophisticated vision of design unfolds through exclusive details and precious materials, interacting with a selection of works of art that establish a dialogue with the interior design, in persevering pursuit of magnificence. From the boutiques of fashion houses like Chanel, Louis Vuitton, Dior and Bulgari, to the collections designed for the historic Venini glassworks; from the works of architecture for luxurious private residences – including The Getty in New York, facing the High Line – to art galleries, 5-star hotels, gourmet gathering places and enchanting resorts. The quintessence of luxury, narrated by a contemporary master.

author: Anna Casotti portrait photo: Manolo Yllera projects photo: Manolo Yllera (Bulgari 5th Ave, Chanel Ginza Namiki, Lehmann Maupin Gallery, The Lobster Club) Evan Joseph, March (The Getty, New York) Stephane Muratet (Louis Vuitton Place Vendome)

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Many – if not all – of your projects connect art world with design. Can you talk about that?

The very real value of what I bring to architecture is my fine-art background and my interest in fine arts, my involvement with artists, and the way my career was launched with artists. My involvement with artists is why my projects are good, and why people like looking at them.

How and when was your passion for art born?

I was drawing from a very early age – I had a pencil in my hand and was drawing from three years old. I did a special study of art in high school, which meant I had four hours of art every afternoon after school. And I got the gold medal from Mayor Lindsey for a painting I did in 1966. After high school, I went to study at Cornell – a program I chose because the college of art and architecture was one. I took two years of sculpture. My fine-arts background enables me to intertwine the two. An interesting background is what can make each architect different, make their buildings more individual. Calatrava was a medical student.

Mongiardino was a set designer.

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PEOPLE

How would you define your vision for hospitality projects? a recent example is The Lobster Club restaurant in New York City. What led you to take on the project in such a famous building with a lot of history?

I love The Seagram Building and the opportunity to re-create an atmosphere that I so enjoyed in the past was too good to pass up. It’s one of my favorite buildings in New York and one of the most elegant buildings in contemporary architecture in the world. Part of the design process was to respect Mies but to evolve the space into a playful experience without losing sight of the restaurant’s history and the midcentury detailing. For me as a young adult in the Seventies, the original Brasserie was where all of us went after [Studio] 54 and had breakfast at 4 a.m., 5 a.m., 6 a.m. Everybody was there. Now our intention was to design for flexibility and different times of day. If you look at the leather curtains they all go back in the wall, so it’s all white for breakfast, half the leather curtains for lunch, and then at night all the leather curtains close. The Seagram Building since its inception has always been interested in integrating artwork

Peter Marino

CONTRACT & HOSPITALITY

into the space. Not just the restaurant, but the Plaza itself, the Seagram’s had a huge collection.

Art for the restaurant wasn’t viewed as just an add on, but an integral part. In some ways you can say the restaurant comes from the art, rather than the other way around. The artwork that comes from our studio has continued to rotate, so there is always something new – this approach brings a new level of interaction to the restaurant.

And how does this perspective translate to flagship stores? You work for the most important fashion, and fine jewelry companies in the world.

How does your work with artist play into that, it certainly has a major presence?

It provides a triple reflection. The art must be super high-quality because, number one, a good piece of fine art reflects the owner’s attitude toward the customer – it says, “We’re going to show you an incredible amount of respect.” It also reflects on the merchandise. A department store will put a poster up on the wall – what does that tell you about the quality of their goods? You think, “Posters. Second rate handbags.” If you’re in a store looking up at a giant Michal Rovner video of the incredible gas fields of Kazakhstan, you’re thinking, “I’m looking at something of quality. I’m

PEOPLE

not looking at cheap goods here.” It communicates that the product is above and beyond what you might expect at another store. So, it puts everything in context. What I always say is that my architecture is a brand advertisement, because if only one out of every four people who go into a luxury store purchases something, the goal is that the three people who aren’t purchasing have a really worthwhile experience and leave with a positive attitude toward the brand.

Peter Marino

Above: - The Lobster Club, New York - Chanel Ginza Namiki, Tokyo Below: - Bulgari 5th Ave, New York - Louis Vuitton Place Vendome, Paris

And then for residential; The Getty building in New York City is not just a residential building created by the ‘art architect’ but actually contains 4 stories of gallery and foundation space.

The Getty is a new 56,400 sq ft building in Chelsea which utilizes one of the last available corner parcels in the former manufacturing neighborhood, with views onto and from the High Line park. It was named for the Getty Gas Station which used to be at the intersection of West 24th Street and 10th Avenue. Chelsea is known as the premier art gallery neighborhood in NYC and with The Getty it makes complete sense that art is integrated into every aspect of the building, in terms of apartment living. The first two floors are occupied by Lehmann Maupin gallery, the fol-

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CONTRACT & HOSPITALITY

PEOPLE

Peter Marino

lowing two floors the Tom Hill Art Foundation.

Then 5 residences above. The purchaser is drawn into the creative process, by being able to select a one of a kind residence. The buyer becomes the curator. As a building the façade is something of a sculpture – a combination of structures rather than a layered apartment design. For the apartments you have double height ceilings, an abundance of natural light, designated art walls reinforced to support hanging and installation.

You are developing an art foundation, which you publicly announced last summer. Can you tell us about your plans for the space in The Hamptons?

The building and site is 11 Jobs Lane in Southampton. I was very distraught to see what had happened to the building. The American architect, R.H. Robertson who has done a number of major buildings in Manhattan that you can still see – and in the former Rogers Memorial Library he designed one of the best buildings on Long Island. The exterior is historic - the interior unfortunately was never landmarked, so we will focus on restoring/renovating that. It will be restored to the original intention of its generous founder and save the village from further commercialization. It will be a premier spot for art on the East End of Long Island.

The Getty, New York

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CONTRACT & HOSPITALITY

PEOPLE

Peter Marino

The vases and lamps for Venini translate one of your symbols: the black belt. What caused you to work with Venini?

Venini’s Murano based techniques date back to the 13th century. Venini has a strong history of working with architects and allowing collection to be unique to each designer. The vases were made using Venini’s Murano glass-making techniques, incorporating the “asbruffo” (puffed) and “sommerso” (submerged) processes. The black bands wrapped around each vase were created by pulling and laying them hot on top of the glass. For how it represents me? I tried as hard as I could! I got the black to look as much as a leather belt as I could!

You’ve begun to be known for your books, (Peter Marino Art Architecture, Phaidon, 2016), your commissions and work with artists…I understand you have something coming out again soon?

In October Phaidon is releasing Théodore Deck: The Peter Marino Collection. More than 250 pieces are included from my collection. Deck was a central figure in the revival of ceramic art in France – and one of the most important ceramic artists in the 19th century.

What are the retail and hospitality projects you are creating now? And other projects that will come?

We have over 40 projects underway. This fall we’ll open a new Louis Vuitton flagship on New Bond Street in London, one in Seoul, and another in Sydney. We’re working on La Samaritaine - our scope includes the transformation of the historical building into a 72 room luxury hotel with rooftop suites, restaurants, gardens overlooking the city. Two new flagships for Bulgari are underway in Paris – and houses for private clients are in design and under construction all over the world, just to name a few!

Your favorite buildings in New York?

The Seagram Building. Lever House, The former worldwide headquarters for Pepsi-Cola.

For residential: The Dakota, 740 Park Ave, 322 East 57th Street.

You dream of designing...?

An opera house. We won and completely designed an opera house in Palm Beach. Before it was built the project was cancelled due to the tech crash in the late 90s. Mine is not always a happy profession.

Is there an artist you feel similar to your own creativity? And specific artists that inspire your work?

Kiefer for his amazing textures. Instead of paintbrushes, he pours and creates incredible work with lead and clay. Richard Prince for his sardonic commentary on the decadence of our culture.

Damien Hirst for his dealing with the big themes of life, death, god, beauty and nature. Y.Z Kami for his poetic spirituality. Michal Rovner for her video presentations of humanity.

You have designed so many projects.

What is your secret to staying creative?

I garden. I go the opera. I ski. I read art history.

I go to galleries and museums non-stop. I travel.

I play tennis. I collect sculpture. I visit artist’s studios. As Chairman of the Board of Venetian Heritage I go to Venice every year. That is enough inspiration for 1000 lifetimes.

Above: Lehmann Maupin Gallery, New York Below: Black Belt for Venini IFDM | 31

CONTRACT & HOSPITALITY

‘Artful’ rest A permanent art exhibition in which to spend the night. In Kyoto, BnA Alter Museum is a hotel that offers a unique experience.

To win the hearts of art lovers

I

s your passion for art so strong that you have trouble spending even a few hours away from its presence? The BnA Alter Museum has been created for art lovers who are immune to the Stendhal Syndrome. The third facility designed by the BnA group, after the previous BnA HOTEL Koenji and the BnA STUDIO Akihabara, both in Tokyo, BnA Alter Museum carries on with the same principles, offering a permanent display of 31 works created by 15 Japanese artists under the guidance of 9 art directors, with items placed in every one of the 31 rooms. Like timerelease patrons of the arts, the guests live together with the works for the duration of their stay, while contributing to the livelihood of the artists themselves. The BnA group works extensively to create a network in local and external creative communities, accelerating a process of education and social awareness. In the rooms, the site-specific are everywhere, shaping the decor and the finishes, ‘dressed up’ and designed around the work itself.

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HOTEL

Kyoto

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HOTEL

Kyoto

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HOTEL

Kyoto

CONTRACT & HOSPITALITY

HOTEL

Kyoto

The BnA Alter Museum experience is even more intense because it is part of SCG, an original 10-story building that contains a ‘vertical gallery’ spread over 30 meters of height, along the staircase ramps. An alternative, decidedly radical and provocative location, to display other works of contemporary art in rotation. SCG hosts two major exhibitions each year, enhanced by many events, tours, workshops and conferences. While SCG embodies the ‘brains’ of the hotel, its heart is represented by ‘untitled,’ a nameless bar designed with an eye on serendipity, where guests and local residents can share experiences, happy to make discoveries by pure chance and to find something they were not looking for, while perhaps they were searching for something else.

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CONTRACT & HOSPITALITY

But the Cafe/Lounge also lends itself to socializing and exchange, an attitude underlined by the interior design that amplifies and dilates the space with a game of mirrors on the ceiling, containing a restful system for diffused lighting. The ‘mission’ of BnA doesn’t stop here. The group is presently completing another structure, slated to open in 2020, in the Nihonbashi district of Tokyo. This time there will be 25 rooms. The artists are already at work.

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HOTEL

Kyoto

CONTRACT & HOSPITALITY

HOTEL

Kyoto

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CONTRACT & HOSPITALITY

HOTEL

Kyoto

Owner & Developer: Columbia Works Hotel & Resorts Hotel operator: BnA Structure + Exterior Contractor: Kanewa Design Architects: Hisao Morita (Morita Architectural Laboratory), Keigo Fukugaki, Mio Kawai (BnA) Local Architects: Toyo Architects and Engineers Office Interior contractors: TANK (Lobby Interior) ICOS, Smart works, TIGA (Art Room Interior) Interior design: Hisao Morita, Yoichiro Umemura (Morita Architectural Laboratory), Keigo Fukugaki, Mio Kawai (BnA), Reiichi Ikeda (Reiichi Ikeda Design), Takao Kondo (Kanome) Author: Manuela Di Mari Photo credits: courtesy of BnA Hotel

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Ph. Giovanni Gastel

EXTRASOFT, FLOYD TABLE, ILE TABLE. WWW.LIVINGDIVANI.IT

CONTRACT & HOSPITALITY

Cut out for design The chain of production, the showroom, teamwork space and avant-garde machinery that permits rapid prototyping, involving clients in the design phase.

This is Swarovski Manufaktur in Wattens: more than a traditional production plant, and much more than a laboratory

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rom the process of rapid prototyping with which to make models of crystals in new forms and cuts, to application prototyping, which makes it possible to create new products, all the way to the ‘special projects’ phase, in which art and light installations are generated.

Swarovski Manufaktur gathers in a single building the three crucial phases of workmanship of crystal, while redefining the standards of inclusive production, welcoming the participation of both clients and professionals, designers and technicians. The enormous space of 7000 square meters is devoted to ‘inspiration and creation,’ the transformation of ideas into true objects in crystal, over a very short time span. “Not just digital representations or 3D plastic prints, but true creations in crystal that display its brightness and consistency.”

The physical properties of crystals are the inspiration behind the geometry of the building designed

by Snøhetta under the supervision of Carla Rumler, cultural director of Swarovski. Natural light, responsible for the splendid phenomena of reflection and refraction that bring the surfaces alive, is the other key factor in the project. The luminous atmosphere of the building is emphasized by the 42 | IFDM

HEADQUARTERS

Wattens, Austria

CONTRACT & HOSPITALITY

HEADQUARTERS

Wattens, Austria

choice of the materials, and it has a very pleasant impact, especially when arriving from Campus 311, the site for the cutting of crystals, which together with the plant still under construction, the “Crystal Factory of the Future,� comprises the headquarters in Wattens, Austria. For the Manufaktur the designers have invented a particular self-supporting ceiling in white steel, made with the repetition of modules of 6x3 meters, arranged on a slightly sloped grille in which 135 openings have been inserted, protected by special filters so that the generated brightness can remain delicate and stable. Inside the structure of the ceiling, there are all the physical plant systems and acoustic panels to absorb the noise of the machinery.

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HEADQUARTERS

Wattens, Austria

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HEADQUARTERS

Wattens, Austria

Owner: Swarowski Group Architecture: Snøhetta Interior design: Carla Rumler, Snøhetta Furnishings: custom made in Swarovski; Baxter, B&B Italia, CLS architetti, Fritz Hansen, Gubi, HAY, Molteni, Muuto, Prooff, Vitra Lighting design: Martin Klingler, Sally Story, XAL Bathrooms: Duravit, EWAR, Franke, Geberit, Grohe, Keuco, Kronenbach, Laufen, Schmiedl, Tork, Wagner Vola Acoustic panels: Kvadrat Elevator: Kone Crane: Austrian Crane Systems Author: Antonella Mazzola Photo credits: David Schreyer

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The facility is organized around a two-story space with a large open staircase that also functions as a meeting point and an arena. Offices, showrooms and presentation rooms are located on the first floor, in wood enclosed by glass walls with views of the production area. While the interiors of the main level favor soft lines and pale colors, with floors in birch and a subtle three-dimensional topography resembling a natural landscape, those of the suspended platform stand out for their materials: oak, colored glass and a variety of fabrics. The ground floor, beyond the ‘social space’ of the cafeteria, contains all the machinery required for the production of prototypes or small runs of crystals, and its floor is entirely raised to make room for equipment and technical cabling. To permit the making of prototypes up to 14 meters in height, and to assemble and test them, a large cavity has been prepared that descends into the basement.

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HEADQUARTERS

Wattens, Austria

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APARTMENT HOTEL

Home-tel, a sophisticated new hospitality concept Eight luxuriously impeccable apartments. The Levee, created in a historic villa, updates the eclectic origins of Tel Aviv with a contemporary language, adding a vertical volume on the outside, and featuring rooms designed by Yael Siso inside the building

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he Levee opened in March 2019 in the picturesque Neve Tzedeck district in Tel Aviv, suggesting an alternative – though intuitive – hospitality concept. Some call it a boutique hotel, others a ‘Home-tel.’ For the owner, no category exists yet to which to assign these “high-end, full-service apartments.” A curious twist, in terms of innovations, is that the new formula is ushered in by one of the buildings constructed on the first plots purchased by the Zionist pioneer families, on the still sandy soil of what was later to become Tel Aviv. Built on two levels in 1913 in the Eclectic style, with large windows, shutters and railings, the Gurvetich House became a hybrid in the new century with an ultra-modern extension by Bar Orian Architects. This was not just an aesthetic decision, but also one ideologically in line with the spirit of the times and the formal freedoms granted by architecture: three levels have been added to the carefully restored building, two of them set back from the central one covered by a metal structure, 48 | IFDM

Tel Aviv

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APARTMENT HOTEL

Tel Aviv

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APARTMENT HOTEL

Tel Aviv

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APARTMENT HOTEL

Tel Aviv

and a back wing that contains other rooms, gardens and outdoor spaces. What makes the difference between a rental flat and a true home, however, is the sophisticated range of finishes and comforts, ranging from the 24-hour concierge service to bedding in Egyptian cotton. The eight apartments, of variable size and decor – though invariably impeccable – all have high ceilings and lots of natural light thanks to large full-height windows placed around the attic. The interior design has been entrusted to the Belgian-Israeli Yael Siso, who following the composite paradigm of the exterior has combined an industrial atmosphere with a refined aesthetic, enhanced by modernist pieces and icons of Made in Italy. The walls and ceilings have been stripped, the concrete surfaces reveals as a tribute to the original framework of the building. At certain points it is even

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possible to see traces of fragments of seashells captured in the century-old concrete, a sign of the presence of sand from the Israeli coast in the construction material. If the industrial spirit embodies the dynamic past of Tel Aviv, the modern finishes, the warm wood of the floors, the contemporary furnishings, marble, velvet and minimalist lighting that accentuates the spatial geometries, all celebrate the present of a city that never ages.

In apartment no. 8, the Penthouse Suite of 280 square meters on two levels, the technological factor is applied in an innovative way through darkening systems capable of creating shade without hampering the incomparable view of the city and the Mediterranean.

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HOTEL

Tel Aviv

Founders: Hadar Ben Dov, Golan Tambor Architecture: Bar Orian Architects Interior design: Yael Siso Furnishings & Lighting: Baxter, Bonaldo, Cassina, Kristalia, Linie Design, Minotti, Molteni, Moooi, Moroso, Nanimarquina, Paola Lenti, Saba Italia Author: Antonella Mazzola Photo credits: Sivan Askayo, Amit Geron

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RETAIL

Tokyo

The Japanese garden according to Marni Irregular visual itineraries, experimental layout, mixing of materials. The Marni first flagship store in Tokyo, in the prestigious Omotesando Hills complex, speaks the daring, inimitable aesthetic language of the Italian fashion house

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n unconventional luxury brand that pays tribute to individualism with a rigorous and at the same time unpredictable style, based on a love of contrasts between forms and colors. The new flagship store of Marni in Tokyo – the firm’s 22nd store in Japan - faces the famous luxury shopping street Omotesando, and keeps faith with the creative spirit that has been embodied by the fashion brand since its founding in 1994. Fashion addicts will be seduced by the unique, eccentric and elegant interior design, composed of asymmetrical features, daring and sophisticated chromatic effects. Inside a shopping mall, the 300 square meters of the space on two levels for the men’s, women’s and children’s collections, are organized in four different sinuous areas with fluid lines, where furnishings with irregular forms bring out the dynamism of the garments on view. Inspired by a Japanese garden reinterpreted in a contemporary way, the store pays homage to the city, mixing and matching materials: cement mixed with marble, herringbone wood combined with red marble inserts. The juxtapositions continue on the floors and ceilings as well. Soft, supple forms extend to the walls, sofas, chairs, shelves, the iconic wavy steel railings, accompanied by lively tones of red, lilac, ochre and orange.

Architecture & Interior design: Marni – Local Architects GGA Store construction: Eikosha Furnishings: on design Lighting: Y Lights Author: Manuela Di Mari Photo credits: Nacasa Partners

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RETAIL

Tokyo

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Curved portions alternate with geometric tables composed of flexible modules, populating the spaces like experimental objects, encouraging visitors to explore various products at the same time.

Just as in a garden, an evocative floral design fills the carpeting with bright pink and green hues, while a large staircase in marble of different colors projects its form onto the ceiling, like a growing plant, leading to the second level displaying a selection of women’s fashions and footwear.

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RETAIL

Tokyo

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HOTEL

Seoul

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HOTEL

Seoul

Beauty is objective Korean landscapes are the inspiration for the new RYSE Hotel in Seoul, part of the Autograph Collection, created to be a trendy cultural reference point in the heart of the creative district of Hongdae

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he lively Hongdae creative district in Seoul provides the formidable setting for the interior design of the new RYSE Hotel (part of Autograph Collection Hotels)

by Michaelis Boyd, the studio based in London founded by Alex Michaelis and Tim Boyd, renowned for their sophisticated and imaginative approach applied to sustainability and environmental awareness. Add this to the fact that the hotel is located inside a building designed by the

team of architects of SCAAA (Los AngelesSeoul), and everything takes on aspects of exceptional refinement. The structure reacts to the atmosphere and urban condition of the site, a place of intellectual ferment and intercultural encounter. The two different facades establish a respective dialogue with the lively pedestrian zone of Hongdae and with Yanghwa Road, a main artery bordered by a series of commercial facilities and office buildings, thus creating a natural connection Owner: Marriott Group Hotel operator: RYSE Hotel/Autograph Collection Hotels Architecture: SCAAA Interior design: Michaelis Boyd Associates Furnishings: Bespoke furniture by Ben MastertonSmith/Michaelis Boyd Associates Author: Manuela Di Mari Photo credits: Yongkwan Kim

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between the two fronts and a circumscribed area of social gathering. While it is a hotel, of course, the RYSE wants above all to draw in the energy of ideas, discussion and creativity. This intent is interpreted by Michaelis Boyd through a daring vision in the interior design, inspired by the landscapes of Korea. An extraordinary first glance immediately captivates guests with a decidedly theatrical open lobby, in which at the center of a three-story space a monolith stands out composed of concrete slabs with shifting textures, in contrast with the clean image of the perfectly cut and polished marble. The studio’s aim was to obtain “a rough diamond,” so the lobby features a mixture of rugged materials and luxurious details: the pink resin floor ‘glows’ thanks to a full-height glazing that floods the space with light, where a system of modular sofas faces upwards toward a work of art suspended in the air, composed of pieces in a ‘woven’ pattern. The work continues vertically, crossing a helical void that divides the space into two parts. The final effect is one of 60 | IFDM

HOTEL

Seoul

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HOTEL

Seoul

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extreme intimacy, throughout the hotel, in a perfect balance between luxurious and primitive.

The 274 guestrooms on 20 levels have also been conceived in an alternative manner by Michaelis Boyd, replacing the typical corridor/bath-at-entrance arrangement with a ‘ductile’ wall, customized from room to room, giving rise to an open wardrobe and glass panels that border the bathroom – a game of black and white, in contrast with the colors of the living area – as well as a greater sense of spacious fluidity. Here, as in the rest of the hotel, a furniture collection has been specifically created by Ben Masterton-Smith, who was still a part of Michaelis Boyd Associates at the time of the project. The Hongdae chair, Itaewon table, Seoraksan sofa and Jeju ottoman are just some of the pieces that stand out for character and elegance, masterfully combined with fabrics, leathers and velvets. Some of the suites – 14 in all – have been specifically personalized with works of art by Laurent Segretier, Charles Munka, Yeojoo Park, Maekan, Na Kim, adding to the sensation of personalized hospitality. “RYSE is much more than a hotel – says Jaisun Ihm, General Manager – it is a cultural experience.”

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HOTEL

Seoul

Showroom milan / rome / Viterbo / C o r t i n a d ’a m p e z z o / pa r i S / C a n n e S

Ph Bernard Touillon

ethimo.Com

K i lt by m a r C e l l o z i l i a n i – C o n ta C t S inFo @ ethimo.Com t + 3 9 0761 3 0 0 4 4 4

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HOTEL

A version of restrained opulence to Las Vegas How does a hospitality company create a classic Las Vegas experience while enticing guests who might be reluctant to embrace the town’s infamous decadent glitz? The NoMad Las Vegas has struck a balance that resonates with a broad audience

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e typically do smaller hotels about lifestyle with a sense of scale, and make spaces that are more intimate and collected,” says Andrew Zobler, Founder & CEO of Sydell Group. The task was how to successfully translate and apply this same hospitality approach to Las Vegas, all within the shell of the massive property that was formerly the Monte Carlo resort and casino. For starters, there’s the hotel-within-a-hotel concept. “I couldn’t do a NoMad in isolation,” Zobler says, so through the larger Park MGM campus, Sydell Group maintained creative control over the NoMad’s setting. He describes the two connected brands and properties as “cousins.” The NoMad Las Vegas offers a separate entrance exclusively available to guests, along with a new pool that debuted this past April with Moroccan-inspired cabanas and surroundings. But with approximately 300 rooms and suites nestled within the Park MGM complex that boasts 2,700 rooms, NoMad sets its own unique vibe while still being physically 64 | IFDM

Las Vegas

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HOTEL

Las Vegas

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HOTEL

Las Vegas

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connected to the larger Park MGM complex.

Park MGM’s lobby houses original artwork by the likes of David Hockney and Henrique Oliveira, plus an always buzzing casino floor, restaurants, clubs, and the Park Theater. So, for those who want to explore, that means restaurants such as L.A. chef ’s Roy Choi eclectic Korean-inspired restaurant Best Friend and Eataly are easily accessible to NoMad guests. It’s the best of all worlds.

To create an immersive experience that takes this quiet sophistication up many notches from the other themed (and kitschy) Vegas hotels, Sydell Group tapped Jacques Garcia, the legendary Paris-based designer who was responsible for the old world lushness of the New York original, as well as the Los Angeles hotel and restaurant. The brand’s distinctive elements are in place in Vegas, with upholstered panels located behind the check-in desk, rich surfaces awash in deep jewel tones, and moody lighting throughout by TL Custom Lighting that’s a refuge from the town’s unrelenting intensity. The NoMad Las Vegas has a dedicated high-limit gambling room, and the carefully appointed NoMad Store’s inventory includes John Derian home accessories, Devoción coffee from Brooklyn, Susanne Kaufmann natural apothecary goods, and Taschen books. Food and beverage is a key component of the NoMad culture.

HOTEL

Las Vegas

Owner: Sydell Group Developer: MGM Resorts International Main Contractor: Tre Builders Hotel operator: Sydell Group and Make It Nice Interior design: Studio Jacques Garcia Lighting design: Restoration Hardware, TL Custom Lighting Furnishings: Ardamez, B&B Italia, Beachwood Custom, Janus Et Cie, Lloyd Flanders, Sika Design Bathrooms: Leffroy Brooks Fabrics: Elitis, Perennials, Sina Pearson Author: Jessica Ritz Photo credits: Benoit Linero

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The all-day NoMad Bar with outdoor seating and deep banquettes, and the deluxe three-storyhigh Restaurant dubbed The Library are operated under restaurateur Will Guidara and Chef Daniel Humm’s Make It Nice banner. Come dinner service, dishes such as the famed NoMad roast chicken stuffed with foie gras and truffles, fruits de mer platters, and Baked Alaska meet expectations for those who have eaten at Manhattan original. The soaring Library room holds 25,000 books, many of which come from David Rockefeller’s own collection. Guest rooms feature custom furnishings along with art curated by Parisbased company be-poles, with unique books in each space. NoMad Las Vegas isn’t an exercise in conveniently repeating the same formula. Instead, vintage pieces and retro goods juxtapose eras, yet with a tightly curated and cohesive feel. Bathrooms are complete with the NoMad’s retro-style claw foot tubs, too. Zobler says that the NoMad team “wanted it to feel appropriate for Vegas.”

This property indeed proves how good taste in a context that’s about excess can coexist.

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HOTEL

Las Vegas

DEHORS COLLECTION designed by Michele De Lucchi

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APARTMENT HOTEL

Like being at home Combining the services of a boutique hotel with the comfort of an apartment, you get a new hospitality concept: ROOST East Market, the new Apartment Hotel in Philadelphia

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he idea of spending longer or shorter periods far from home, for work or other reasons, involves an interruption of one’s habits and everyday routines that can be rather disturbing. The company Method Co., based in Philadelphia, wants to offer clients the possibility of feeling right at home (or even better) thanks to the ROOST Apartment Hotels. These offer apartments of different sizes and types, from studios to one or two bedroom flats, all the way to penthouses. The apartments are elegantly furnished, with

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Philadelphia

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APARTMENT HOTEL

Philadelphia

Owner: Method Architecture & Interior design: Morris Adjmi Architects Furnishings: Chelsea Textile, Gubi, Cassina, Diesel Living, Stellar Works, Stolab, Uhuru; custom designed burnished brass side tables, freestanding sideboards, leather-clad desks, leather sofas and sectionals Lighting: Anglepoise, Gubi, Lumina, Original BTC, Stone and Sawyer, Workstead Vintage Lilihan rugs: Old New House Author: Francisco Marea Photo credits: Matthew Williams

refined lighting and details, enhanced by works of art. The latest entry (in 2019) is the ROOST East Market complex with 60 apartments in Philadelphia, close to the City Hall and the Philadelphia Convention Center. This is the third facility designed, after ROOST Midtown with 27 apartments and ROOST Rittenhouse with the same number, a shared lobby and various options for dining and drinking. In this latest effort New York-based studio Morris Adjmi Architects has worked on both the interior design and that of the new 25-story building. The 60 apartments of ROOST East Market, of different sizes, stand out for their clean lines, delicate details, use of wood and a range of warm colors. The furnishings range from custom or vintage pieces to more classic and modern design, with Stones & Sawyer lamps by the studio Workstead, sideboards and consoles based on the no-frills minimalism of the American artist Donald Judd, as well as wicker pieces, items by Cassina, Chelsea Textiles, Gubi IFDM | 71

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and Stellar Works. The atmosphere gets more domestic thanks to the inclusion of Persian carpets in the bedrooms, and works of art from Lumas Galleries. What makes the difference is not just feeling at home, but also the possibility of having other shared services and spaces, including the large hall on the ground floor with a vertical garden, a relaxation area, panoramic terraces, vegetable gardens, barbecue facilities, a heated 20-meter Olympic swimming pool, a fitness center open 24 hours a day, a library, a lounge, a demo kitchen and a private screening room. Nothing has been left to chance, including the location of the complex, at the edge of Midtown Village, on a street with an eclectic mixture of restaurants and boutiques, facing the legendary Reading Terminal Market, one of the largest and oldest public markets in America, now a favorite gourmet destination.

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APARTMENT HOTEL

Philadelphia

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Sydney calling Melbourne The two Australian cities host the new offices of Arup, the engineering firm that is an active player in the project, together with the international design studio HASSELL. A dialogue of peers for unconventional workspaces

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complete and complex project that has reshaped not only the physiognomy of the workspace, but also the ways work happens inside them. The two offices in Sydney and Melbourne of Arup, the engineering and architectural design firm with headquarters in Australia and Asia, are the result of collaboration with the design studio HASSELL, following some very precise guidelines. Both partners say that the results have “exceeded all expectations,� thanks to sharing of know-how and specific factors. The starting point was to obtain a place in which to interact without mental or architectural barriers. A clear message formulated by Arup, aimed at staff but also at clients, which takes concrete form in an open, transparent design approach that sets out to amplify physical and visual connections. The symbiosis between HASSELL and Arup generates a powerful mixture of engineering and design, with minimal differences between the two sites, most in aesthetic terms in response to the host buildings. Both facilities are based on a model of agility, though they have two distinct atmospheres. The one in Sydney is larger, on five levels, with a staff of over 800 employees 74 | IFDM

OFFICES

Melbourne | Sydney

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OFFICES

and a ‘connection’ area known as the Exchange, while Melbourne hosts over 520 collaborators on three levels, where a series of mezzanines create a central zone of cooperation. The designers at HASSELL explain: “In Melbourne, we displaced large sections of the floor on two levels to create cascading mezzanines which cantilever into the resulting void – the mezzanines appear to float within the space and are the networking heart of the workplace where meetings, collaborations

Melbourne | Sydney

and brainstorming take place. Melbourne also features a unique lighting system. The soffit is exposed to allow up/down lighting throughout, increasing the melanopic lux without over-lighting.

Programmable tunable white lamps have been introduced, which can adjust color temperature to reflect circadian rhythm or, more interestingly, simulate external cloud formations internally.”

In both locations, certain solutions reflect the intention on the part of the designers to push

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architectural and technological potential to new heights. “The Sydney office uses an access floor to reticulate the services and air conditioning, a feature not commonly seen in Australian commercial spaces. This allowed us to rethink the ceiling treatment which is pared back and exposed – acoustic panels separated at intervals by track lighting and fire services give the space an industrial feel. The access floor also gave us the opportunity to create layers within the space by stepping down the collaboration zones surrounding the void and placing them directly onto the exposed slab.” Wellbeing and environmental sustainability were key factors in the design process in Sydney and Melbourne: from acoustics to lighting and air quality, from the use of plantings to support of biophilic principles, all the way to the creation of a yoga and meditation room. How was it possible to achieve an outstanding level of comfort and privacy in such large spaces? “In both locations – the HASSELL team indicates – Arup’s adoption of the latest digital technology gave us more freedom in planning the space. Every angle of the interior is activated which means that Arup’s employees can work anywhere within the office.

This allowed for a greater variety of spaces both large and open to small and intimate. We used neighborhoods to delineate the workplace into 76 | IFDM

OFFICES

Melbourne | Sydney

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OFFICES

Melbourne | Sydney

different working methodologies, transitioning from open collaboration spaces into focus work zones. Furniture, lighting and plantings help to create screening and a sense of privacy despite being located in an open space.” Many of the furnishings have been specially designed by HASSELL. For the Exchange space in Arup Sydney, for example, which encourages interaction for the sharing of knowledge and ideas, it was important to be flexible, leading to the design of large personalized tables, adjustable in height from 450 to 900 mm, and rotating by 360°. “We worked closely with Arup and Unifor, the manufacturer, to develop the tables so that they could be as large as possible but also very stable. The gas lift, wiring and support are all contained within the central pedestal. By fixing the pedestal directly to the slab beneath the access floor, we were able to attain greater stability but maintain a clean aesthetic, a table that is unhindered all around its perimeter, making it flexible and adaptable.” The substantial difference between the two locations lies in the choice of materials: natural, warm cork in Melbourne, and rugged concrete in Sydney. The finishes are Arup’s response to the desire to be open and authentic, while their incomplete nature is a reference to the materials utilized in the construction industry, where Arup is a key figure.

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OFFICES

Melbourne | Sydney

ARUP SYDNEY Owner & Developer: Investa Main Contractor: Built Building engineer: Arup Architecture: Architectus Interior design & Landscape design: HASSELL Lighting design: Arup Furnishings: Cult, Elan, Koskela, Schiavello, Space Furniture, Vitra, Wilkhahn, Zenith Kitchens: Joinery Lighting: Cult, Jade Cross, Philips, Zumtobel Group Flooring: ASP access floor, Gibbon Group, Forbo Fabrics: Instyle, Kvadrat Maharam ARUP MELBOURNE Owner & Developer: Lendlease Main Contractor: LLUX Architecture: Denton Corker Marshall Interior design & Landscape design: HASSELL Lighting design: Arup Furnishings: Living Edge, Unifor, Zenith Kitchens: Joinery Lighting: Artemide, Darkon, Euroluce, iGuzzini, Inlite, Urban Lighting Group Flooring: ASP access floor, Comcork, Interface, RC+D, Wicanders Fabrics: Pelle Leather, Kvadrat Maharam Author: Manuela Di Mari Photo credits: Earl Carter

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adv D+ / ph Lorenzo Pennati

WET SYSTEM

design CTRLZAK

CONTEMPORARY WALLPAPER design Eva Germani

ESSENTIAL WALLPAPER design Studiopepe

new expressions for interior decoration wallanddeco.com

WONDER. SHARJAH EMIRATE | AL FAYA LODGE | SHARJAH COLLECTION | ANARCHITECT Set at the foot of Mount Alvaah, this five-bedroom lodge is nestled into the UAE’s prehistoric crimsondesert landscape. Two single-story, stone-built buildings from the 1960s, previously a clinic and grocery

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Š Fernando Guerra

store, have been re-imagined into a contemporary boutique lodge and restaurant. CorTen steel emphasizes the new additional layers that have been introduced to repurpose and extend the spaces.

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WONDER. SUZHOU, CHINA | LOONG SWIM CLUB | X+LIVING

© Shao Feng

As the concept for this parent-child swimming club is centered on water, the combination of design elements in the space is meant to be as natural and magical as flowing water.

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pentalightgroup.it

Carlo Colombo

GLO

pentalight.com

Ph. Marco Mussi

WONDER. CHIANGMAI, THAILAND | LITTLE SHELTER HOTEL | DEPARTMENT OF ARCHITECTURE CO. © W Workspace Company Limited

The project explored the possibility to create a contemporary architectural surface yet deeply rooted in tradition. Small wood shingles are laid out on the roof and side walls like fish scales to become a watertight surface.

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Photo: Max Zambelli — AD: ps+a

www.tubesradiatori.com

Rift design Ludovica+Roberto Palomba with Matteo Fiorini

@tubesradiatori

High technology, minimalist elegance and modularity are the distinguishing features of Rift, designed to satisfy various customisation needs.

The extruded aluminium modules can be arranged horizontally or vertically, aligned or unaligned.

This versatility is enhanced by the line of accessories: shelves and towel rails, suitable for both the living area and bathroom.

Hydraulic and electric versions available.

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PEOPLE

BEING PART OF THE XXI CENTURY As a visionary, Patrik Schumacher always works on the frontier of understanding what society demands and desires of architecture, and what the historical period requires.

Always future oriented

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e meet Patrik Schumacher, the principal at Zaha Hadid Architects, in his studio in London, at 110 Bowling Green Lane. A busy place full of young architects and designers: “We have 440 people working here from all around the world, every year we need to hire between 50 and 100 people”. He tells about himself and he anticipates the upcoming projects always future-oriented, like airports, museums, headquarters and hotels, while illustrating the evolution of Parametricism into Tectonism. “The evolution of our work, on the basis of new, sophisticated engineering and fabrication logics implies not a radical shift or a radical break, but a more sophisticated, more mature, more rational continuation of Parametricism, a new sub-style within parametricism, namely Tectonism, which is much more informed by new engineering intelligence, but also by new fabrication technologies like 3D printing, and robotic fabrication”. He considers himself as a visionary, as his thinking is always future oriented, working on the frontier of understanding what society demands and desires of architecture, and what the historical period requires.

His dream? “To bring more colleagues into the movement of Parametricism, to jointly develop cities with more complexity, more diversified, but also more integrated at the same time. So that a new, truly 21st Century architecture will flourish”

author: Francesca Gugliotta portrait photo: Matthew Joseph projects photo: Beijing New Airport Terminal (Render by Methanoia © Zaha Hadid Architects), Leeza SOHO Beijing (Render by MIR), Mandarin Oriental Melbourne (Render by VA), Nanjing International Cultural Centre (Hufton + Crow)

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Patrik Schumacher

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PEOPLE

Patrik Schumacher

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In addition to a degree in architecture, you have done studies in philosophy and natural sciences.

In those years, did you want to be an architect?

I studied philosophy before studying architecture, but I also continued with philosophy, and increasingly educated myself in sociology and political economy, in parallel to my architectural studies. The connection between philosophy and architecture was made in the late Eighties when I came to London through the movement called Deconstructivism at that time, with the interest in the writings of Jacques Derrida in particular, but involving other French poststructuralists. The discipline of architecture started to absorb philosophy, so my training in philosophy helped me to understand quickly, to read those often difficult texts and to bring their insights into architecture.

Deconstructivism was a style that attempted to recognize and work with the new complexity and dynamism in society and therefore in city life and in city form. The new concepts of deconstructivism, like collage and interpenetration, have led to new urban design ideas. These ideas are congenial with the new network society and the more complex relations between activities and spaces that this society requires.

The designs started to be more interesting and complex. I experienced and was involved in a sustained period of radical transformation in our field in the late Eighties and throughout the Nineties. The philosophy played an important part in this, but also the availability of new computational design tools. In the early nineties deconstructivism morphed into what I later started to call parametricism.

The studio’s projects always have a very strong visual impact: where does the choice of the (apparent) complexity of the works come from?

The complexity of our work is motivated by the complexity of contemporary urban society: as I said earlier, our social life processes became more complex, and more fluid. This is due to the socio-economic transformations in the wake of the micro-electronic revolution. This implies an “urban renaissance�, the densification of big cities with mixed uses for the creative industries, for the new R&D, marketing, and finance firms that replace factories as primary sites of social work. In these urban hubs we add new to old, in layers, like in our MAXXI project in Rome demonstrates. This new societal tendency requires and rewards these more complex projects that welcome and integrate more diverse social processes. So the complexity of our projects is rational in that sense: Our complex and adaptive buildings accommodate 88 | IFDM

PEOPLE

Patrik Schumacher

a more complex, adaptive life. For instance, we are doing a new tower in Bejing with a big atrium where everything is connected visually, all the spaces are inter-visible. This enhances communication and is important for the exploitation of co-location synergies that motivate the move into the city in the first place.

The porosity of the spaces is important. They should not be closed cells. In residential projects, especially with the new concept of co-living, this tendency towards the intensification of communication is also becoming evident, with a lot of shared social spaces and uses, and that delivers also more complexity and liveliness into our residential environments.

Zaha Hadid Architects has a very recognizable style, do you think there will be changes in the way you design in the coming years?

I think we have a coherent evolution of the style towards more sophistication, particularly we have more ability to control complex geometries, and our forms get more informed by structural optimization, by fabrication techniques. These engineering logics feed back into our architectural forms. There is now an interesting diversity of techniques of production, each with its own characteristic constraints

Nanjing International Cultural Centre

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and results. These techniques imprint a certain recognizable character onto the design. Through this our designs evolved. The new morphologies are not an arbitrary invention, but they come out of a form finding process, based on the rationality of construction methods. Each of these new construction methods is numerically controlled and thus allows for more complexity and for more efficiency at the same time. For instance, we talk about more complex structural skeletons which are more optimized, more varied, not uniform but adaptive to different load conditions. We generate this integration of multiple engineering optimizations which are adaptive and efficient, and characterful. The evolution of our work, on the basis of these new, sophisticated engineering and fabrication logics implies not a radical shift or a radical break, but a more sophisticated, more mature, more rational continuation of Parametricism. I am talking about a new sub-style within parametricism, namely Tectonism as the latest stage of Parametricism, much more informed by new engineering intelligence, but also by new fabrication technologies like 3D printing, and robotic fabrication. “Parametricism” is an overarching epochal style that upgrades architecture in line with post-Fordist network society. This society will continue, so we will continue to see people moving into urban centres, we will continue to see dense, mixed-use urban quarters, and this means that we need to keep working on this conditions, with the sophisticated computational tools this epoch af-

PEOPLE

fords us. We also have more pressure ecologically to optimize our structures, our facades. This also makes them less monotonous because monotony is never efficient. Only variation is locally adaptive and efficient. So this mounting pressure, I believe, implies that this style should eventually become more globally adopted. So we will continue our fundamental design style and philosophy into the future. The recognizability of the firm’s works, the identification of our designs as ZHA’s designs, is not so interesting to us, because when you are too recognizable this means you are not versatile enough. So I prefer be more versatile and escape the easy identification.

However, our work will always be recognizable as works of Parametricism. We are proud of our work, but we are not proud to be easily identified.

What makes you identifiable are your limitations.

We want to keep going forward and innovate.

Patrik Schumacher

Beijing New Airport Terminal

From the outside it seems that you have not collected any legacy, but simply went ahead as if nothing had changed. Is this so?

Well, in the recent years when Zaha was still alive, we had already matured into a professional firm, with many designers, with original research and with a well established design philosophy. The impact of a single person like Zaha or myself had become less prominent. The studio will continue as well after my eventual departure. Zaha Hadid Architects is something larger now and it is independent of any particular individual. What is important IFDM | 89

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PEOPLE

Patrik Schumacher

are our shared principles and our shared, underlying methodology, and the continuous demand for innovation. It had been Zaha’s role, and it is now my role, to prevent us from falling into routines.

This requires a strong personality. That Zaha was such a personality was beyond doubt. What was important for Zaha originally, and for me, is to set up a philosophy of design which invites others to join.

It is possible to learn our way of creating and then become independent from us as the original creators. We have 440 people working here from all around the world, on hundred different projects at the same time, small and large. At the beginning of the project Zaha was very strongly involved, and that is my role still, at the early stages, initiating projects with designers and architects. And then the later stages are slower. Working through the details takes time. So we can have many projects progressing through these later stages without requiring a continuous supervision by the principal.

Of course there are always occasions to review ongoing designs. So it is possible to maintain a sufficient overview that implies an additional element of integration from the top. However, the main force that delivers coherence across projects comes from below. So far we are proud to say that all of our projects follow the spirit of Zaha Hadid, as well as offering an element of innovation.

What about the upcoming projects?

Beijing airport is fantastic. Now we are working on another amazing airport that has not been published yet: the new Mumbai airport where we will design three terminals. The first terminal is already under construction. We are also looking at other airport opportunities, mainly in China. Originally we started with museums and we are still doing museums. Just now we won the Singapore Science Museum, as well as the Shenzhen Science Museum, and recently we also won the Sverdlovsk Philharmonic Concert Hall in Yekaterinburg, Russia. We are still competing and winning cultural projects. That was our original strength. But, of course, there are not enough cultural projects to maintain an office like ours. That is why we expanded into all typologies. We have also an interior department and we do a lot of furniture and objects, so we want to address the full scope of the design disciplines. Zaha always had this grand ambition of total design, and I continue in the same vein. If you think about Mies van der Rohe or Le Corbusier, or the Bauhaus: they too addressed all the aspects of design, from objects to urbanism.

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Let’s talk about hotellerie, 14 years ago the Hotel Puerta America was inaugurated in Madrid, which many call the “zero moment” of the new era of hospitality: what’s left of that experience?

This was very adventurous and I think it was quite costly to involve on each floor a different architect, like Jean Nouvel, Foster and us, but I enjoyed the experience, it is very fun stay in the different rooms.

Maybe it was too expensive so I don’t think this concept will find many followers. Just think about the cost of hiring so many designers. Talking about hotels, we are working on the Me Hotel in Dubai, inside our Opus building which is nearly finished. We are also working on a small hotel in Rome and we are working on a Mandarin Oriental in Melbourne. But theses designs are not released yet. So at the moment the only Zaha Hadid designed hotel you can live in is still the Puerta America in Madrid.

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Not all hotels can be rightly welcomed into the world of hospitality, what is your idea of hospitality?

Hotels should be very functional of course, make life easy, but they also should offer a stimulating experience. What I like about going traveling is to find different ways of life, different cultures, and it is nice if the hotel’s rooms give you some stimulations which are different from your bedroom at home. So I like when I go around to find different ideas and try different things. In the Morpheus Hotel at the City of Dreams, in Macau, we did a lot of lobbies and amenities spaces, but the rooms were done by a very congenial designer from Macau and they fitted perfectly to our projects, so it is lovely to stay in this very special hotel, with swimming pools inside some of the rooms, where you can have a fantastic experience. Everybody can afford a luxury night!

PEOPLE

and this is exciting, but most current designs, even in a dynamic city like London, are more conservatives. So most projects made here in the City are very restrictive, regulated, planned trough standards. We see the dominance of what I call “neo-rationalism”, as what goes on is very much like the Italian style from the 1930s, 40s, 50s. These are very conservative, closed forms, monotonous often, hostile to the city’s complexity. This is why my ambition is to bring more colleagues into the movement of Parametricism, to jointly develop cities with more complexity, more diversified, but also more integrated at the same time.

It is a pity that also in London - except in the City of London, the financial district which is more intense and complex – the discipline has a relative conservative face. And my dream is to see this change so that a new, truly 21st Century architecture will flourish.

Patrik Schumacher

Mandarin_Oriental,_Melbourne

The studio also deals with offices, a world that has been changing for some years: what is your vision?

We are very strongly involved in office spaces and we have a new department dedicated to innovative workspaces. We are doing several very large technology buildings, for Tech companies, each for about 25000 employees, in Moscow, in Guangzhou, in Xian, and perhaps in Shenzen too. We like these company’s open, participatory, dynamic, creative life processes. The tech sector is the most interesting for us. We are also sketching designs for Google and for a telecommunication company in China. The workplace is radically changing because the work is much more self-directed, and much more fluid. Buildings don’t offer fixed allocated spaces or desks but agile working patterns allow workers to roam freely. We are also engaging with the design of office furniture systems, with more complex geometries and more flexibility. This is a fascinating arena and I personally dedicated several years of design research at the AA to this topic. I am also leading a research team developing new computational tools dedicated to corporate space planning. In this context we are working on a new way of simulating social communication activities in spaces. I am calling this “live process modelling”, so in this research group we are working on a new methodology that will allow us to simulate and optimize the social productivity of spaces.

Do you have a dream?

I would like to expand Zaha Hadid Architects, but also have more influence in the field: the firm is growing but at the moment we are isolated. There are some colleagues who are working on similar ideas, IFDM | 91

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RESORT

Maldives

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RESORT

Maldives

Maldivian inspiration Constant interaction with the landscape and culture of the place, through eco-sustainable interventions of very low environmental impact. These are the guidelines with which the team of WOW Architects | Warner Wong Design has operated in the design of the St Regis Maldives Vommuli Resort

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lways seen as an idyllic and uncontaminated tourist attraction, the Maldives and their delicate ecosystem offered the inspiration for an entire project of architecture, interior and landscape design carried out by the Singapore-based studio WOW Architects | Warner Wong Design to create the St Regis Maldives Vommuli Resort. The 5-star facility covers the nine hectares of Vommuli Island, part of the Dhaalu atoll about 150 km from Malé, the capital city. “Our design redefines the luxury resort experience – the team of architects formed by Wong Chiu Man and Maria Warner Wong together with Noemi Escano, Atsuko Kato and Stephen Siew Teng Hui explains. – We chose to delight the senses through education, creating awareness, and new paradigms of interacting with the physical environment. Thus, paradise is emotionally and intellectually experienced and enjoyed, but with a profound awareness of the complex relationships of the ecosystems being inhabited.

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The forms and spaces are derived from nature, and the juxtaposition of these forms against the variations of the primitive hut creates the architectural expression of the resort.� The natural and cultural references deployed in the design of every single space take their cue from the wildlife of the ocean, the native vegetation, the particular features of the local tradition. This uninterrupted series of influences is vividly reflected in the 77 villas and 94 | IFDM

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suites scattered on the island, ideally divided into four natural zones: The Lagoon, The Beach, The Jungle and The Coastal Zone. Extending over the reef, the 44 Overwater Villas suggest the elegant squared form of manta rays. In their midst stands the John Jacob Astor Estate, a suite of over 1500 square meters with three bedrooms, flanked by eight Overwater St. Regis Suites of 282 square meters, while the remaining 21 units have an area

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of 182 square meters. Right by the beach, together with the Caroline Astor Estate (a three-bedroom suite covering 620 square meters), the Beach Villas (14 one-bedroom units of 140 square meters, and 2 two-bedroom suites of 530 square meters) replicate the simple structure of the cabins of fishermen living on the island. Facing the lagoon, the Family Villas (12 two-bedrooms, 334 square meters each) take

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Maldives

their cue from the Dhoni, the typical sailboats of the Indian Ocean, while the Garden Villas (4 onebedroom units of 150 square meters) pay homage to the color and forms of the lush vegetation of the archipelago. All the suites and villas are provided with large private solariums with pools, and furnished with cots, chairs, tables and umbrellas from the outdoor collections of the Belgian company TribĂš.

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The sophisticated custom interiors are clad in patterns and materials that become integral parts of the space, enhanced by works of art, local fabrics, lamps made with coral and seashells, unique creations of driftwood and glass brought from the sea and crafted by native artisans. While all the habitat solutions get inspiration from the forms and colors of the natural and traditional elements of the region, the shared facilities obey the same principle. Extending to the sea to the west, the Whale Bar bears a surprising resemblance to a whale shark and its enormous mouth.

Inside, over the counter, a work by the artist Maya Burman reflects the forms of a tortoise

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shell, using the woodburning technique to narrate stories of fish and fishermen. Looking closely, you can also glimpse the image of a man and a boy sitting on a boat. This is a tribute to the Indian owner of Vommuli, who arrived on the then-uninhabited island at the start of the 1990s, fell in love with the place and decided to buy it, already envisioning an exclusive resort that would bring out and respect the original beauty of the site. At the opposite end of the island, the Iridium Spa is like a giant lobster, while the hydrotherapy pool at the head of the creature – known as the Blue Hole – imitates the natural pools found along the reef.

Maldives

Hotel operator: Marriott International Architecture, interior and landscape design: WOW Architects | Warner Wong Design Furnishings: on design Outdoor furniture: Tribù Author: Simona Marcora Photo credits: courtesy of The St. Regis Maldives Vommuli Resort

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RESORT

Maldives

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RESORT

Maldives

With an erudite selection of books available for guests, the Library has an inimitable spiral seashell form, while the aerial branching roots of the Banyan tree, whose natural habitat is the Indian region, have inspired the Vommuli House, the center of the resort’s activities, immersed in a tropical garden inside the island, containing a fitness center, an anti-gravity yoga room, an acupuncture studio and various activities for kids, including a well-equipped cooking school. The efficacy of the project by WOW Architects | Warner Wong Design, however, does not rely only on the architectural and design elements treated as extensions of nature. The expressive impact of the resort is also the result of painstaking sustainable construction solutions that are now contributing to shape new standards in this sector. Particular attention has been paid to the choice of materials: wood from trees on the island has been completely recycled, above all for the outdoor decks, while the use of concrete and steel has been reduced to a minimum. In keeping with traditions, local culture and the values of the St Regis brand, the owners continue to safeguard a standard of luxury that is compatible with the delicate Maldivian habitat, setting new parameters of reference for eco-tourism in the region.

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Hyper local, hyper social The Sir Victor Hotel is a tribute to the physical and creative heritage of the Catalan capital through functional design and inclusive social spaces, offering a combination of peace, quiet and entertainment

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he name pays homage to Caterina Albert ì Paradìs, a protagonist of Catalan modern literature, who decided to hide her identity behind the male nom de plume Victor Català in the wake of a scandal caused by one of her monologues. This alias was to ‘protect’ her for the rest of her long life. Besides its purpose, the hotel inherits the literary reference already contained in the architecture designed by Capella Garcià, in those sections that open in the unusual facade like pages blown by the wind. The poetic approach also has its functional side: it ensures privacy for guests, orienting the gaze towards Passeig de Gràcia while limiting the acoustic impact of the traffic and allowing sunlight to enter the 91 units, divided between rooms and suites. Behind the undulated exterior, the conceptual character of the hotel is shaped by the vibrant personality of Barcelona, a lively, prosperous contemporary city that sets the tone of the many multifunctional spaces for socializing – used for parties, presentations and show100 | IFDM

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Barcelona

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HOTEL

Barcelona

cases – framed by an aesthetic that is also sensitive to the variegated topography. The interior design by the Israeli studio Baranowitz + Kronenberg has generated a luminous, spacious lobby that suggests the Mediterranean coastline, while the mountainous and austere terrain of the nearby Parc Natural de Sant Llorenç del Munt is reflected in the gradually darkening palette of the lounge, bar and Mr Porter restaurant, in the copper screen ceiling and the wood floors in local oak, accompanied by furnishings in dark walnut and Bocci lamps finished in brass, steel and Carrara marble. The artistic and cultural exuberance of Catalonia is even more explicitly referenced in the installation of works by the renowned Antoni Muntadas and Alfons Borrell, and in the presence of a concept store set aside for the projects of young talents on the local scene, exhibited in rotation. The interiors of the rooms and suites have been refurbished by the design team of Sir Hotels: simple layouts, neutral colors, accents of wood, works by the emerging artist Bernard Daviu, coordinated with rugs by Nanimarquina, modular furnishings by B&B Italia, Cassina and with the outdoor living signed by

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Kettal. The dialogue between natural and artificial light contributes to underline the design intentions, emphasizing or softening forms and volumes. For those in search of a culinary experience in the sunshine, the rooftop bar of the hotel offers a menu of tapas and signature cocktails, amidst vivid textile motifs and an abundance of plants;

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the outdoor lounge and swimming pool welcome guests to spend relaxing summer evenings, sipping on vermouth to the sounds of DJ sets and live music. In the colder months, clients can linger in the warm spa or the library, featuring the complete works of Caterina Albert ì Paradìs, alias Victor Català.

Owner: Sir Hotels Hotel operator: Sir Victor Hotel Barcelona Architecture: Capella Garcia Interior design: Baranowitz + Kronenberg, Sir Hotel’s in-house creative team Furnishings: All custom made items by B+K Design produced by Martinez Otero; B&B Italia, Cassina, De La Espada, GAN Rugs, Living Divani, Kettal, Molteni&C, Nanimarquina, Piet Hein Eek, Pramarstone, Riva 1920, Segis, Stellar Works, Wittmann Lighting: &Tradition, Bocci, Flos, FontanaArte Author: Antonella Mazzola Photo credits: Steve Herud, Mr Porter, Design Hotel™

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RETAIL

Milan | Rome

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RETAIL

Milan | Rome

In search of the exceptional As Domenico Dolce and Stefano Gabbana explain, two new Dolce&Gabbana boutiques at Piazza di Spagna in Rome and on Via della Spiga in Milan are a tribute to the Baroque and to Italian crafts.

The design of the spaces is based on collaboration with Eric Carlson of the studio Carbondale

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plendor, beauty, uniqueness, grandeur, wealth, emotion, luminosity, elegance.

These are just a few of the terms that come to mind when you enter and cross the space of the two Dolce&Gabbana boutiques in Rome and Milan. As Stefano Gabbana explains, “these boutiques are important pieces of the mosaic of new retail openings around the world. For a couple of years now we have been designing certain stores as one-offs, in keeping with the characteristics of specific cities and cultures, while still conserving the Dolce&Gabbana identity. It’s a way of giving our customers different, unique experiences”.

Different but with shared aspects, above all thanks to the philosophy of the award-winning studio Carbondale (with offices in Paris and Sao Paulo), the two stores focus on the search for the exceptional and the extraordinary. “For us it is very stimulating to work with important architecture firms. We discuss things with the architects, we swap ideas and viewpoints, and we rely on their experience. We create interaction and cultural exchange from which to then develop the idea of IFDM | 105

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unique boutiques, designed for a specific territory.

The collaboration with Eric Carlson of the firm Carbondale happened in just this way. It has been a very interesting process”. In fact, as Domenico Dolce put it, “the boutiques at Via Spiga 2 and Piazza di Spagna have been developed precisely for Rome and Milan. The splendor of the Eternal City and the charm of its incomparable history live on in the majestic spaces of the Roman 16th-century palace that contains the new boutique. Elegant marble, mosaics inlaid by hand; tradition, history and technology blend in monitors – placed in the galleria and on the semi-vaulted ceiling of the first 106 | IFDM

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floor – showing a sky in motion, inhabited by the angels of Paradise. The boutique at Via della Spiga 2, on the other hand, reflects the DNA, the roots and milestones of the brand, in a sequence of spaces steeped in the values and emotions of the early years, which return today with new splendor. The store is a tribute to our background and our close bond with the feminine universe”. In Rome, at Piazza di Spagna, the store has two levels and contains the men’s and women’s collections of clothing, accessories, fine jewelry and watches. As soon as guests cross the threshold they are surrounded by various types of marble cladding the floors, walls

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Owner & Developer: Dolce&Gabbana Interior design: Dolce&Gabbana and Eric Carlson (studio Carbondale) Author: Francisco Marea Photo credits: Antoine Huot, Alessandra Chemollo

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Milan | Rome

and ceilings. The light from precious blown glass chandeliers, made by Italian master craftsmen, brings out the veins and hues of the marble. Latin inscriptions along the walls of the ground floor, the she-wolf lit by the first chandelier, and two cupolas: everything is covered by hand with mosaic tiles in gold and other colors to suggest the beauty of the Eternal City. Going up the monumental marble staircase, one reaches the heart of the boutique, a gallery where the vault and the walls, by means of monitors, project a sky in motion inhabited by the angels of Paradise reflected on the opposite mirror, while the floors feature the words Paradiso, Amore and Bellezza. Going into the first floor, in the space set aside for jewelry, visitors see carpets and marble walls, after which the tailoring area makes room for wood: ebony, redgum and Canaletto walnut.

In the boutique in Milan, at Via della Spiga 2, the Baroque reference is clear in the 920 square meters on three levels, connected (as in Rome) by an impressive staircase in black basalt. Words again come into play, selected from Italian writers of the 20th century, on the inlaid floor of the elevator and on the brass plaques of the walls. Geometric and luminous thanks to the many windows, the store IFDM | 107

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presents the women’s collections of clothing, evening wear, accessories, fine jewelry and watches. The linear design is interrupted by the curved walls of the women’s collection zone, made with different materials including elm briar and intense red onyx.

The floors echo the black basalt of the staircase, while the ceilings are white. The Baroque taste is evident in the two decorative columns placed at the entrance, but also in the inserts in Red Jasper marble on the ground floor. On all three levels, the furnishings are in redgum: on the ground floor the wood creates a chromatic contrast with the transparency of the glazing, while on the first floor it joins the black basalt of the floors, and on the second it is combined with red granite and white onyx.

Beyond Italian history and beauty, the stores are also a tribute to outstanding craftsmanship, which becomes precious art. “For us, craftsmanship is an important value; it conveys the love we have for our work, the attention we devote to every single project, the constant pursuit of a perfect balance between harmony of forms and refinement of details.

Our creations are based on the idea of fatto a mano, whether they are garments or design projects”.

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Emozioni d’Autore

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OFFICE

Chicago

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OFFICE

Chicago

Use with sensitivity A delicate indoor-outdoor dialogue shaped with refinement by the Italo-Japanese architecture firm Alvisi Kirimoto, for the design of private offices in Chicago

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utside, the Chicago River flows through the heart of the city. Inside, the large spaces ‘breathe’ the emptiness, in the positive sense of ‘non-fullness,’ allowing the fullheight windows to draw the urban context inward, filtered by an almost spiritual atmosphere.

An intake of metropolitan dynamism, in just the time of decompression required for the voyage from the ground floor to the 32nd, softened by sensitive architecture and the presence of the art collection of the client, arranged in a viewing itinerary of over 1000 square meters. This is the

project created by the Rome-based studio Alvisi Kirimoto for the new managerial offices (the client wishes to remain anonymous) occupying the entire 32nd floor – 2600 square meters in all – of a skyscraper with a height of 224 meters in the lively ex-industrial area of the West Loop, in Chicago. The stylistic identity of Massimo Alvisi and Junko Kirimoto immediately emerges, thanks to its focus on the urban and social dimensions, attention to detail, rigor and a tailormade approach, also in dialogue with nature and regeneration. “When you emerge from the Architecture/Interior design/Lighting design: Alvisi Kirimoto Furnishings: Carl Hansen, Christopher Glass & Aluminum, Halcon, Herman Miller, Knoll, Parenti & Raffaelli; custom tables manufactured by B&B Italia, De Padova, Driade, Halcon; Japanese lacquered table top designed by Alvisi Kirimoto, manufactured by Wajima Kirimoto Lighting: Artemide, Fabbian, Focal Point, iGuzzini, Kenall, Juno, MP Lighting, SSL Lighting, Tech Lighting, Usai, Vibia Bathrooms: Caesarstone, Kohler, Toto, Virginia Tile Ceilings: Armstrong, Hi-Macs, Maharam, Okite Walls: Hickory, Maharam, Parenti & Raffaelli; rice wallpaper panels Ginrei-Washi Floor: Muskoka Carpets: Bloomsburg, Silver Creek Carpet Plastic laminate: Abet Laminati Fabrics: Maharam; leather manufactured by Edelman Winter Garden sculpture: Ueno Masao Author: Manuela Di Mari Photo credits: Nic Lehoux

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elevators on the 32nd floor – the architects say – you have the sensation of being plunged back into the city – at a different height, from a different perspective, of course, but still in contact with the streets of Chicago. It is precisely the layout of the city, with its surprises, that we have projected into this space: one walks amidst works of contemporary and oriental art and archaeology, surprised from time to time by strong colors of two-story areas, unusual for a skyscraper, guided by the fast-paced rhythm of partitions, lights, visual axes.

The first guideline, in fact, was to enhance these perspectives, leaving the corners unencumbered to always have visual contact with the city.” In terms of the plan, the two faces of Chicago – urban on one side, territorial on the other – are viewed from two opposite areas: the southern front, containing the functions of image and encounter, such as the reception area, the meeting rooms, the Winter Garden, exhibition spaces and a restaurant zone, and the back, facing north, containing private offices and lounge areas. The main axes of the project are defined by wooden partitions that dematerialize in vertical blades to gauge the level of privacy and luminosity, while glass partitions and suspended panels, in various combinations, set off the individual work areas. A solution of great flexibility and transparency, permitting visitors and staff to enjoy a breathtaking panorama, also in the more private spaces bordered by opaque surfaces. The height of the ceilings – 3.6 meters, 112 | IFDM

OFFICE

Chicago

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OFFICE

Chicago

exceptional for an office – has allowed the designers to alternate suspended elements like fabric panels with sculptural elements placed on the floor, left at their original height. A game of compression and suspension that culminates in the volume of the Winter Garden, the heart of the project. A ‘box of light,’ almost suspended, created to host music, art, events for meditation and reading, containing a hanging sculpture in bamboo created for the site by the Japanese artist Ueno Masao, and a table designed by Junko Kirimoto with Japanese lacquer finish. Here too, a system of double darkening and filtering curtains, together with wooden staves, makes it possible to orient and distribute light as desired. The entire project takes a tailor-made approach: from the custom furnishings like the workstations and dining tables to the arrangement and choice of hue of the lighting fixtures, all the way to the deployment of colors for various functions.

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W Factor It glows in the famous City of Gold, on the western branch of the ring that circles Palm Jumeirah, and it seduces with its electrifying style, evocative design and eclectic restaurants helmed by world famous chefs.

W Dubai – The Palm blends local culture with international expectations, in keeping with the W philosophy

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he Palm is the very new W Escape, an exuberant outcropping of the brand W Hotels Worldwide of the Marriott International Group, designed by Jean Nouvel and dwp. Incredible views and exceptional services that go well beyond full optional thanks to captivating design that pays homage to the evolution of one of the world’s most dynamic cities, seamlessly mixing the organic freedom of nature with the more rational lines of skyscrapers. From the iconic sign with its W shaped to resemble the bed of a dried-up desert river, to the golden cocoon clad in palm fronds and multicolored ceramics that welcomes guests at the entrance, to the infinite enamel segments with that decorate the wall of the reception area with irregular forms. Entering the hall, a five-story lobby rises with its thick walls, featuring colored frames of different sizes to suggest Arabian architecture and the urban landscape in ongoing evolution, while handmade carpets add softness to the stone floors, alluding to the rugged geography of the Gulf Coast.

The breathtaking entrance is completed by the “Soundwave,” a towering presence composed of 640 pieces of glass depicting a W-shaped sound wave and programmed to convert the beats played by the DJs of the nearby W Lounge into a game of lights and colors. The lounge is a tribute to 114 | IFDM

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Dubai

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HOTEL

Dubai

the city’s taste for opulence, with many modular geometric parts that imitate the raw, natural form of gold, connected to the nearby VIP Lounge by means of a 13.5-meter long sofa in tenuous earth tones. In the game of continuing references, forms and colors suggest those of a mountain chain in the desert, skyscrapers of the past. In the 350 rooms and in the large Wow Suites the details contribute to update the design narrative; a hypnotic approach with curved walls decorated by mosaics to sparkle like the lights and colors of the sea across the various hours of the day, with bright furnishings and graphic motifs to underline the playful intent. Relaxing, social and surreal are the terms that apply to the Away Spa. Ten treatment rooms, a Turkish bath, a sauna, experiential showers, a hammam and a suite for couples, designed to entice guests to explore richly clad serpentine spaces. Underwater perspectives where iridescent ‘shells’ reflect the sunlight penetrating from the water’s surface, amidst muffled sounds, airy echoes, spaces for socializing in a simultaneously

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HOTEL

Dubai

Owner: Marriott International Hotel operator: W Hotels Worldwide Architecture: Jean Nouvel Interior design: dwp | design worldwide partnership Furnishings: Bene, Cappellini, Cassina, Geberit, Hansgrohe, Kenneth Cobonpue Nakkash Gallery, Kohler, Moroso, Roche Bobois, Saniplex, Vondom Lobby, the Soundwave installation: Lasvit AWAY Spa The Big Drop: Sans Souci lighting sculpture Author: Antonella Mazzola Photo credits: courtesy of dwp and Marriott International

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HOTEL

Dubai

entertaining and relaxing atmosphere. There are also a cutting-edge fitness facility, multiple swimming pools inserted in an undulated arrangement in the center of the Escape to form the iconic WET® Deck experience, the Pop cuisine of Torno Subito helmed by Massimo Bottura – where the optical floors, the neon signs, the furnishings ranging from Gio Ponti to Paola Lenti and the vintage details convey scenarios of the Riviera Romagnola in the 1960s – and the modern spirit of Japanese cuisine with Korean influences of Akira Back.

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BAR

Hashtag EatingShow In Shenzhen, Doko Bar is inspired by Andy Warhol’s theory of 15 minutes of fame, to spoon feed social vanity and revitalize the sensorial approach to culinary experience. In this case with the delicious desserts at the pace of acts of performance, from the chef’s preparations to the Instagram post

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he initiative of Waterfrom could be seen as a social experiment on the real world and the web, organized around a subtle, ethereal filter that defines distances and makes them possible to overcome. Not a critique of the often despised ‘mania’ for photographing and posting food before it gets eaten, but reflections on the complexity of interpersonal relations, the constant search for consensus that lies behind the 118 | IFDM

sharing of details of private life, and the clever intuition of turning them into currency. After all, “in the future everyone will be world-famous for 15 minutes,” Andy Warhol predicted, though he did not know what the media involved would be.

Today, appearing satisfies the need for fame and social networks represent the ideal stage on which narcissists can exhibit themselves in all their glory.

And if photographing food for these reasons has

Shenzhen

CONTRACT & HOSPITALITY

BAR

Owner: Doko Bar Interior design: Waterfrom Design Furnishings: on design, Cassina, Frank Chou Author: Antonella Mazzola Photo credits: Kuomin Lee

Shenzhen

created a sensory gap from the experience of eating itself, Doko Bar sets out to update the ritual of meals, making them real through “the endless game of living and eating.� The dessert bar takes its cue from contemporary immersive theater that uses the three-dimensional surface as an enormous stage to ensure a dynamic and sensorial experience, in which during the prophetic quarter hour clients and professional staff become an integral part of a game with orchestrated parts, which has to be accepted in order to go beyond. The entire space is comparable to a 360-degree stage, which reflecting the blurry boundaries between the real and virtual worlds allows people to become part of the gastronomic spectacle as observers and players, immobile or in motion, seen from below or from above. The solid and cloudy charm is conveyed by games of light, transparencies, material consistencies and color, an energetic red in contrast with the gray of the concrete floors. Waterfrom has created semitransparent curtains using nylon threads, and has built walls with different densities in metal mesh, galvanized sheet metal, stainless steel and sturdy elm wood. In the oblong shop, the ground floor gravitates around the multifrontal counter-stage of the chef, forming a pair of concentric circles.

Along the perimeter, at the position of the tables,

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the rain of nylon threads is interrupted in gaps with transparent frames of various sizes, while on the upper level it offers glimpses of corridors presented as performative catwalks for the flow of guests heading to their tables or towards the staircase. Other views based on the frames and screens of Instagram scan the space, forming internal windows so that each position can be perceived as a sort of focal point of action. At the center of the stage, apparently floating in the air, regal and mysterious, a gigantic red ‘box’ contains more secluded positions, with spherical tables and sofas. According to the architects and influencers, this is the most coveted zone.

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BAR

Shenzhen

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RETAIL

Paris

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RETAIL

Paris

The fashion experience Fashion, food and lifestyle meet in the new Galeries Lafayette in Paris. An original concept developed by Bjarke Ingels of the studio BIG for an exclusive retail model that relies on new technologies, in a tribute to the textures and tactile sensations transmitted by materials, and by the structures of an Art Deco building

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tunnel enlivened by luminous panels immediately plunges customers into an immersive setting flooded with natural light from a majestic glass cupola over the central atrium. This is the overture to the new concept store of Galeries Lafayette, inside an Art Deco building from the 1930s on the famous Champs-Élysées in Paris. The project by BIG Bjarke Ingels Group is inserted in the existing architecture thanks to new visual and structural

codes, generating a more fluid dialogue between internal and external spaces, inviting visitors to walk through the four levels, exploring, browsing and having fun. Tactile stimuli, experiential logic, intuitive apps and variety of retail offerings all reflect the original (and historic) idea of the founder of Galeries Lafayette, Théophile Bader, to create a place that blends commerce, services and entertainment, while projecting the brand’s renown into the future.

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Already in the atrium visitors have an immediate perception of the various levels and the games of transparency triggered by the staircase entirely in glass, extending into large suspended boxes of glass, where “guest” brands in rotation have the possibility of installing their own creations and conducting activities visible from the lower levels. While the basement has been designed as a Food Court with an original variety of shops and restaurants, with counters placed around welcoming shared dining tables, the ground floor is like a luminous “urban salon” created to host events and pop-up stores, together with a beauty zone subdivided into three areas for wellness and personal care: fragrances, make-up and fitness.

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RETAIL

Paris

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RETAIL

Paris

The monumental staircase, providing access to the CafĂŠ Citron, leads visitors into the mixed spaces of the first floor, set aside for emerging creative brands, a Denim Lab, as well as leather goods, costume jewelry, a unisex sneaker selection and a range of design objects. The second floor reinterprets the codes of luxury with high fashion brands, also with a focus on less familiar names.

Near the Oursin restaurant, which like the Citron is run by Caviar Kaspia, fine jewelry and leather goods are on display. All the levels, especially the higher ones, have layouts featuring furnishings that are not merely display fixtures, but convey the allure of true artifacts: a large display ring in gilded sheet metal surrounds the atrium, magical carpets rise like waves to offer supports for footwear and shoppers trying it on, the carpeting continues beyond the baseboards to separate the fitting rooms, while the suspended ceilings become captivating sculptural features.

Client/Owner: Groupe Galeries Lafayette Interior design: Bjarke Ingels, Jakob Sand (BIG - Bjarke Ingels Group) Author: Antonella Mazzola Photo credits: Salem Mostefaoui, Delfino Sisto Legnani and Marco Cappelletti, Matthieu Salvaing, Michel Florent

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HOTEL

Nanjing, China

An intense heritage of light and color Forceful primary colors and pronounced geometric structures as a trait d’union between the architectural enclosure of the recreation center designed by Ettore Sottsass and the interior program developed by HBA for a new hospitality facility: the Artyzen Sifang Hotel

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n Nanjing, capital of the eastern province of Jiangsu, surrounded by the Lao Shan National Forest Park and arranged around a lake, the CIPEA (China International Practical Exhibition of Architecture) is an ambitious complex of 22 buildings commissioned in the early 2000s to a number of internationally acclaimed architects and creative talents, both Chinese and foreign. Big names like Steven Holl, Arata Isozaki, Wang Shu, David Adjaye, Ai Weiwei, Zhanq Lei, Odile Decq; lively, evolving works, arranged in the space of an architectural field whose surreal schema stubbornly defies the stereotype of 126 | IFDM

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HOTEL

Nanjing, China

a dystopian fate. One of the structures, belonging to the cultural complex of the Sifang Art Collective, is the new hotel developed by HBA inside one of the last works of architecture designed by Ettore Sottsass: a daring, enveloping structure that incorporates public and private spaces, where the recognizable, powerful language inherited from the Italian designer echoes delicately in the geometry of the volumes, the twisting corridors of the large size, the long and circular walls that embrace the rooms, creating internal gardens, and in the chromatic thrusts nimbly diluted in the areas for rest and wellness. Several walls, for example, are divided into an irregular grid of forms, while their consistency is that of warm white stucco. The floors gain rhythm from woolen carpets that reproduce geometric motifs and cuts, and even the minimal design of the carpeting is not immune to the incursions of polygons, though they are simple and monochromatic. The furnishings are an eclectic blend of brash contemporary pieces, whose tones range from the brightest colors to the grays, and

Owner/Hotel operator: Artyzen Hospitality Group Architectural design: Ettore Sottsass, Sottsass Associati Interior design: Hirsch Bedner Associates (HBA) Lighting Consultant: Illuminate Lighting Design Furniture supplier: Gold Phoenix Furniture Group Stonework: Jiangsu Yuemei Stone Woodwork: Jiangsu Aiga Wood Industry Author: Antonella Mazzola Photo credits: Will Pryce

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the warmer hues of wood, while the accessories are inserted to decorate the spaces, contributing to an intentional sensation of general randomness.

The recreational center created by Sottsass now contains 22 guestrooms, from 43 to 79 square meters, a wellness center with indoor pool, a fitness room and a bar placed on a large platform, visually in tune with nature on every side. In the rooms the accent is on a luminous atmosphere – already aided by architecture conceived to be “corrupted” by light – and on spatial performance thanks to wardrobes, bathrooms (some with freestanding tubs) and the exceptional panoramic views of the lush surrounding landscape.

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HOTEL

Nanjing, China

Ristolocanda Grani di Pepe - Flaibano - Udine

4AKUSTIK Photo: Sisterbrother

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B-s1, d0

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Caring architecture Architecture and interior design join forces for philanthropic aims in the Kālida Sant Pau Centre of Barcelona, an assistance facility for cancer patients, thanks to a ‘pro bono’ project

by Benedetta Tagliabue, Patricia Urquiola and many other international design firms

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hen social dynamics and functional organization are implemented by the creative process, we can talk about a truly successful operation. But when the project touches on aspects of human care, quality of life, integration, inclusion and assistance, made concrete by the self-effacing contributions of multiple players, the action can even take on noble, exemplary character. This is the case of the Kālida Sant Pau Centre in Barcelona, an assistance facility with a very particular approach, which opened in May to offer support to cancer patients, their relatives and their caregivers.

A pioneering program, in the making for about ten years, guided by Fundació Nous Cims and Fundació Privada Hospital de la Santa Creu i Sant Pau, supported by Fundació de Gestió Sanitària de l’Hospital de la Santa Creu i Sant Pau. As well as the international organization Maggie’s, whose work and services have been an inspiration, in collaboration with the initiative. With specialized personnel for oncological, psychological, nursing and therapeutic support, Kālida Sant Pau offers emotional, practical and social care completely free of charge, without the need for 130 | IFDM

CARE FACILITIES

Barcelona

CONTRACT & HOSPITALITY

CARE FACILITIES

Barcelona

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any medical input. The action is complementary to hospital therapy protocols – the structure is located near the oncological center of Hospital de la Santa Creu i Sant Pau – to help patients manage a series of emotions like anguish, pain, isolation, but also tolerance to treatments, nutritional and fitness care, making them feel they are understood and accompanied in a context of sharing.

Comfort and aesthetics of spaces and buildings, of course, become decisive to convey a sense of protection, privacy and domestic atmosphere, and in this case they are the result of the contribution of all the people who have worked ‘pro bono,’ without payment, for the good of all. The concept of ‘caring architecture’ developed by Benedetta Tagliabue (Miralles Tagliabue EMBT studio), in the wake of her personal experience with the illness experienced by her late companion in life and work, Enric Miralles, involves a Garden Pavilion that blurs indoor-outdoor

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CARE FACILITIES

Barcelona

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CARE FACILITIES

Barcelona

Stakeholders: Fundació Kālida, Nous Cims, Fundació Privada de l’Hospital de la Santa Creu i Sant Pau, Maggie’s Centre, Studio Urquiola Architecture: Benedetta Tagliabue – EMBT Interior design: Studio Urquiola Landscape consultant: Miralles Tagliabue EMBT Main Contractor: Construcciones Pérez Villora Furnishings: Andreu World, Arlex, Cappellini, GAN, Kettal, Moroso, Point, Viccarbe Kitchens: Bulthaup Lighting: Bover Barcelona Lights, Flos, Santa&Cole Bathrooms: Roca Flooring: Listone Giordano, Mutina Walls: American Hardwood Export Council (AHEC) Cutlery: Casa Gay Fabrics: Kvadrat, Teixidors Suppliers: Airlan, Ascensores Jordá, Cementos Molins, Daikin, Gres Aragón tiles and ceramics, Grundfos, Riba Massanell carpentry Author: Manuela Di Mari Photo credits: Lluc Miralles EMBT, Jason Keith & Paola Acevedo - Fundacio Kālida

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CARE FACILITIES

Barcelona

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boundaries. An area of 400 square meters on two levels – where the kitchen is the central focus – surrounded by a garden of 600, whose main access connects the structure to the adjacent Oncological Unit: open, flexible spaces ‘embraced’ by dense vegetation that makes the hospital context seem to disappear, offering patients a place to spend time with a certain degree of privacy. The facade, a wall of ceramic brick, allows light to enter and provides suitable ventilation. A pleasing ornamental effect is generated by a composition of ceramic pieces with different textures, colors and geometric lines, establishing a bond with the bordering modernist building.

The interior design is intimate and dynamic, created by Patricia Urquiola to produce flexible spaces in dialogue with the architecture of Benedetta Tagliabue: “We have worked on the hexagonal shape of the plan, which suggested a subdivision of spaces for different tasks,” the designer says. “From there, we visualized functional spaces and open configurations that take form in a heterogeneous but operative setting, where different levels of privacy become possible.

CARE FACILITIES

Barcelona

The atmosphere is warm and welcoming, like a home, thanks to ‘soft’ colors and materials like wood and ceramic, creating a familiar atmosphere.

We have tried to introduce a chromatic language to transmit a dynamic, positive feeling.” Patricia Urquiola has gotten many design brands involved, which have donated some of their creations. These include Listone Giordano with the Biscuit oak flooring, Mutina and its extraordinary ceramics to form a carpet below the table, Gan with a series of sofas and informal rugs, Kettal with outdoorindoor furnishings, Bulthaup with the beautiful kitchen and table for socializing. Other supporters include: Flos and Santa&Cole for lighting, Andreu World for sofas, seating and tables, Viccarbe for office tables and other pieces, Moroso, Cappellini, Arlex, Roca, Kvadrat. A special note should be made for companies like Airlan, Ascensores Jordá, Riba Massanell for carpentry, Daikin, Grundfos, and Gres Aragón with tiles and ceramics. Thanks to these firms, it has been possible to obtain materials of the highest quality at very low prices. Cementos Molins provided the concrete and has financed part of the kitchen.

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HOTEL

Marseille

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HOTEL

Marseille

Marseille reloaded Between the Old Port and the Prado district, the mĂŠtissage of Marseille becomes a variegated filter in the renovation by multiple authors of the new nhow Marseille, an inspired creative combination of lights, colors and contrasts

M

arseille is a lively ethnic and social melting pot, whose cultural character has been set by the symbiosis of the port, the Mediterranean and their connections. A favorite noir location invigorated by salty breezes, bright sunlight and the mistral, the city is packed with sensations of a turbulent spirit that finds balance in the reconciliation of opposites.

Looking to the sea but also to the future, with an urban metamorphosis that has revolutionized (and salvaged) prospects with futuristic architectural interventions, thanks to the appointment as European Cultural Capital in 2013 and a complex regeneration program launched in the mid-1990s to bring more order and appeal to neglected neighborhoods and the port area.

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On the waterfront of the panoramic Corniche the nhow Marseille stands out, operating under the aegis of NH Hotel Group since 2017 and recently updated with a ‘participatory’ renovation project involving the Marseille-based architect Claire Fatosme and Christian Lefèvre, the Italian architect residing in Madrid Teresa Sapey, and some local visual artists. The result is an experimental and experiential tourism structure that makes creative use precisely of the contrasts of the French city, in order to convey order and a libertarian spirit, light and shade, earth and sea, through a contemporary architectural language. The Marseille duo have designed the 150 guestrooms, 9 suites and nhow penthouse of 130 square meters on two levels, as well as the corridors decorated with images that reproduce the street graffiti of the city, reinterpreted by the graphic designer from Marseille Guy Bargin, graphic elements by the designer Adrien Bargin, and visual animations by the local artist Tristan Bonnemain.

Claire Fatosme and Christian Levèfre have also focused on the refurbishing of the hall, the glass belvedere on the second floor and the Sky Bar, 138 | IFDM

HOTEL

Marseille

CONTRACT & HOSPITALITY

HOTEL

Marseille

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HOTEL

Marseille

Owner & Hotel operator: NH Hotel Group Architecture & Interior design: Christian Lefèvre, Claire Fatosme, Teresa Sapey Furnishings: B&B Italia, Gufram, MDF Italia, Moroso, Pedrali, Zanotta Lighting: Casamania&Horm, Flos, Luceplan, Vibia Bathrooms: Hi-Macs Author: Antonella Mazzola Photo credits: David Giancatarina, NHHG

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HOTEL

Marseille

located on the third floor near the hotel entrance and conceived to become a reference point for the world of mixology. The Mediterranean spirit is revealed here by means of 4000 steel sardines, arrayed in the air in sparkling schools, like silvery eddies that form a theatrical lamp made for Sciabetti by the English artist Frances Bromley. Teresa Sapey has worked on the design of the communal areas on the ground floor: the Cactus Bar, suggesting an exotic garden of the Mediterranean coast, the restaurant, terrace, spa, spaces for meetings and events, and the iconic Tunnel Bar, the link between the fresh water of the Roucas Blanc spring – inside the building – and the salt water of the sea, to stroll through amidst the shifting depths of various tones of blue, and the dynamic warmth of furnishings in yellow, orange and pink.

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WONDER. VIDEBÆK PARK, DENMARK | ART PAVILION | HENNING LARSEN Conceptually referencing a Japanese tea house, the floating pavilion stands out in the surrounding landscape with a sculptural overhead light. The musical, intersecting facade is inspired by the motion of water

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© Martin Schubert

and tree branches and its geometry can also be considered a play on the V in Videbæk. The café terrace floats above the lake, and the movement of the water is reflected in the ceiling.

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WONDER. TOKYO | MORI ART MUSEUM | SHIOTA CHIHARU: THE SOUL TREMBLES courtesy of Kenji Taki Gallery, Nagoya/Tokyo - Photo © Suhni Mang

In Silence (2002/2019). An immense black spider web envelops a burned piano surrounded by audience seating is displayed in a new and previously unseen version in Alcantara black thread.

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WONDER. LINDESNES, NORWAY | UNDER | SNØHETTA

© Inger Marie Grini / Bo Bedre Norge

In Norwegian, “under” has the dual meaning of ”below” and ”wonder”. The monolithic form breaks the surface of the water to rest on the seabed 5 meters below. It houses a restaurant and a research center for marine life.

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CERSAIE – BOLOGNA 23/27 - 09 - 19 HALL 21 STAND A39–B38

Assi del Cansiglio is a flooring made of Italian Beech, cut from the Cansiglio Forest, the ancient "bosco da reme" (wood for oars) of the Serenissima Republic of Venice. Unique and inimitable for its quality, beauty and

preciousness of materials, Assi del Cansiglio has become a symbol of Italian excellence, of Veneto excellence, of 100% Made in Italy, of sourced flooring (or better, as we prefer to say, of "25 km away" sourced flooring).

Assi del Cansiglio is a floor made saving CO2 healthy, steady, patented. A forest must be cared for. This is the only way to love it truly.

Today, when you buy Assi del Cansiglio you actually take part in the rebirth of the woodland.

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PEOPLE

Giuseppe Varsavia

CONTRACT & HOSPITALITY

PEOPLE

PASSION, TENSION AND DISCIPLINE A gaze beyond the project. This is the beginning that makes its way across the everyday activities of Lombardini 22. From real estate to communication, graphic design to engineering, architecture to marketing, arriving at the world of hospitality, which inside Lombardini 22 is known as Eclettico. Precisely hospitality is the zone – traditionally fluid and variable – that perhaps calls more than others for a gaze that goes beyond the project. An eclectic gaze.

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clettico is the hospitality and luxury emanation of the Lombardini 22 family, a group with 270 employees and 318 commissions in 2018, a design studio that has made multidisciplinary work into a true model of organization and business. Giuseppe Varsavia – with the company since 2007 – is the managing director of Eclettico. He narrates how to achieve great results by focusing on the group and monitoring its individual components.

Giuseppe Varsavia

Your group stands out for its multidisciplinary approach. How are you organized to stimulate synergies, especially in a field like that of hospitality and luxury?

The answer is simple. I would define our attitude as almost innate, something each of us has; we are very curious and our curiosity often goes beyond the already wide boundaries of everyday operation, linked to our specific tasks in the studio. Lombardini 22 is divided into divisions – six of them, to be precise – but they all come from the same origin, and in spite of the fact that each branch has its own specializations (those required by the market), the interaction with the other divisions is continuous, without operating in separate compartments.

The final product is always a choral effort. This is an important value in which I believe firmly, and which I also practice inside Eclettico: from the person who comes up with a concept to the physical plant expert who suggests a solution or points out a possible problem, from the maker of renderings to those who are immersed in the rhythms and specificities of a worksite. The assembly of all these pieces is complicated, and definitely requires more time, but the results are clearly superior. At L22 there is an atmosphere of collaboration, but that doesn’t mean there are no tensions: we have healthy competition between the various division, which is probably essential to achieve good results.

author: Matteo De Bartolomeis portrait photo: Eclettico Design-Lombardini22 projects photo: Studio Tettamanzi (Armani Hotel) Beppe Raso (Palazzo delle Poste Salerno) Eclettico Design-Lombardini22 (CR7 Pestana Hotel)

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What is the ideal Eclettico client?

We like clients with clear ideas, and hopefully a clear budget. For the economic side – when necessary – we have our own in-house project management team that can construct and control the budget of a hotel. I come from that sector myself, so I am attuned to this aspect, and I always try to give back a share to the client, a factor of savings without compromising quality. Working without a budget is a problem for us, just as it is a problem to have no budget limits, even though many designers would see that as a dream come true. We had an experience like that in China, with a client for a house with an area of 7000 square meters; the cost per square meter was embarrassingly high, with rooms that could each cost millions of euros. It is very difficult to work like that, without parameters of reference. Like everyone, we try to offer clients an emotion, and for those who do not have clear ideas we try to give a set of tools that will help them to make assessments and choices.

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PEOPLE

Is there a case history of L22 where multidisciplinary operation has been particularly important?

For us it is the norm, we always discuss things amongst ourselves, even if our task is limited, for example, to the interior design, where the architecture may have been done by others. Two years ago, before launching Eclettico, I finished the project for the Microsoft House done by our firm DEGW, in a building by Herzog & de Meuron; we had to come to terms with architecture that was not of our making, where there were no suspended ceilings and nothing could be altered. We had to design everything inside the floors, including electrical and mechanical systems. We invented boxes in tune with the existing container: the final result is a space conceived as if it were a house, and it has won many awards. All the divisions of Lombardini 22 were involved in this project: from workplace design to physical plant, project management to interior design and communication.

Giuseppe Varsavia

Armani Hotel, Milan

CONTRACT & HOSPITALITY

Who are the clients who seek Eclettico?

There are many, not only for large projects, because we also do small jobs. Our fees tend to be low, we calculate the cost based on clear parameters of time and required staff. There is no L22 percentage connected to the value of the object on which we are working. The cost is always based on the value of the time of the professionals involved.

How did Cristiano Ronaldo get involved with Eclettico?

We were called in by a developer with whom we were already working in Morocco, when Pestana – the hotel operator – had asked him his opinion of a new hospitality concept; he suggested us, and our idea met with approval. The initial situation was very appealing. Pestana had just opened hotels in Lisbon and Madrid, with a style a bit like the Hard Rock Cafés, and they had understood the need for a change of direction, since the “tribute” formula could not guarantee a long-term future. A hotel has an operation span from 10 to 20 years, so associating its mood with a champion who will soon stop playing just didn’t have “legs.” The solution was to draw inspiration from the style Cristiano Ronaldo transmits, his way of dressing, his lifestyle, his professionalism. In contrast with what happens in some parts of the world, and especially in China, where there is a very limited mainstream with a standard international style, so when you enter a

PEOPLE

Giuseppe Varsavia

hotel you could be anywhere, we began with the particular features of the place (Marrakech), and attempted to interpret it through our idea of elegant, fresh, not stuffy architecture. The hotel is now under construction and the model rooms were approved with no modifications (something that is quite rare). The workplace sector has undergone major changes over the last few years, and there are many contaminations with the field of hospitality.

On top: Microsoft, Milan Below: Palazzo delle Poste, Salerno

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PEOPLE

Giuseppe Varsavia

Co-working, shared areas that change the style of furnishings‌ what do you think about this?

The scenario has a lot of variety, and the offerings are many, though in the end they all boil down to the same thing. The hotel, as a real estate asset, is becoming a condenser of functions that represent the paradigm of the society in which we live, reflecting its models: I socialize, I work out, I eat, I relax, I spend time. In Italy we are not accustomed to meeting and having a meal in a hotel, but in other countries that’s quite normal. The Student Hotel in Florence is an island, without comparable cases on the national scene; now it also has shops inside (in fact, it took one of the prizes at the 2019 edition of MIPIM, ed).

Projects in the works?

Too many, and we are also have difficulties with in-house resources, to cope with them all: a large mixed-use project in Kenya, many villas, two hotels in the center of Milan (top secret), lots of residential jobs and projects in Australia and China.

Above: CR7 Pestana Hotel Below: S32 Fintech District, Milan 152 | IFDM

Porcelain tiles for new design paths

info@refin.it refin .it

discover the new collections

CONTRACT & HOSPITALITY

154 | IFDM

HOTEL

New York

CONTRACT & HOSPITALITY

HOTEL

New York

Back ‘in flight’ The iconic TWA Flight Center, a neo-futurist masterpiece by Eero Saarinen, comes back to life as an extraordinary hotel at JFK airport in New York. A collaborative operation guided

by MCR and Morse Development, one of the most important hotel owner-operators in the United States

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lready listed as a heritage monument by the state of New York, in 2001 it was decided to close the Trans World Airlines terminal, since it could not cope with the growing number of passengers and the size of modern airplanes. Now, 18 years later, the TWA Flight Center at JFK Airport, a futuristic building created in the 1960s by Eero Saarinen, comes back to life as a hotel inside the famous airport. From the outset all the parties involved in the project, starting with the developers MCR and Morse, have firmly agreed to keep the legacy of the Finnish architect perfectly intact. All the players involved were on the same page: Beyer Blinder Belle Architects & Planners, for the delicate restoration of the original structure; Lubrano Ciavarra Architects, creators of two new volumes flanking the building by Saarinen, containing the hotel rooms; the designers of Stonehill Taylor, who did the room interiors; and INC Architecture & Design, designers of the building housing the events center. Each group has made a concrete contribution with respect to the futurist vision of an avant-garde designer who was one of the best-loved architects in the United States. The core of the TWA Hotel is precisely the iconic TWA Flight Center, which functions as a lobby containing 6 restaurants, 8 cafes and shops: a shell in which the spaces were IFDM | 155

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shaped by Saarinen to create a single curved, dynamic structure. The form in fair-face concrete and glass, like a bird in flight, bears witness to the optimism of the past and present, which inspires the two new slightly recessed ‘wings’ that contain 512 rooms with runway views – suitably soundproofed – and a panoramic observatory of 10,000 square meters, with a pool on the roof. To preserve the atmosphere envisioned by Saarinen, keeping many details from the time, it was necessary to offer visitors a true plunge into the past as soon as they enter. In the spectacular lounge the gaze is captured by an area with red velvet seats, bathed in the light that enters through the windows.

Here everything is intentionally vintage: from the furniture to the staff uniforms, all the way to the souvenirs, including the flip-board by the Italian company Solari, whose original was enclosed by an oval shell designed by Saarinen, completely

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HOTEL

covered with white tiles by the famous mosaic makers of the school of Spilimbergo, in the province of Pordenone. The Udine-based Solari has been able to trace back through all the designs of the 1960s, making sure that the two displays for the hotel halls are identical. The careful renovation, besides the restoration of the parts by Eero Saarinen, already eager at the time to experiment with the total design of the entire complex, also covers the interiors designed by Charles Eames, Raymond Loewy and Warren Platner, as well as recovery of flooring times and the 486 panels of the windows, now replaced with copies of the originals. Of course the guestroom interiors have also been created with historical references in mind, through the authenticity of every detail: the brass lights, the furnishings designed by Saarinen and produced by Knoll (Womb Chair, Tulip side table, Executive Chair) along with those in

New York

Owner & Developer: MCR and Morse Development Architecture: Beyer Blinder Belle Architects & Planners, Lubrano Ciavarra Architects, INC Architecture & Design Interior design: Stonehill Taylor Furnishings: Herman Miller, Knoll Author: Manuela Di Mari Photo credits: TWA Hotel/David Mitchell, TWA Hotel, Christopher Payne/Esto

CONTRACT & HOSPITALITY

HOTEL

New York

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HOTEL

New York

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HOTEL

New York

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walnut, the rotary dial telephones, the combination of original hues in the white corridors with red carpeting in reference to the color of the TWA logo. The project also includes, as is only fitting, a museum that traces back through the history of the airline, with the entire collection of uniforms worn by the hostesses, as well as on board gadgets and objects. “Eero Saarinen’s cathedral to aviation has always looked toward the future – says Tyler Morse, CEO and Managing Partner of MCR and Morse Development. - We restored and reimagined his landmark with the same care that he devoted to his design. No detail went overlooked — from the millwork by Amish artisans to the custom font inspired by Saarinen’s own sketches to the one-of-a-kind manhole covers. Starting today, the world can enjoy this midcentury marvel for many years to come.” The hotel becomes a fulcrum inside JFK, easy to reach from all the terminals, by using the AirTrain or the original passenger tubes designed by Saarinen that directly connect it to Terminal 5.

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HOTEL

New York

Don’t just call it a “wallpaper” WALLPEPPER.IT/DESIGNED AND PRINTED IN ITALY

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HOTEL

Mumbai

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HOTEL

Mumbai

Home from Home First in Asia, the new Soho House & Co members’ club in Mumbai joins 22 other locations scattered in the UK, Europe and North America. The goal: to create a very comfortable, private place where guests will feel right at home. Wherever they go

“I

n you I found my home from home…

Fresh air, open ways, mild nights, wild days…” Maybe Nick Jones, founder and CEO of the Soho House & Co members’ club, was inspired by the song by Roo Panes ‘Home from Home’ for his chain of exclusive clubs, which has gradually grown from the first one in 1995 for a community of creative clients, and is now a reference point in 23 locations around the world. The first to blend traditional hotels with a

strict membership structure, giving rise to a new hospitality approach. When you are traveling it is difficult to really feel at ease, protected and comfortable, the way you do at home. So Jones has made this the main objective of his hotels. For the Mumbai club, the latest in chronological order, he has done the interior design together with Soho House Design director Linda Boronkay, absorbing influences from Indian culture, from the colors that forcefully enliven the city, from Owner: Nick Jones Hotel operator: Soho House & Co. Interior design: Linda Boronkay, Nick Jones Furnishings: mix of antique furniture with pieces

by Soho House Design Lighting: Created from antique sari fabrics Bathrooms: Indian cement tiles, vintage mirrors and marble fittings Gym: Technogym Author: Manuela Di Mari Photo credits: Simon Brown

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HOTEL

Mumbai

Rajasthan textiles to local antiques. The terrace, in particular, features the hues glowing in the powerful sunlight on traditional Indian cement tiles, the walls clad in recycled wood, the sun awnings, the marble of the bar counter, the local furnishings in bamboo, the blue reflections of the swimming pool on the rooftop. An aesthetic that is every bit as satisfying as the services offered. One entire floor, of the 11 in the Soho House Mumbai building, is set aside for recreation, with a fitness facility (complete with trainers and a sauna), a swimming pool, a screening room with 34 seats equipped with tabletops and film menus, and a library.

On the ground level, two restaurants – Cecconi’s Mumbai and The Allis – operate at the service of the city, as well as for guests. The refined setting of the Eva Room is also open to non-members, and offers a multifunctional space for events, workshops and encounters, with the possibility of welcoming from 20 to 70 people at a time.

In the spaces set aside for club members the decor

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HOTEL

Mumbai

is honed down to the smallest details to wrap clients in a warm, reassuring atmosphere: glass chandeliers and teak floors, antique mirrors and leather for the seating, are perfectly combined to convey a sense of familiarity. These effect is boosted further in the guestrooms, places of maximum privacy, 38 in all, including two Playroom suites. Every space has been individually designed. Here the mats in agave fiber, antique furniture in wood and bone inlays, encounter lampshades made with old sari fabrics found at nearby markets. The bathrooms ‘narrate’ stories of the territory through local materials and colors. Soho House Mumbai also presents an art collection curated by Kate Bryan, containing over 200 works, of which 80% are by artists from Southeast Asia, including an impressive installation by Subodh Gupta and key works

by Bharti Kher, Thukral and Tagra, together with some of the most outstanding representatives of the Indian contemporary art scene. All to be enjoyed inside the club, even in the bedrooms.

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LIBRARY

Helsinki

CONTRACT & HOSPITALITY

LIBRARY

Helsinki

A curved horizon of straight lines With undulated roofing and a facade in Finnish red spruce, the Oodi Central Library provides a special multifunctional facility designed in keeping with the needs expressed by the citizens of Helsinki, for a civic hall that includes a cinema, a recording studio, exhibitions and creativity incubators. As well as books and innovative digital resources, of course

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he legacy of artistic and cultural thought left by the famous architect and designer Alvar Aalto continues to lead to surprising results in Helsinki, where the high average quality of the architecture is perceptible not only due to the personal value of its designers, but also for the exceptional local prowess in the field of construction. A vital architecture that responds to the morphology of the territory and the human scale, without overwhelming them. A particularly discreet contribution, not coincidentally described as “the nation’s birthday present to its citizens” is the new Oodi Central Library: a very modern structure of 85,000 square meters designed by the studio ALA Architects and developed in a context of participation involving the citizens as well as the municipal administration. The winning project in the international competition took the suggestions and visions of residents into account by means of surveys, placing the library – in keeping with a virtuous model with an accent on education, social equality and active citizenship IFDM | 167

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– in the place already known as Citizen Square (Kansalaistori), as part of a cultural district that includes the Amos Rex and Kiasma contemporary art museums, the university, the opera house, foundations, stores and exhibition spaces. The location reflects the symbolic power of reading as an act of democracy, freedom and equality, since the library faces the imposing, stony volume of the Parliament building. The work by ALA Architects has three levels designed to interact: the first two contain multifunctional spaces, a cinema, offices, classrooms, spaces of interaction and play, meeting rooms and an ‘urban laboratory,’ while the upper level is for the library proper, with its collection of over 100,000 books and a system of robotic trolleys to organize and distribute the materials. With an open layout and the emphatic name of Book Heaven, this area extends below

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LIBRARY

Helsinki

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the undulated roof punctuated by skylights and completely open to the landscape thanks to glass walls. The internal space is mutable and adaptable to different functions, thanks to what the architects define as a “romantic reaction to its rigid, linear environment.” The profile, in fact, in spite of the forceful architectural expression of a rectangular geometric form stretched and extended “like the bow of an arrow,” suggests long waves standing out on the horizon. The surfaces in Finnish red spruce create a vivid contrast with the glass and metal of the surrounding buildings.

The ground floor is like an extension of the square, with a large vault over a covered space that can be used for outdoor events. Inside, local wood and neutral colors bring unity to the whole structure, adapting to the more dynamic lines and surfaces of the upper level, where modular shelving supplied by UniFor organizes the various functional areas of the library. For the furnishings, the choice has gone to the elegant and minimal forms of the Arper collections, items capable of “standing up to intense use, with a light, playful spirit to express the character of the project and to conserve its cultural value.”

LIBRARY

Helsinki

Owner: Municipal government of Helsinki Architecture: ALA Architects Interior design: Heikki Ruoho Glass partition walls: Inlook Acoustical wall surfaces: Lumir Furnishings & Lighting: Arktis, Arper, Artek, Flos, Inno Interior, Isku Interior, Källemo, Lammhults, Martela, Mobel, Mobles 114, Modeo, Nikari, Piiroinen, Quinze & Milan, Rubn, Sisuwood, Tunto, Unifor, Vitra, Vivero Custom-made designer rugs: Jenni Rope and Sakke Yrjölä with Koolmat, Laura Merz, Marika Maijala, Matti Pikkujämsä, Piia Keto, The Rug Company Author: Antonella Mazzola Photo credits: Tuomas Uusheimo

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RETAIL

Design codes Playing with contrasts between past and present, white and black, lights and shadows. This is the concept by Gwenael Nicolas for the new Versace boutique recently opened in Florence

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he French architect residing in Tokyo, where he founded his studio Curiosity, always keeps in mind the relationship between space and what will happen inside it, to design places capable of offering clients a true experience. With extensive retail design experience, Gwenael Nicolas has worked on other Versace boutiques, including the one in Miami that has inspired certain aspects of the store in Florence. Here, contemporary design blends in harmony with the history of the building at Via De’ Tornabuoni 17. Near Piazza Santa Trinità, the boutique welcomes customers with many windows featuring geometric motifs that alternate 170 | IFDM

white triangles of Venus marble with dark ones in Pierre Bleue (inverted with respect to the facade of the store in Miami). The layout is clear: the front part of the store, towards the street, is entirely for women, while by crossing an intermediate space with a blue lounge one reaches the area for men. The original vaulted ceilings and capitals have been conserved and enhanced by a gilded metal structure of great visual impact, which contributes to the lighting of the space. To keep the geometric pace, the architect has designed a similar feature in strips of brass for the wall on which women’s accessories are displayed. Gates clad in gold galvanized metal connect the vari-

Florence, Italy

CONTRACT & HOSPITALITY

RETAIL

ous areas of the Versace boutique, filled with the inimitable codes of the brand that is always surprising, always with an eye on innovation. These codes include the gold of the suspended ceiling, the wood floors clad with inlaid tiles made by Italian artisans, the walls covered in paint with a materic texture developed together with Oikos to add a rough look to the space. In several areas carpeting takes the place of the wood floors, in tones of gold and blue that blend well with the settees and armchairs in ton-sur-ton velvet, designed by the studio Curiosity. Marble and elements in gold galvanized metal set off the beauty and luxury of the creations of the maison.

Florence, Italy

Owner: Versace Interior design: Gwenael Nicolas – Studio Curiosity Furnishings: on design Author: Francisco Marea Photo credits: courtesy of Versace

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HOTEL

Shanghai

CONTRACT & HOSPITALITY

HOTEL

Shanghai

All under one roof He is Ian Schrager, inventor of the boutique hotel, while they are the studio Neri&Hu, creators of a new model of architecture. Their collaboration has led to The Shanghai EDITION, an urban luxury retreat of the new generation

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lso defined by Ian Schrager as ‘a small city in the city,’ the Shanghai EDITION is a true oasis of comfort in one of the world’s most populous places. Fine dining, leisure time, work, relaxation, meeting points, all under the same roof. Located on the lively East Nanjing Road by the Bund in Shanghai, the

EDITION Hotel project has firm roots in the city’s past and its cultural heritage, but with an eye on contemporary trends. The location on the tree-lined avenue facing the Huang Pu River is an Art Deco building from 1929, one of the most beautiful in the city, formerly the headquarters of the Shanghai Power Company. The main Owner: Luneng Hotels Management Concept/Programming/Creative Direction: Ian Schrager Management: Marriott International Restaurant concept: Executive Chef Jason Atherton Interior design: Neri & Hu Lighting design: Eric Schmitt Graphic design: Baron & Baron Uniform program: Freddie Lieba Author: Francisco Marea Photo credits: Nikolas Koenig

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HOTEL

Shanghai

CONTRACT & HOSPITALITY

HOTEL

Shanghai

lobby leads to the Shanghai Tavern of chef Jason Atherton, a spa, the Electric Circus nightclub and a roof garden. A nearby postmodern tower offers 145 rooms and suites, the new HIYA Japanese restaurant of Jason Atherton on the 27th floor, and the Punch Room with a rooftop for a fine view of the whole city. The project by Neri & Hu, in perfect tune with Ian Schrager’s approach (he has created the EDITION brand in partnership with Marriott International), provides a trip through the history of Shanghai, with elements that embody the past, present and future. The main hall is lit by a light sphere specially designed

by Eric Schmit and delicately held in place by a metal structure. The space is majestic, not just because of the height of almost 10 meters, but also thanks to the warm walnut paneling covering the whole ceiling. The same wood returns in the reception area on the other side of the building, with a lower ceiling (4.4 meters) to offer a sense of intimacy, as well as a large work zone

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and the possibility of storing valuables. A transitional space has been created between the historic building and the tower, known as the Urban Lobby, 21 meters high, with a lush garden suspended from the ceiling and an entire wall covered by a 7-story antique-finish mirror. Carefully selected fabrics, bedding by Anichini, walls and floors clad in pale oak, white marble in the bathrooms: every detail in the 145 rooms has been formulated for the comfort of travelers, who are welcomed into a warm, domestic atmosphere, with large windows through which to watch the Bund. At the top of the tower a helical aged bronze staircase connects to the HIYA Japanese restaurant, the Punch Room and the terrace on the 29th floor. The spiral motif is a signature that is often repeated in the EDITION properties, also seen in New York, Miami and Barcelona.

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HOTEL

Shanghai

A natural feeling for the project

SHELFORD design Marco Corti Hotel EMC2, Autograph Collection - Chicago

Via Don L. Meroni, 87 22060 Figino Serenza (CO) Italy Tel. +39 031 780295 www.nubeitalia.com

CONTRACT & HOSPITALITY

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HOTEL

Antwerp, Belgium

CONTRACT & HOSPITALITY

HOTEL

Antwerp, Belgium

Mystical atmosphere of modern times August is the new hotel complex designed by Vincent Van Duysen, based on the combination of five different buildings located inside the former military hospital of Antwerp, reshaped and updated after careful restoration in collaboration with Callebaut Architects

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ntwerp: the center of the diamond trade, with a Baroque spirit and a focus on a dynamic horizon that with a bit of daring has gradually boosted the city’s reputation on the level of architecture. This phenomenon is reflected in the interior design projects following the revitalization of constructed heritage in the Zurenborg area, in a process of transformation that embraces creativity in all its forms. This is the location of the Groen Kwartier, literally the ‘green quarter’ and the latest hotspot of the city, where a large military hospital was once hidden behind high brick walls, incorporating period buildings, churches and cloisters. The facilities were gradu-

ally abandoned, and today the site has become an urban residential oasis, featuring spaces for innovation and creativity, as well as a hospitality complex designed by the architect Vincent Van Duysen. Its name is August and it is composed of five different buildings, interconnected to include a hotel, a bar, a restaurant, a wellness center and a boutique. The conversion of an Augustinian monastery from the 19th century has produced most of the 44 guestrooms, a relaxing library and the kitchen of the restaurant guided by the award-winning chef Nick Bril, also in charge of the remarkable nearby venue The Jane.

The former private chapel of the nuns has become

Owner: Mouche Van Hool, Laurent De Scheemaecker Hotel operator: August Architecture: Vincent Van Duysen Architects Interior design: Vincent Van Duysen in collaboration with Callebaut Architecten Landscape design: Wirtz International Landscape Architects Furnishings: Molteni & C, Nijboer, Serax Tableware: Serax Lighting: Flos Carpets: made to measure by Ferreira de Sá Art work: Peter Seal Staff uniforms: Christian Wijnants Author: Antonella Mazzola Photo credits: Robert Rieger

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HOTEL

Antwerp, Belgium

CONTRACT & HOSPITALITY

HOTEL

Antwerp, Belgium

a dramatic lounge with bar, while the adjacent winter garden contains the hotel restaurant with a glass roof. A pair of row houses has been converted to create the spa with access to a small lake for swimming. New emotional and functional bonds unite the volumes with their updated functions, intentionally sustained by a mystical atmosphere that becomes an indispensable aesthetic value.

From the monastic simplicity of the guestrooms of the attic to the ‘modern sanctuary’ of the bar, where authentic heritage is matched by contemporary features, playing with the combination of black and white and new sources of light. While the exteriors are based on conservative choices that preserve the typical red Flemish brick, the interiors trigger a rather spectacular dialogue between historical details and the contemporary language of Flos lighting and furnishings designed by Vincent Van Duysen in collaboration with Molteni & C. The decorative moldings of the walls and the rich patterns of the floors restored to their original IFDM | 181

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splendor interact with a minimalist green-black salon in the reception area; in the chapel the vaulted ceiling has been painted black, and dark wood paneling sets off the Paul sofas in the gray and beige versions, placed along the nave. The counter installed in place of the altar is lit by an iconic lamp by Adolf Loos, and a more intimate lounge has been inserted in place of the organ and the choir. A similar language has been applied in the guestrooms, which although they are all different due to the architectural characteristics of the site, provide essential comfort thanks to custom furnishings in pale wood, handmade Portuguese carpets and the synthetic but technologically sophisticated sign of the custom lamps of the Infra-Structure system, produced by Flos based on design by Vincent Van Duysen.

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HOTEL

Antwerp, Belgium

WONDER. DUBAI | MANUEL ALVAREZ DIESTRO In his latest series, the Spanish photographer highlights the desert earthy tones that are reflected in the human built mega towers. The series gives the skyscrapers an aesthetically pleasing quality in a city

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Š Manuel Alvarez Diestro

where tall buildings and multilane motorways dominate the social fabric. The city becomes a glossy mirage within its dry surroundings, playing with light, shadows and the building’s repetitive elements.

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WONDER. AL WAKRAH, QATAR | AL JANOUB STADIUM | ZAHA HADID ARCHITECTS, AECOM, SCHLAICH BERGERMANN PARTNER © Hufton+Crow

Inaugurated in May 2019, Al Janoub Stadium is the first new stadium commissioned for the 2022 FIFA World Cup. The operable roof was designed in sympathy with the cladding using pleated PTFE fabric and cables.

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Serie T

Design Matteo thun & antonio RoDRiguez More than just a heater; a piece of furniture that integrates into spaces with great personality.

The first tailored radiator, made from extruded aluminium, with T-shaped section that gives the heater its name. This is available in various configurations, in both the vertical and horizontal versions.

Serie t can be requested in the length most useful for the customer, from a minimum of 100 cm to a maximum of 250 cm, with a 1 cm step.

This allows maximum flexibility and makes the “T” a product that can become “stitched” in a tailored way upon the specific requirements of the customer.

This allows the product to integrate perfectly into the space that surrounds it.

Recyclable aluminium Low water content High heat efficiency 200 colour variations

AntrAx It srl Via Boscalto 40 31023 Resana tV tel. +39 0423 7174 fax +39 0423 717474 www.antRax.it antRax@antRax.it

WONDER. OSSEO LUXURY SAILING YACHT | IGOR JANKOVIC

© Igor Jankovic

The 72 Osseo has a carbon fiber and graphene hull. It can accommodate up to 12 guests, its spacious main saloon is an open space, while the beach area is covered with a semi-transparent roof and tinted glass.

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Bonola collection designed by Jasper Morrison in 2013. Photo by Santi Caleca

Monitor

IFDM | 191

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KITZBUHEL, AUSTRIA | CHALET H | MINOTTI

A vacation in Austria, surrounded by uncontaminated nature, elegant architecture and sophisticated design. Chalet H at Kitzbühel, created by the studio Prime Living, has three levels for a total area of 620 square meters. From the lounge and dining areas on the first floor it is possible to gaze at the mountains, thanks to large full-height glazing that brings abundant light to the spaces furnished with pieces from the Minotti collection. In the living area, the protagonist – besides the majestic open fireplace – is the Hamilton sofa, combined with the Creed armchairs and a set of tables, including Huber, Kirk, Kitaj and Florence. Beside this zone, a cozy corner study is a perfect spot to read or relax on a comfortable Aston chair. In tune with the presence of wood in the chalet, the wooden dining table is surrounded by Aston chairs and stools. The refined design continues in the outdoor spaces, with the seats and tables of the Virginia Outdoor series.

Photo © Jamie McGregor Smith

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MONITOR

MONITOR

CONTRACT & HOSPITALITY

MANAMA, BAHRAIN | MANAMAT AL GOSAIBI CAFE | PORADA

Refined curves and exceptional materials, combined with over a decade of experience in the contract and hospitality sectors, have permitted Porada to enter the sophisticated and very exclusive world of Ammar Basheir, the designer based in Bahrain, known for the creation of “atmospheric spaces for the most demanding palates of the Gulf.� The Ester chair by Porada seems like a prototype of Basheir-oriented seating: delicate in its forms, essential and luxurious at the same time, featuring precious materials. Ester occupies less space thanks to its light, terse design rich in expressive form.

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SANLORENZO 460 EXPLORER | FLEXFORM

The studio Antonio Citterio Patricia Viel has designed the new superyacht of Sanlorenzo, and Flexform is the protagonist with the furnishings created by Antonio Citterio. The setting is inspired by the sea, getting away from the “residential” experiences of previous yachts to embrace a simpler concept, without neglecting elegance and refinement. The economy of the indoor and outdoor spaces is perfectly in tune with the Flexform furnishings: the simple lines of the Lifesteel seating system and the Grandemare sofa in the living area represent “the other half of the apple,” the perfect completion of an ambitious decor. Flexform also makes its mark in the bedroom, with the Paul armchair.

Photo © Leo Torri

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MONITOR

MONITOR

CONTRACT & HOSPITALITY

VAL-D’ISÈRE, FRANCE | LE BLIZZARD + LA MOURRA | TUBES

The architecture of the two 5-star hotels Le Blizzard and La Mourra at Val d’Isère, in France, suggests the typical style of mountain chalets in wood and stone. These are two independent structures held by the same ownership. The interior design has been done by Beatrice Cerboneschi, who has chosen to warm up the spaces with Tubes technology. The bathrooms of the bedrooms feature the Elements series, with Montecarlo (designed by Peter Jamieson) and t.b.t. (designed by Ludovica+Roberto Palomba) in the horizontal version. Both are towel warmers that add a touch of design to the spaces. In the Spa by Clarins of the Le Blizzard hotel the Milano radiators (designed by Antonia Astori and Nicola De Ponti) and Add-On (designed by Satyendra Pakhalé) are like true works of art that contribute to create a sense of wellbeing in a place set aside for pure relaxation.

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MONITOR

LAS VEGAS | LAGO – BELLAGIO RESORT & CASINO | PEDRALI

European and Italian glamour for the Lago restaurant of the Bellagio Resort & Casino in Las Vegas. The project is by Studio Munge, based in Toronto, and Pedrali has supplied the seating in the luxurious indoor area of the venue. Designed by Patrick Jouin, the Ester chairs represent one of the high points of Pedrali’s range. Leather and aluminium – the main materials – make Ester a refined, precious chair. Lago is one of the most sought-after bookings on the Strip, with a very high level of interior design. It has a daring architectural setting: in this context Pedrali has gained a reference of absolute prestige.

The Ester seats combine ergonomics and functional quality with the elegance demanded by the context (and award-winning chef Julian Serrano).

Photo © Evan Dion

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MONITOR

GRENADA ISLAND, CARIBBEAN SILVERSANDS | KETTAL

By the Parisian design duo AW2 (winners in 2018 at MIPIM in Cannes, in the Best Hotel section), Silversands is an elegant, smart hotel in Grenada, the Caribbean “spice island.” Minimalism rules in this structure that focuses on nature and beautiful views. The outdoor furnishings of Kettal fit perfectly into this context. The Spanish firm has chosen a number of different collections for the occasion: from the now-iconic Cala by Doshi Levien, to Maia and Vieques by Patricia Urquiola, Basket

by Nanna and Jorgen Dietzel, all the way to Bitta

by Rodolfo Dordoni. Kettal’s ability to respond to the various requests of Reda Amalou and Stéphanie Ledoux (AW2) confirms the validity of the company’s strategy, both in terms of choice of designers and in the area of commercial policy.

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SAN FOCA, ITALY | POSIA LUXURY RETREAT & SPA LIVING DIVANI

The POSIA Luxury Retreat & Spa in San Foca, Salento, is all about the summer. It is about sea and sun, golden beaches whose colors invade the spaces and furnishings.

Living Divani plays a leading role, giving the rooms a harmonious, relaxing atmosphere without overlooking direct ties to the territory: the stories of Salento landscapes are narrated in the recipes of the “Green Bar,” to enjoy while seated along the central counter on the colorful Maja D model by Piero Lissoni, in a vibrant shade of blue, or around the forceful presence of the Wedge table by Arik Levy. To listen to the sea, guests can stretch out on the Extra Wall modular sofa in blue, or the Frog armchair in green. By a waterfall, nestled in the fine capitonné work and geometric lines of the Lipp sofa by Piero Lissoni, you can find the perfect location to sample the innovative cuisine of the Aura Restaurant.

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MONITOR

CONTRACT & HOSPITALITY

MONITOR

COLOGNE | 25HOURS HOTEL THE CIRCLE LAUFEN

The Circle is inserted in an original building with a semicircular plan, previously occupied by an insurance company and converted by the architecture firm O&O Baukunst and Werner Aisslinger, who has handled the interior design.

The 207 rooms have various sizes and are divided by position into Outer and Inner Circles. In thematic terms, they are based on the rigorous architecture of the postwar era and imaginative modernist utopias, applying ideas, materials and colors that link back to a playful retro style. The Inner Circle rooms create a futuristic setting with the concept of ‘open’ space, where the bathrooms are placed behind the beds to offer a fine view of the city directly from the shower. Laufen has supplied iconic Kartell by Laufen washbasins for both the inner and outer rooms: sober, elegant, and again with a circular form.

Photo © Steve Herud

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MONITOR

MILAN | ATTIMI BY HEINZ BECK | ARTEMIDE

Taste, style and rhythm. The Attimi restaurant by Heinz Beck at Milano CityLife responds to these parameters, with three-star cuisine suitable for every moment in the day. The project by Studio Fabio Novembre develops the venue around a majestic counter, offering a view of the kitchen. The restaurant is lit by Artemide, with a linear sequence of Discovery Vertical 100, elegant fixtures that do not invade the space but take on volume and substance only when they are turned on. These luminous circumferences, surrounded by an elegant black support, create a dramatic effect, providing uniform lighting for the tables. The Discovery lamps, winners of the Compasso d’Oro 2018, have been produced for this project with a remote power supply kit, making their profile even cleaner and more essential.

Photo Š Andrea Martiradonna

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MONITOR

CONTRACT & HOSPITALITY

KIEV | SPICY NOSPICY | BILLIANI

Spicy NoSpicy, selected for the Restaurant & Bar Design Award 2019, announces its approach to oriental cuisine right from the name. But in this case Asia is not just a matter of flavor but also of taste in the wider sense of the term, reflected in warm, luminous interiors created by the studio YOD Design Lab. The key element is wood, woven in the tapered objects used for fishing scattered on the ceilings, and in a neutral wood combined with aluminium panels with a matte finish, decorative features with a glow effect, plants and carved columns. The decor by Billiani perfectly reflects the mood of the venue with the W. stools in blanched beech at the bar, and the Fratina chairs in the blanched ash version with woven Havana cord seats in the dining room.

Photo Š Andriy Bezuglov

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PIEVE EMANUELE, ITALY CAMPUS HUMANITAS | FANTONI

The architect Filippo Taidelli of the studio FTA has designed the International Campus of Medicine and Surgery, Nursing and Physiotherapy at the Humanitas Research Hospital of Pieve Emanuele.

The warm tones and essential architectural lines of the three main buildings respond to functional needs while blurring the boundaries between education, research and multifunctional hub facilities.

The communal spaces, all representing high-traffic areas, called for special acoustic measures offering high technical performance and sustainability. Fantoni has supplied 4000 square meters of 4akustik, a wood-based sound-absorbing covering, which thanks to its completely customized decorations contributes to the overall elegant image of the site.

Photo Š Andrea Martiradonna

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MONITOR

MONITOR

CONTRACT & HOSPITALITY

NAPLES | RISERVA | RIFLESSI

With objects made to measure and 360-degree customization, Riflessi is a growing force in the world of contract, thanks to its sartorial expertise. Recent achievements include the Riserva restaurant opened a few months ago in Naples.

Designed by the architect Mario Sorrentino, the venue offers splendid views through large windows, and from the rooftop. The guests can choose between Shangai XL tables with a height of 95 cm and ceramic tops, custom tables with Shangai bases and Canaletto walnut tops, and small Lumiere tables. The seats, in keeping with the table heights, including Carmen, Sofia and Lilia stools alongside Sofia, Lilia, Katia, Carmen and Perla chairs. For the lighting, besides the Shangai suspension lamps, Stilo fixtures have been designed with tubing of different lengths in the finishes pink gold, brushed gold and graphite, as well as the LED Loop models, suitable for lower ceilings. The space contains many mirrors and the Segno sideboard, utilized as a cash desk.

Photo Š Marco Baldassarre

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MONITOR

GEORGIA | PARAGRAPH RESORT & SPA SHEKVETILI | PRECIOSA

The Paris-based studio Hat Design has created this hotel of the Paragraph chain, part of the Autograph Collection of Marriott. The mission was to connect luxury to the regional context, combining the tradition of Georgia with the desire to surprise and seduce: the choice of a decorative lighting leader like Preciosa gives the hall and the ballroom two installations that steal the stage in terms of size and forms. Two genuine luminous sculptures, which Preciosa has made by taking inspiration from the coast of Georgia: in the entrance hall 5256 glass spheres are arranged to produce portions that remind us of the forms of coral, multiplying the light to spread it into every corner. In the ballroom the composition suggests the shapes of leaves, and seems to be in constant motion.

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MONITOR

CONTRACT & HOSPITALITY

HERSONISSOS, CRETE | NANA PRINCESS | STARPOOL

The Nana Princess, with its evocative collection of 112 suites and villas, ‘combs’ its way across a large parcel of land, facing over 40,000 square meters of beach at Hersonissos, Crete. The design and materials create a sense of harmony with the landscape, including private pools and in some cases also gym, sauna and steam bath areas by Starpool. The high point – a true destination inside a destination – is the Royal Wellness Club, a social spa of 1400 square meters designed by the Italian firm Aledolci&Co with consulting and products by Starpool. The area includes a “wet” itinerary, reached by walking down a no-sound corridor, and a hair & beauty area with Nuvola Experience by Starpool: a system of three elements – floating tub, massage cot and multifunctional trolley – to revolutionize beauty treatment facilities.

IFDM | 205

CONTRACT & HOSPITALITY

MONITOR

CASTELROTTO, ITALY | HOTEL SCHGAGULER | AGAPE

Preserving the original structure, the renovation by Peter Pichler Architecture reinterprets the three volumes of Hotel Schgaguler in a contemporary way, incorporating vernacular elements typical of the Alpine context. The ground floor contains the hall, restaurant and bar, with the latter connected to a large terrace offering a view of the Sciliar, while the lower level is entirely set aside for wellness services. The interiors are simple and functional, with open layouts featuring local materials like chestnut wood and stone. The welcoming atmosphere continues in the rooms and suites, with timeless design in neutral colors. In the bathrooms the Bjhon round washstands by Agape, designed by Angelo Mangiarotti in 1970 and made with bio-based CristalplantÂŽ, rest on truncated conical columns for a striking sculptural effect.

Photo Š Oskar Dariz, Martin Schgaguler

206 | IFDM

MONITOR

CONTRACT & HOSPITALITY

DUBAI | ROYAL MIRAGE HOTEL | TALENTI

Moment of true relaxation around the swimming pool of the Royal Mirage Hotel in Dubai, in the remarkable Jumeirah Beach on King Salman Bin Abdul Aziz Al Saud Street. Talenti, the Umbria-based company specialized in the design and production of outdoor furniture by renowned international talents, has supplied the Breez 2.0 cots. Based on a project by Karim Rashid, these products have an ergonomic design that perfectly adapts to the body, ensuring maximum comfort. An evolution of the classic Breez model, Breez 2.0 has an aluminium structure covered in breathing Microfeel fabric. Perfect for outdoor use, this material stands up to strong summer sunlight and all the weather conditions of Dubai.

IFDM | 207

CONTRACT & HOSPITALITY

MONITOR

MOSCOW | BURO TSUM | ETHIMO

In the Tverskoy district, on the fifth floor of an extraordinary building in neo-Gothic style that contains the largest grouping of luxury stores in Moscow, the Buro Tsum restaurant is now open. A new reference point for a contemporary reinterpretation of Russian cuisine, the venue offers a relaxing atmosphere with rooftop spaces, where the furnishings and details become natural extensions of the interior design. This is the refined setting for some of the most iconic collections of Ethimo: from the Nicolette dining chairs created by Patrick Norguet, featuring intense, lively colors, to Esedra, the lounge collection by Luca Nichetto in woven sand-color Natwick fiber. These products are joined by the simple geometric lines of the Costes dining chairs in teak.

208 | IFDM

CONTRACT & HOSPITALITY

MONITOR

LUGANO, SWITZERLAND | NOVOTEL | NUBE ITALIA

The Novotel in Lugano is entirely Made in Italy, after a recent restoration guided by the architect Marco Corti, designer of the new interiors. The right balance of business services and leisure time has been achieved by Corti with interior design that has international flair, where the collections of Nube Italia add a touch of elegance and lightness. All the areas of the hotel, from the restaurant to the rooms and lobbies, feature seating and complements by the Como-based company: the Shelford chair lights up the lobbies with its natural glamour and refinement, while the Fancy chair with its own ottoman represents the fil rouge that links contemporary and modern. The Harbour sofa is a tribute to the global mood chosen by Nube Italia for all its products. True restyling with style.

IFDM | 209

CONTRACT & HOSPITALITY

ENCINO, USA | VALLEY VISTA | CERAMICHE REFIN

Valley Vista has been assigned an honorable mention in the Ceramics of Italy Tile Competition 2019, the contest that focuses on innovative use of Italian tiles in North America.

We are at Encino, near Los Angeles, a zone of very prestigious homes. The new structure designed by DI Group INC to adapt to any lifestyle or owner (families, young couples, professionals) features surfaces by Ceramiche Refin. Wide Steel is the collection chosen for the indoor and outdoor floors (kitchen, dining room, living area, bathroom and entrance patio) with haloes, cloud effects and slight etching to bring out the material’s character. In the bathrooms, the walls rely on the urban overtones of Design Industry (including two different types of surfaces, Oxyde and Raw), while Arte Pura plays with the dialogue of different materials, or Plant provides a wood-cement solution with a rugged worn finish. The walls are done in Wood2, a wood-effect porcelain stoneware.

Photo Š Courtesy of DI Group

210 | IFDM

MONITOR

MONITOR

CONTRACT & HOSPITALITY

BARCELONA | SOFIA HOTEL | ROCA

A new interpretation of luxury. This was the tall order issued by the owners of the hotel (Selenta Group) to Jaime Beriestain (an interior designer with dozens of references in the world of hospitality) for the Sofia Hotel. The solution is a sensorial facility where the spaces seamlessly change, passing from classic to decorative-contemporary. In this context Roca contributes one of the features of elegant modernity, with the use of the SurfexÂŽ solid surface for the bathrooms, a mineral material that lends itself perfectly to custom workmanship and gives the bathrooms of the Sofia Hotel a unique tactile experience, in tune with the overall mood based on the physical qualities of materials and textures.

IFDM | 211

CONTRACT & HOSPITALITY

BENIDORM, SPAIN | INTEMPO SKY RESORT | EXPORMIM

Known as the tallest residential building in Spain, Intempo Sky Resort rises on the Mediterranean coast to a height of 198 meters over the beach of Benidorm.

A symbol of luxury, the tower designed

by Rafael Robledo (developer UNIQ Residential) contains 269 apartments, as well as all kinds of services for residents.

The Spanish brand Expormim has supplied chairs and tables from the Frames collection designed by Jaime Hayon for the lounge areas. With soft, elegant lines, the furnishings are all in rattan, a contemporary material that is also linked to craftsmanship and tradition. Frames also includes a low armchair, a coffee table and a divider. The collection by Jaime Hayon won a prize for Excellent Product Design in 2016 at the German Design Awards, and the iF Design Award in 2019.

Photo Š Maria Mira Fotografia

212 | IFDM

MONITOR

MONITOR

CONTRACT & HOSPITALITY

HANOI, VIETNAM | SPACES BELVEDERE | VICCARBE

In a refined 10-story Art Deco building in the lively city of Hanoi, the firm D&P Associates has designed the Spaces Belvedere co-working facility. Wagering on biophilic design and thus paying close attention to plants and light, the architects have created flexible spaces, choosing the elegance of furnishings by Viccarbe, in a range of fresh colors reflecting a preference for pastel rose. For informal meetings in the lobbies, soft Colubi seats have been selected in the classic Bauhaus style, joined by Ryutaro tables (designed by Víctor Carrasco), featuring steel legs that emerge from the top. The architects’ idea was to create a non-office, a workplace like a domestic setting, made more welcoming by handmade rugs and Burin Mini sculptural tables (designed by Patricia Urquiola). The more operative areas feature Trestle tables (designed by John Pawson) and Atleta seats (by Jaime Hayon) in the chair or stool versions.

IFDM | 213

CONTRACT & HOSPITALITY

JESOLO, ITALY | JESOLO LIDO CONDOMINIUM | TM ITALIA

In Jesolo, for an entire residential and hospitality complex with simple volumes and clean lines designed by the architect Richard Meier, the architect Andrea Laudini has done the furnishings of one unit inside the residential complex. Three elements form a dialogue in the living and dining zones, also in terms of color: the T45 Evo island kitchen (a monolith in Nero Intenso glossy lacquer, with top in Granito Nero Assoluto), the paneling in sand-tone raw oak, and the kitchen modules in NCS S4005Y20R black lacquer. The bedroom zone displays sartorial expertise, where in just 16 square meters the architect has inserted beds for three persons, thanks to a loft structure based on the D90 model, with custom cabinets and steps with drawers. The apartment contains two bathrooms with T45 Evo washstand cabinets, with doors and drawer fronts in matte lacquer and Rovere Materico Sabbia, to match the finishes in the living area.

214 | IFDM

MONITOR

MONITOR

CONTRACT & HOSPITALITY

ST. MORITZ, SWITZERLAND | KULM COUNTRY CLUB | VERYWOOD

The design of this club – affiliated with the famous Kulm Hotel – is by Norman Foster. With a budget of over 12 million euros, the renovation of the facility recreates the former splendor of one of the most glamorous high society locations, dating back to 1905. In this remarkable context and with a demanding architect like Foster, the choice of using seating by VeryWood to furnish the lobby takes on exceptional value. The focus is on the Skid lounge collection (by This Weber, also used in the Nomad Hotel in Basel) in its sofa, armchair and ottoman versions. With bases in pale wood, Skid is perfectly in tune with the mountain context, while adding a touch of modernity (where the choice of the coverings is the crucial factor) thanks to ironic fabric interpretations. The overall project pays tribute to the over 100 years of history of the place, with its “evergreen identity.”

IFDM | 215

CONTRACT & HOSPITALITY

TOKYO | KASHIYAMA DAIKANYAMA | ALIAS

Kashiyama Daikanyama, the new shopping complex designed by Nendo in the Daikanyama district of Tokyo, combines fashion, design, art and food. The versatile building is undoubtedly seductive thanks to its faceted interiors, as well as the many terraces formed by the staggered volumes, for pleasant moments of relaxation.

Alias contributes the sofas of the Dehors collection designed by Michele De Lucchi, installed on the balconies. The ‘dynamic’ design of this collection, in contrast with the rigid lines of the architecture, features large asymmetrical seats that encourage extreme variety of sitting positions, from the most formal to the most relaxed.

Photo © Takumi Ota

216 | IFDM

MONITOR

MONITOR

CONTRACT & HOSPITALITY

ATLANTA | YOO ON THE PARK | RIFRA

245 kitchens and over 400 bathrooms: these are the numbers with which the Italian company RiFRA has taken part in the making of the luxurious residential tower in Atlanta, YOO on The Park, created by the real estate developer Scott Leventhal, CEO of Trillist Companies Inc., in collaboration with YOO Studio of London, founded by Philippe Starck and John Hitchcox. All the apartments, from the studio to the penthouse, have been planned and designed for Millennials, with Line kitchens by RiFRA in the glossy lacquer finish, where the pure white of the external surfaces alternates with the matte black of the structures. For the bathrooms, YOO Studio has come up with a composition of a structure in dark stained oak and a pure white glossy finish, as in the kitchen. The top is in Mineralmarmo with a built-in sink, while the mirror has an oak frame to echo the framework of the cabinet.

IFDM | 217

Design Inspirations

IFDM | 219

CONTRACT & HOSPITALITY

DESIGN INSPIRATIONS

VERS L’EST | GIOVANNI PESCE | WALL&DECÒ

From photographs to wall paintings, from tromp-l’oeils to macro-designs on material backgrounds. All these artistic designs are cleverly turned into a vertical wall pattern, with truly original visual effects.

220 | IFDM

CONTRACT & HOSPITALITY

DESIGN INSPIRATIONS MEMORIES | ISABELLA SODI | GOLRAN

Š Beppe Brancato

Through ancient processes, manual colouring and knotting by the expert hands of Nepalese craftsmen, the Florentine artist has created two very elegant collections, Memories and Shadows, characterised by the use of fine yarns that create unexpected iridescence, embellishing each piece.

UNITY | MARC THORPE | VENINI

The craftsmanship legacy of the Senegalese weavers and Venini time honored glasswork come together in a limited edition artwork. The vessel portion is blown and hand-cut using the battuto technique. The base portion is crafted using a metal frame as supporting structure for the coloured polyethylene threads to be woven across vertically and horizontally to create the textile form.

FRIDAY NIGHT | FORMSTELLE | ZEITRAUM

The designer duo has created an extension of the FRIDAY family that brings the coziness of upholstered furniture into the bedroom.

The backrest swings in a gentle arc from the headboard down to the ground. Midway the elegance of the shape changes and the graceful back becomes a solid foot of the bed. The front part of the bed seems to float in the air, due to the inwardly offset feet. It is not just a bed, but also a sofa, cinema chair, breakfast lounge and a quiet island.

IFDM | 221

CONTRACT & HOSPITALITY

DESIGN INSPIRATIONS

CONCA | PALOMBA SERAFINI ASSOCIATI IDEAL STANDARD

The Conca basin collection takes inspiration from the original one designed in 1972 by Paolo Tilche – a range that showed a shift from pure practicality to a combination of form and function in the bathroom. The traditional rounded basin has been revamped with a minimalistic square design to align with contemporary trends.

LEDTUBE MINI | DANIEL LĂ“PEZ | MARSET

The Ledtube is turning ten and Ledtube mini offers a new size and a built in USB port. The reading lamp with a light beam that is specifically designed not to bother anyone else in the bed is now smaller and more compact.

WHY NOT | DORIGO | SITLAND

A collection of office chairs with simple, elegant lines that integrate a sophisticated mechanism offering excellent ergonomics. The backrest tilt can be adjusted to three positions, two discreet levers lock the backrest into position and adjust the seat height. The chair is available with a high or low backrest with a 5-spoke base in an executive and meeting version, and a low backrest with a 4-spoke base on glides in a meeting version.

222 | IFDM

CONTRACT & HOSPITALITY

DESIGN INSPIRATIONS H2O SYSTEM | WALLPEPPER®

The high performance system allows to bring WallPepper® graphics in bathrooms, kitchens, terraces, dehors, in direct contact with water and humidity. WallPepper® H2O system combines fiber glass sheets and the resin protective WallSilk® CAT; moreover, the additional treatment WallSilk® K makes the system suitable for extreme or underwater environments.

MIRROR OF DESIRES | AGRESTI

Jewel chest (57x37x56 cm) with leather frame and white hammered steel safe conceived for recessed placement. The six drawers are lined with white leather, while the brass accessories are gold plated. The opening works through a biometric device which is hidden behind the sliding front mirror.

HUMA | MARIO RUIZ | EXPORMIM

Huma is a dining armchair with metal legs. Backrest comes in natural rattan. Upholstered seat. Multiple upholstery options are available: natural or faux leather, virgin wool fabrics, velvet and polypropylene. The Huma chair explores the possibilities of rattan when providing greater comfort, thanks to the flexibility of the rods incorporated in its enveloping shellshaped backrest and to seat.

IFDM | 223

CONTRACT & HOSPITALITY

DESIGN INSPIRATIONS

NEXT STOP | LUCA NICHETTO | SANCAL

The modular seating programme is based on a scheme of cushions made of three seating pads multiples of which are used to create longer or shorter bench-like seats. Arms can be added to make two and three seaters sofa as well as armchairs. Two sizes of pouf and tables can be attached in the centre, end, or corner. The woollen textile cover has been designed in collaboration with Marie Louise Rosholm.

DNA TEAK | JOSÉ A. GAND�A-BLASCO CANALES | GANDIABLASCO

The natural tones and durability of teak timber slats contrast with the aluminium profiles of the whole collection. Its chestnut tones combine with the anodised aluminium colour and the powder coated tones available within the collection, which includes chaise longues, lounge chairs, armchairs and chairs, sofas, benches and tables.

MITO LINEAR | AXEL MEISE | OCCHIO

224 | IFDM

Occhio is expanding its award-winning Mito series to include this linear version, a multifunctional lighting tool both in terms of design and quality of light. Whether a floor, suspended, ceiling luminaire or a wall washer, each item was conceived as part of a comprehensive system that delivers the right light at the workplace or in public and private settings.

DESIGN INSPIRATIONS

CONTRACT & HOSPITALITY

GALAXY | BRAND WILLEN | BRANDVANEGMOND

The whole collection has been devised as a constellation of light, rounded shapes and varied compositions which can be customized at will. It includes chandeliers, hanging lamps, and floor lamps with different available finishes, black matt, nickel, brass, brass burnished, nickel aged, copper burnished.

IFDM | 225

CONTRACT & HOSPITALITY

DESIGN INSPIRATIONS

WESTSIDE | JEAN MARIE MASSAUD | POLIFORM

Š Tommaso Sartori

The polymorphic sofa system is made of a group of essential modules which, thanks to a deft play of combinations, create small private islands with either classic angular or wide deconstructed configurations. Expression of absolute comfort, it suits any context: from residential to public areas and hospitality.

CAPTAIN FLINT | MICHAEL ANASTASSIADES | FLOS

The indoor floor lamp is taken outside to illuminate landscapes and exterior architecture. The body and head of the lamp are available in four finishes, combined with a base made in precious natural stones quarried in Sicily or in Tuscany, black, grey and occhio di pernice lava stones or travertino imperiale. The system that keeps in balance the conical diffuser on the thin tubular structure also allows the diffuser to rotate in 8 different positions.

226 | IFDM

FILINEA | ANTONIO SCIORTINO | LACIVIDINA

The futuristic armchair is made of round, extremely slender steel bars, which are just a few millimetre thick, and was inspired by euphorbia tirucalli trees, which are very widespread in the South of Italy. The thin, intricately arrayed branches of the plants have been recreated in a seemingly impossible design.

CONTRACT & HOSPITALITY

DESIGN INSPIRATIONS CHROME BY OXEN COLLECTION | NEXO LUCE

The Chrome series belongs to the Oxen collection, inspired by the Bauhaus school. It centers on clean, geometric forms and balanced visual composition in order to achieve a contemporary elegant look. This effect the lampshade was realized through the use of blown glass, either transparent or metallized in chrome, copper or gold; while the body structure is made of steel finished in chrome, nickel, copper or gold.

TAYLOR COLLECTION | YABU PUSHELBERG | STELLAR WORKS

Grounded in clean, comfortable and functional design, the studio sought to create a collection of essentials that effortlessly work together but are not tied to a specific genre. Taylor comprises dining chair and table, bar and counter stool, glass cabinet, sofa and lounge chair.

RILLY | GAMFRATESI | DEDON

The double daybed is an island of subtle shading that can be placed anywhere to enjoy the surroundings in a comfortable and sheltered space. Friendly in its form, it features a fixed canopy that invites users to cocoon themselves in shady comfort. The overall effect is one of lightness combined with solidity, achieved with the combination of weave and powder-coated aluminum.

IFDM | 227

CONTRACT & HOSPITALITY

DESIGN INSPIRATIONS

FIENILE | DANIEL RYBAKKEN | LUCEPLAN

First created as a table lamp, then interpreted in suspension and floor models, Fienile is the new family of products for outdoor use. The geometric forms are based on those of simple rural buildings: walls in satin-finish anodized aluminum like the pitched roof, extruded in a single solid block and then shaped with a process of CNC milling. LEDs are placed under the roof to project soft, warm light onto the cork surfaces. The facades of the lamp and the lateral ends have been envisioned as a sort of delicately lit stage, a place for cherished objects, giving rise to unusual compositions of light and shadow, colors and materials.

228 | IFDM

DESIGN INSPIRATIONS

CONTRACT & HOSPITALITY

ZANZIBAR FOR ARMADA | DOSHI LEVIEN | VESCOM, MOROSO

© Joel Matthias Henry

The producer of wallcoverings and fabrics for the contract furnishings sector has been chosen to clad furnishings by Moroso, including the Armada settee with slim padded sides and voluminous soft cushions.

The Zanzibar mohair fabric in the caramel tone brings out the personality of the two-seat settee, created for work zones and lounge areas.

ACCORDÈON | MARC SADLER | SLAMP

With this collection, Marc Sadler explores the infinite possibilities of Slamp’s technopolymers conjuring the image of a textile plissé or an accordion’s bellows. The LED crown, in 2.700 or 3.000 kelvin according to choice, reaches up to 5.700 lumen, and can be dimmed.

EQUAL | MARIO BELLINI, VITRA DESIGN TEAM | VITRA

The new bathroom collection embraces simplicity as its inspiring concept and basic geometric forms. Equal combines cold materials in the form of white ceramic and wood (elm or patterned black oak) and its range offers washbasins, WC with Rim-Ex technology and bidet, wall-mounted, countertop and double bowl versions vanity and storage units.

IFDM | 229

CONTRACT & HOSPITALITY

© Lorenzo Pennati

DESIGN INSPIRATIONS

GIADA COLLECTION | M2ATELIER | GIORGETTI

Fashion and design intertwine in this first furniture collection conceived for the boutiques of the Italian brand of prêt-à-porter. Armchairs and small sofas, footstools and mirrors, consoles and tables with a strong design identity interpret the essential features of the maison fashion lines.

TUBE | ICHIRO IWASAKI | VIBIA

The modular collection consists of a network of simple tubes that channels light to different shades. The steel conduits snake across the ceiling, creating a unique web of lines and angles that recall a metro map. They connect to up to four LED-powered shades, which are available in a variety of sizes, four colours of gray, and in ceiling or pendant styles with adjustable heights.

ILO | DAVID LOPEZ QUINCOCES | OLUCE

The Ilo lighting range has three versions: suspension lamp, rise and fall suspension lamp and wall light. All the models share the same elegant, slender design of the aluminium bar housing the LED light source, expertly crafted with precision mechanics.

230 | IFDM

DESIGN INSPIRATIONS

CONTRACT & HOSPITALITY

HUSH | MASSIMO FARINATTI | MARTINELLI LUCE, CAIMI BREVETTI

Hush combines functionality and design in a suspended modular system with LED light sources for direct and indirect lighting integrated with sound-absorbing panels featuring SNOWSOUND© technology

by Caimi Brevetti. The Sistema U mono-material panels in polyester are 100% recyclable. Class 1 Italy and Euroclass B-s2, d0.

CLAM | LÉO DUBREIL & BAPTISTE PILATO | LIGNE ROSET

Clam is a bed-settee with an easy-to operate system which enables it to offer just as much comfort as a settee as it does as a bed. Its meticulous finish and apparent lightness enable it to be viewed from all sides and to offer a soothing cocoon in settee position and a generous sleep area when used as a bed. When located in the centre of a room, it becomes an island of relaxation for reading or resting.

WAM | MARCO ZITO | BROSS

‘Wait a Minute’ is the meaning behind the acronym WAM, which gives its name to the new collection suitablle for both residential and public enviroments. A complex project, which includes a sound insulating upholstered bergère and small sofa, upholstered bench and pouffs, a stool, and a free standing table in mat black metal.

IFDM | 231

Next

IFDM | 233

CONTRACT & HOSPITALITY

DUBAI | TONINO LAMBORGHINI RESIDENCES | ORIENTAL PEARLS

The first Tonino Lamborghini Residences Dubai are planned in collaboration with Oriental Pearls and will rise by 2024 in the Meydan neighborhood. The community will offer a perfect mix of contemporary Italian design, home automation services (IoT, smart temperature control, security system, smart networks) and 40% of green spaces. 10.000 real estate units will be built based on a concept design and household properties from Tonino Lamborghini Home collections – home and office furnishings and accessories. The developer has included in the scheme programme branded restaurants and cafes, gyms, wellness centers, flagship and mono-brand stores, worship spaces, schools, clinics and other services on a total of 43 hectares.

234 | IFDM

NEXT

NEXT

CONTRACT & HOSPITALITY

PARIS | RADISSON COLLECTION HOTEL & SUITES | CHRISTIAN DE PORTZAMPARC, JEAN-PHILIPPE NUEL

The hotel will be located in the Sisters Towers, a new iconic development by Unibail-Rodamco-Westfield in La DĂŠfense district. By gathering offices, a hotel and services in the same location, the project illustrates the new generation of developments, where a greater variety of activities maximizes the use of space for users and operators. On the 26th floors the two towers will be connected by an observation deck run by the hotel, which will include a large, versatile room that can be turned into an auditorium or a banqueting room, a Sky bar and restaurant. The Radisson Collection Hotel & Suites, Paris La DĂŠfense will feature 309 rooms and 45 suites, and offer an exceptional selection of communal areas, a lobby bar and all-day dining restaurant offering, fully equipped fitness center and a spa, an indoor infinity pool on the top floor, multiple-use meetings and events facilities.

IFDM | 235

CONTRACT & HOSPITALITY

ABU DHABI | JUBAIL PORT | RAMON ESTEVE ESTUDIO | LEAD DEVELOPMENT

Located between the Yas Island and the Saadiyat Island, the Jubail Island project extends on six investment areas, including the Marafaa Al Jubail ( Jubail Port). Ramรณn Esteve Estudio has designed the masterplan, the facilities areas and the residential programme of Marafaa Al Jubail, or Jubail Port. Inspiration is drawn from the small rocks called Jubails spread throughout the island.

The Gateway is the only access control point to Jubail Port and leads to the main road, which acts as an articulating axis, crosses Jubail longitudinally and arranges the different areas of the development. The road ends into a wide public space with a square, a mosque, a retail area and a marina. The yacht club harbour is placed by a navigable channel and literally blends Jubail Port with the sea.

The various types of housing are integrated into the landscape through the use of materials and textures typical of the local environment.

236 | IFDM

NEXT

NEXT

CONTRACT & HOSPITALITY

MONTREAL | 1111 ATWATER | LEMAY + ESCOBAR

The new luxury residential address on Atwater Avenue, on the former site of the Montreal Children’s Hospital, is being developed by EMD Construction – Batimo Group, in collaboration with High-Rise Montreal and Claridge, as part of a mixeduse project that includes a ground-level commercial component and residential rental units on floors below the penthouse levels. 22 penthouses, located on floors 30 to 38 and designed by Lemay + Escobar, will range in size from 500 to 3000 square meters and are fully customizable. Services include a concierge available 24/7, valet parking, home automation technology and exclusive elevators. Suspended on the 31st floor, the Sky Lounge and Sky Gym feature an indoor pool and sweeping views of the city.

Render © gvm3d

IFDM | 237

CONTRACT & HOSPITALITY

BEIJING | LEEZA SOHO | ZAHA HADID ARCHITECTS SOHO CHINA

Within the Lize Financial Business District, a new business, residential and transport hub adjacent to Financial Road in southwest Beijing, Leeza SOHO is located directly above the new interchange station between Lines 14 and 16 of Beijing Subway rail network. Anchoring the financial district, the 172,800m² Leeza SOHO Tower straddles the new subway tunnel that diagonally divides the site, and rises as a single volume divided into two halves on either side of the tunnel. A central atrium extends 190m through full height of the building, connecting the two halves together and the interchange station below. The atrium will be a new public space for the city while an outdoor, public piazza surrounds the tower, echoing its circular form at the centre of the new financial district and welcoming visitors inside.

Renders Š MIR

238 | IFDM

NEXT

NEXT

CONTRACT & HOSPITALITY

SHENZHEN | VANKE 3D CITY | MVRDV

The 250-metre-tall Vanke Headquarter Tower by MVRDV in Shenzhen comprises a cluster of eight interlinked blocks of offices, housing and culture, rising from four separate bases to a single crowning tower. The ambition for Vanke Group’s headquarters building was not only to provide office space for the real estate company’s own staff, but to form a vibrant mixed-use city block containing leasable offices, retail space, a restaurant, a hotel, and plentiful outdoor spaces. At the base of Vanke 3D City is a sunken, multi-level green public space, which extends from the second level below ground to the first level above, incorporating the road that cuts through the site. This network of plazas and walkways offers a shaded, well-ventilated space that provides a respite from the tropical climate of Shenzhen. Open 24 hours a day, it will offer access to the commercial and restaurant levels in the base of the four corner blocks. The above-ground walkways extend into the neighbouring developments, in the hope that the pedestrian realm created at Vanke 3D City can spread to connect buildings throughout the district.

Images: © ATCHAIN

IFDM | 239

CONTRACT & HOSPITALITY

NEXT IN THE WORLD

Overview

Europe, Africa, Orient: major projects for the future

T

he ‘old continent’ still plays an important role in the field of construction of high-end hotels. Major investment in the Far East. Fewer projects in the Middle East, while Africa remains marginal. In the sector of construction of new high-end hotels, Europe continues to play a leading role. There are 2307 such structures, an increase of 8.4% over last year. Projects in progress account for over 28% of the worldwide total. By the end of 2020, 931 top hotels will open for business. Germany, with 846 projects, and the United Kingdom (with 376) are by far the countries attracting the most investment. The balance among the runners up is also changing, with Russia sinking from third to sixth place in the rankings, producing just 92 projects, and Switzerland rising thanks to construction in progress of 107 new high-end hotels, just in behind France which is in third place with 115 projects. In the Far East, apart from the unrivaled leadership of China, major investments are being made in Indonesia, with the launch of 161 projects, Thailand (129) and Vietnam (123). With 655 projects in progress, the Middle East reports another yearto-year decline of -3.4%. In particular, the leader in new construction – United Arab Emirates – passes from 244 to 219 projects, allowing Saudi Arabia to close the gap with a rise to 174. 318 top hotels, i.e. almost half of those under construction, will be opened by the end of 2020. Africa is still a marginal player in this scenario, with 326 projects, pointing to a slight increase. Egypt remains the site of the largest investments, thanks to 58 worksites in progress or in the offing, followed by Morocco, where the number has slipped from 47 to 39. Openings planned on the continent by the end of 2020 number 121.

ONGOING HOTEL PROJECTS

top holel NEW

Marriott International ONGOING HOTEL PROJECTS: 2,381 PROJECTS IN TOP COUNTRIES: USA: 990 - CHINA: 361 - GERMANIA: 64 INDIA: 80 - MESSICO: 51

Hilton Worldwide ONGOING HOTEL PROJECTS: 1,721 PROJECTS IN TOP COUNTRIES: USA: 810 - CHINA: 178 - UK: 70 RUSSIA: 52 - TURKEY: 43

Intercontinental Hotels Group ONGOING HOTEL PROJECTS: 976 PROJECTS IN TOP COUNTRIES: USA: 256 - CHINA: 149 - GERMANY: 83 UK: 64 - AUSTRALIA: 36

Accor ONGOING HOTEL PROJECTS: 968

NEW

NEW

2,307

655

1,949

EUROPE

MIDDLE EAST

FAR EAST

IN

IN

IN

STATUS

STATUS

STATUS

VISION 39 PRE-PLANNING 250 PLANNING 936 UNDER CONSTRUCTION 680 PRE-OPENING 266 OPENED 136

VISION 7 PRE-PLANNING 46 PLANNING 154 UNDER CONSTRUCTION 363 PRE-OPENING 71 OPENED 14

VISION 14 PRE-PLANNING 198 PLANNING 433 UNDER CONSTRUCTION 1,137 PRE-OPENING 26 OPENED 46

NEXT OPENING

NEXT OPENING

NEXT OPENING

BY 2020 931

BY 2020 318

BY 2020 574

PROJECTS IN TOP COUNTRIES

PROJECTS IN TOP COUNTRIES

PROJECTS IN TOP COUNTRIES

GERMANY 846 UNITED KINGDOM 376 FRANCE 115 SWITZERLAND 107 AUSTRIA 102 RUSSIA 92 SPAIN 86 POLAND 82 ITALY 77 IRELAND 61

UNITED ARAB EMIRATES 219 SAUDI ARABIA 174 TURKEY 68 QATAR 45 OMAN 34 GEORGIA 23 IRAQ 16 ISRAEL 15 BAHRAIN 13 KUWAIT 13

CHINA 1,196 INDONESIA 161 THAILAND 129 VIETNAM 123 JAPAN 90 MALAYSIA 89 PHILIPPINES 58 MYANMAR 23 SINGAPORE 19 CAMBODIA 18

PROJECTS IN TOP COUNTRIES: CHINA: 141 - GERMANY: 67 - RUSSIA: 56

TOP PROJECTS

SAUDI ARABIA: 52 - AUSTRALIA: 50

Hyatt Hotels Corporation ONGOING HOTEL PROJECTS: 968 PROJECTS IN TOP COUNTRIES: USA: 213 - CHINA: 113 - INDIA: 31

EUROPE Dubrovnik Pearl Hotel in Dubrovnik, Croatia

MIDDLE EAST Prohaska, Kautzer and Leuschke in Makkah, Saudi Arabia

FAR EAST Mui Dinh Eco-Resort in Mui Dinh, Vietnam

CANADA: 23 - MESSICO: 14

source: TopHotelProjects.com

240 | IFDM

Phase: Pre-Planning 4 star - 5,000 rooms

Phase: Under Construction 5 star - 9,760 rooms

Phase: Under Construction 5 star - 7,500 rooms

NEXT ISSUE: Spring / Summer 2020

CONTRACT & HOSPITALITY

EUR 35.00 | USD 45.00 | contract.ifdm.design

COLLECTABLE BOOK

Spring | Summer 2020

In March, the Spring / Summer Spin-Off Contract&Hospitality by IFDM: you will discover the new color trends 2021 and international projects, interviews with major players and the new “Design Inspiration” through the products selection.

For a complete, up-to-date view on the contract and hospitality industry.