THE Stlyemate, issue 03 | 2021, into the future - English edition

THE INSPIRATION FROM AROUND THE WORLD FOR AN AESTHETIC AND MEANINGFUL LIFESTYLE ISSUE N o 03 | 2021 thestylemate.com

Stylemate

into the future

T H E S T Y L E M AT E .C O M

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THE Stylemate Issue No 03 | 2021

The future?

What’s that?

Our future seems more uncertain than ever, and even harder to predict. The small-scale way to look at it is in terms of what the winter will bring for tourism, while the broader question is a matter of considering the climate crisis. That’s why we’ve made the future the topic of this issue of THE Stylemate.

IN THIS ISSUE

Essentials Page 3 Ultimately, it’s emotions that will change the future Pages 4–7 LIFE:

By Helder Suffenplan: United we scent!

Page 8 Art with a future Pages 9–11 The future of tourism Pages 12–13 Franzobel Page 14

LIFESTYLEHOTELS Selection:

Treehotel Page LH 01 Alpenhotel Kitzbühel am Schwarzsee Pages LH 02–03 New Member: THE SECRET Sölden design hotel Page LH 04 NIDUM Casual Luxury Hotel Page LH 05

STYLE:

Waste, no more!

Pages 15–17 Playing in nature Pages 18–19 A discreet style statement Pages 20–21 Fashion Forward Pages 22–25 Up, up and away!

Pages 26–27

Gradonna Mountain Resort Chalets & Hotels Page LH 06 EALA My Lakeside Dream Page LH 07 dasMAX Lifestylehotel Page LH 08

We were inspired by the motto of the Expo in Dubai, which is taking place this year after a 12-month delay. That’s another defining feature of our time: 2021 is the year of 2020 events. Since the pandemic, time seems to have been ticking by differently. But back to the motto of the Expo: Connecting minds, creating the future.

We spoke about it with querkraft architects, who have designed the Austrian pavilion, and in doing so connected minds between Austria and the United Arab Emirates in order to sustainably construct a building with an intelligent system. But in Dubai, we’re not just interested in architectural concepts but also in art, so we paid a visit to the Carbon 12 gallery.

On the cover, we’ve got a look by Dutch fashion designer Iris van Herpen, whose futuristic creations are made from unusual materials using innovative manufacturing processes. From rapid prototyping to 3D printing, she applies an innovative and always experimental approach, and in doing so aims at creating a disruptive impact. We’ve put together eight reasons why she is leading fashion into the future. But it’s not just in fashion design that you’ll discover the future – industrial design is also making use of new materials and special manufacturing techniques to sustainably shape the future.

We’ve taken a brief look at a possible future and are therefore able to say with certainty: there are still people who believe in the future.

Bergland Design- and Wellnesshotel Sölden Page LH 09 Almmonte Präclarum Suites Pages LH 10–11 Directory LIFESTYLEHOTELS Page LH 12 Imprint Page 2

Thomas Holzleithner & Hardy Egger

Be sure to subscribe to THE Stylemate so you'll never miss an issue! thestylemate.com

IM PRIN T Media owner and publisher: Prime Time Touristik & Marketing GmbH, Schmiedgasse 38/1, 8010 Graz, Austria Editors: Thomas Holzleithner & Hardy Egger Editor-in-chief: Mag. Nina Prehofer Managing editor: DI (FH) Christin Maier-Erlach Cover photo: Fee-Gloria Grönemeyer Model: Lamich Kirabo Layout: VON K Brand Design Writers: Franzobel, Helder Suffenplan, Lisbeth Wild, Jana Inga Trenner, Nora Palzenberger Translators: Katherine Nussey, Lisbeth Wild Advertising: office@thestylemate.com Printed by: Medienfabrik Graz, 8020 Graz Published in: Graz Publication: 3 x yearly

Photo: Heldentheater

EDITORS

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THE Stylemate Issue No 03 | 2021

essentials SHOES FOR A LIFETIME The men’s and women’s shoes by Austrian company Ludwig Reiter are still made by hand on the outskirts of Vienna in Süßenbrunn to this day, in a meeting of the highest quality materials and tried-andtested craftsmanship. An investment in the high-quality footwear is worth it: the boots, ankle boots, loafers and other pieces can be brought in for repair at the Ludwig Reiter workshop at any time.

Sustainability made easy! ludwig-reiter.com, Mary Vetsera boots, from € 598

EVERYTHING IN SIGHT

DANCING DIAMOND S

What’s the best way to see into the future?

With ultra-light and minimalist glasses frames from Austrian manufacturer Silhouette! The new Eos View collection features subtle 3D elements and a shapein-shape effect that provides exciting colour nuances and reflections. The concept for the collection is inspired by the Greek goddess of the dawn, Eos.

There are new things at Arthur Arbesser!

The Austrian designer is expanding his range with a multicoloured accessory – silk scarves bearing a vibrant Harlequin pattern have arrived to enrich the latest autumn/winter collection. The 90 x 90 cm scarves can be worn around the neck, in the hair, on your bag, as a top… The options are endless! They also reflect the love of patterns and the optimism that is always present throughout Arbesser’s collections.

silhouette.com, from € 299

arthurarbesser.com, Harlequin silk scarf, € 180

I N T H I S

E D I T I ON

L I F E I N M I N I AT U R E Certain pieces of furniture are now as highly sought after as works of fine art. One such piece is the Marshmallow Sofa by American architect George Nelson. He designed the extravagant and trendy sofa in 1956. The seat and back rest are reminiscent of soft marshmallows and at the time, the creation was a true design revolution. This piece of design history is seen a little less often in living rooms these days, but thanks to Swiss furniture manufacturer Vitra, it will soon be available in miniature form for your favourite display case or sideboard.

Photos: Silhouette, Vitra, Ludwig Reiter, Arthur Arbesser, Wever & Ducré, Carl Auböck

vitra.com, Vitra Miniatures Marshmallow Sofa, from € 665

C U LT C O L L A B O R AT I O N

LET’S HANG OUT TOGETHER

Vienna-born Carl Auböck (1900–1957) is known for being the creator of the Wiener Bronzes. His small sculptures ranged from animals and anatomical studies to architectural depictions, and infused the design world with excitement. His creations are still highly valued to this day. In partnership with the Auböck workshop, Viennese accessories brand Sagan has now brought one of the signature motifs from the archives back to life – the Auböck hand – as a stylish and practical keychain. A real design object.

Wever & Ducré shows how it’s done: up to eight luminaires can be suspended in a round shape and up to five linearly thanks to the multi-canopy.

All you need is a single light outlet from which you can tailor the arrangement. Whether it’s straight as a die or in the form of a spider’s web where the cables become a design element. Who can join the team?

Besides WETRO and DOCUS, BOX, HEXO, ODREY and SHIEK are also absolute combination geniuses.

sagan-vienna.com, Carl Auböck x Sagan Hand keychain, € 185

weverducre.com/ suspension-options

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THE Stylemate Issue No 03 | 2021

LIFE

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Fotos: andreas keller-fotografie.de

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WE SP OK E TO OWN ER AN D PA RT N ER GERD E R HART T AB OU T WHAT MAKE S A SUCCES SF UL EXP O A PPEA RANCE, T H E CL I MAT E C ONC E P TS OF T H E F U T U R E AN D T H E I M P ORTANCE OF EMOT IONA L CONN E C T ION I N DE SIGN I NG A MOR E SUS TA I NA BL E F U T URE.

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QUER K RAF T A RCH I T E C T S F ROM VI EN NA A RE T H E CREAT I VE M I N D S BEH I N D T H E AUS T R IAN PAVI L ION AT T H E E X P O I N DU B A I.

What can we expect from the Austrian Expo pavilion?

GERD ERHARTT: First and foremost, a sensory experience. That will probably make it quite different to the other pavilions. The spatial experience we’ve developed is further emphasised by installations by ars electronica solutions, exhibition design by Büro Wien and graphic design by Bleed.

So what does your architectural concept consist of, and why is it so different to the others?

The Expo is a scramble for attention.

We believe that the only way to gain attention is through paring back, as otherwise you’re just a part of what generally happens at the Expo: overstimulation and an information overload. For us as architects, it’s important to take the specific location into consideration, and because this Expo is the first to take place in an Arab country, we worked with traditional Arab architecture.

In doing so, we came across bādgir – windcatchers that create pressure and vacuum conditions in a building and create an effect similar to that of a fireplace in order to provide a constant flow of air. We translated this principle into a different architectural language and combined it with Austrian expertise and climate engineering. We wanted to contribute to the general debate about how it’s possible to plan and build in a way that conserves energy and resources.

What approach did you take?

When building, there are two aspects you can focus on: constructing the building as a single action, and the running of the building. 50% of harmful emissions

LIFE

are produced during the construction of a building, so the first goal should be to create a building with as long a life span as possible. When it comes to running the building, the goal is for it to use as little energy as possible. The aspect of life span is especially important for us, as that’s where we deal with emotional sustainability. We need to create buildings, and products in general, that we can form a personal and emotional connection with.

What difference does an emotional connection make?

When we form an emotional connection and grow fond of a product, we will use it for as long as possible.

That applies crucially to our buildings, because a huge amount of energy is stored in them during construction. If we hadn’t designed a pavilion that triggered emotions in people, we wouldn’t have had the possibility to give it a subsequent use. So it’s been built using prefabricated, individual components, meaning it can be disassembled and rebuilt somewhere else. Like a Lego set, it can also be put back together in a completely different way and even be customised for a new use.

After all, one of the most un-environmentally friendly things we could do would be to put up a building for six months and then destroy it.

Aside from subsequent reuse, what makes the pavilion environmentally friendly?

We worked with engineering company P. Jung on climate engineering that’s targeted at making the most of the natural aerodynamics. There are always varying vacuum and pressure conditions in the cones that make up the pavilion, which create natural convection. The pavilion regulates itself primarily via the difference between day and night. Cool air is stored in the storage mass during the night, and it is then fed into the cones during the day. This rhythm of day and night is at the heart of our climate concept, whereby we make the most of the swings in temperature.

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EXPO 2020 DUBAI VAE THE EXPO IS A GLO BAL EXHIBITION THAT TAKES PLACE EVERY 2–3 YEARS (POSTPONED IN 2020 DUE TO CORONAVIRUS). THIS YEAR, IT’S TAKING PLACE FROM 01.10. 2021 TO 31.03. 2022 IN DUBAI UNDER THE TITLE “CONNECTING MINDS, CREATING THE FUTURE.”

The 38 cones that form the pavilion intersect one another. What was the desired effect?

It’s an important design element, as through the intersections emerges a columned hall that’s reminiscent of an Arabian mosque. The cones are also cut to four different heights,

What are the prefabricated components made out of ?

The pavilion is made from prefabricated concrete shells that have been put together like a Lego set, meaning it can be taken apart and put back together again in a different place, adapted to meet different requirements. It is plastered on the inside with a layer of clay that fulfils an important climatic function.

The name of the project is “Austria makes Sense”. How is this displayed?

This name should be interpreted in its double meaning, because we’ve created a pavilion that addresses all of the human senses. Architecture and exhibition

produce an overall sensory experience – for example, there isn’t a single piece of text in the main exhibition space.

We work with graphic design and icons, and the installations speak for themselves.

They appeal to the senses. The cones are depicted as bodies of sound or currents of air through simulations. The pavilion aims to achieve a sensory experience because we believe that ultimately, amid the total sensory overload on the Expo site, it’s only a strong emotion that will be remembered.

How important is the question of meaning in general for you as architects?

The question of meaning is essential to us.

The construction industry as a whole is responsible for 30 to 40% of harmful CO₂ emissions, so I need to consider questions of meaning for every project. The first is: does it make sense to construct this building? There are projects like sponsored residential, cultural and educational

buildings that make this question easier to clarify. Creating the highest quality residential building is a very meaningful task and satisfies basic human needs.

That’s a bit harder to do at an Expo.

Why did you take part anyway?

After lengthy deliberation, we decided to participate because the Expo is an opportunity to reach many people from different walks of life. That kind of opportunity doesn’t come about very often. We wanted to make a contribution to the discussion around climate-friendly, resource-efficient interaction with our planet. The pavilion has been powerfully received and discussed at length across diverse fields.

Photo: Kieran Fraser Landscape Design

resulting in varying lighting moods that change constantly according to the position of the sun. The prolific planting, misting and natural convection ensure a pleasant visit.

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THE Stylemate Issue No 03 | 2021

LIFE ABOUT QUERKRAFT ARCHITECTS Adopting a philosophy of poetic pragmatism, the architectural company founded in 1998 devotes itself to projects and processes that place people front and centre. More than 100 projects, competitions and buildings – local and international – are a testament to the successful work of the team of around 45 employees. querkraft defines “Giving people space” as a leitmotif and thus formulates the permanent striving for generosity in spatial design as well as freedom to develop for the users, to create emotionally more sustainable projects.

Photo: Kieran Fraser Landscape Design

How much of a role do architects or architecture play in designing the future, and how much do you personally or as querkraft want to be involved?

When we look at our lifetime, we spend most of it in an architecturally designed exterior or interior. That means that we as architects have a huge influence on people and play a crucial role in shaping their attitude towards life. And when we take into account the financial aspects, it’s clear that we spend the majority of our personal assets on our living space.

Architecture therefore has an enormous impact on people’s lives.

What can you deduce about people and society from architecture?

You can clearly see the balance of power in a society. Bank, insurance and telecoms buildings are usually glass palaces, in contrast with social housing, where every bit of window space requires immense

commitment. This is a good example of where money is being allocated and where it’s not. But I’ve always been positive about it and I believe that a paradigm shift is needed.

Even fifty years ago, unlimited growth was questioned. We need a different kind of growth to economic growth. All we can do now is adapt our lives. But I don’t think that’s anything negative, quite the opposite: it’s a win for quality of life.

What would you like to create in future?

I’d like for the idea that we’re currently laying the foundation for future generations to be established in our society. That everyone involved in the construction process is aware of this responsibility and acts accordingly, not just for short-term profit. But it’s not just about construction, it’s about all areas of life. If we were to economise, a better version of the world would emerge.

querkraft.at expo2020dubai.com

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Humanity, human family, global community – in times like the pandemic and the climate crisis, these words don’t describe a wistful utopia but rather our reality in the 21st century. Because really, none of the pending existential challenges faced can be overcome by the population of a country or a cultural group alone.

Paradoxically, however, it seems divisions are growing at the moment: communities of values like “the West” are eroding and societies are crumbling into countless, often hostile opposing everyday realities.

The human race is struggling to put an end to battles between nations, religions and cultures in order to ensure its own survival.

The continued existence of humanity depends on whether a shift in consciousness can create a global identity.

How can the common interest be made more accessible? Can the things in our everyday lives, things that seem superficial and banal like perfume, help with this?

united Art has also rarely cared much for boundaries. European Japonisme bowed down to the aesthetics of the distant empire, while the other way round, the previously isolated land of the rising sun was keen to take ideas from western art towards the end of the 19th century.

It was the same for the fascination with the Orient: in the 18th century, not only did Vienna, which had not long before been besieged by the Ottomans, become addicted to Turkish fashion, Mme Pompadour in Versailles also favoured alla turca styles of turbans and kaftans. Then in the 20th century, the cubists and expressionists took inspiration from the expressiveness and aura of African and Australasian sculptures.

The world of luxury goods was also an international matter from the beginning.

Findings prove that even in the Stone and Bronze Ages, people traded across enormous distances to satisfy the desire for beautiful objects made out of amber, tortoiseshell and mother of pearl.

And also to satisfy their appetite for flavour.

The spice and silk trades created trade routes spanning continents and countless encounters between individuals from a broad spectrum of backgrounds. Spices were so valuable that new, shorter trade routes were sought and found, which in turn brought the different continents of the world closer together.

And in the traders’ luggage, they were also carrying the luxury commodity scent.

India delivered precious oud to Japan and Arabia. Cloves, saffron, pepper and allspice provided wealthy Europeans not only with new flavour experiences, but also new fragrances. The classic perfumes developed in the 19th century wouldn’t have been possible at all without the ingredients from countries all over the world: sandalwood from India, civet from Ethiopia, roses from Bulgaria, musk from Central Asia.

The fact that the exchange of goods and culture rarely took place between equals and in many cases was accompanied by exploitation, violence, plundering and human suffering is becoming increasingly clear through the conversation surrounding cultural appropriation. There is still a lot of reconditioning, recognition and reparation required here.

But where there is danger, the spirit of saving grows as well. Because alongside the globalisation of problems, we’re also experiencing an interconnectedness we’ve never seen before, a coming together as a global village. Interestingly, even before the internet, satellites and container ships, there were areas in which planet earth was globalised. The world of ideas, for example – meaning philosophy, religion and science – extends through time and kingdoms.

What one culture thought of first was often also adopted by their enemies, for example maths, which the western world owes in no small part to Arabic culture.

scentury.com

At the same time, the experimentation didn’t just facilitate a broadening of horizons when it came to clothing styles, it also affected sounds, aromas and scents: the flavour of a spice that might have taken a bit of getting used to at first, the alternative artistic view of people and nature and the magic of an unknown shimmering material hinted that beyond the restrictive borders and perceptions of our own surroundings, a different way of living, thinking and feeling was possible.

Ideally, the result was an appreciation of something different as being something valuable and enriching.

we scent!

A superb example of how something like fragrance can create a link between people from different, seemingly incompatible cultures is frankincense. Not only did it find its way from Ethiopia or Eritrea to Europe, it also became a symbol of the sublime and the holy for the Egyptians, Romans, Hindus, Buddhists, Christians and even Muslims, and its delicately intoxicating fragrance created the olfactory conditions for spiritual experiences during religious rituals.

If you prefer it somewhat more minimalist and intense, in the best sense of the word, the 05 Incense Extrême by Swiss perfumer Andy Tauer will bring the harsh desert wind straight to you.

What an overwhelming idea that at any one time in a Hindu temple on the Ganges, a Gothic church near Paris, a Shinto shrine in Osaka and a mosque in Oman, people are meditating, praying and celebrating while the scent of frankincense rises up from opulent vessels and creates a link to a common, overarching reality beyond geographic, political and religious differences.

To anyone wanting to experience this world spirit on their own skin, I would recommend the meditative Encens Flamboyant from Goutal, which transports us to an endlessly silent coniferous forest thanks to frankincense, balsam fir, sage and red berries.

The elegant Cardinal from James Heeley, on the other hand, interweaves frankincense with cistus, myrrh and the scent of white linen, giving an air of lightness and purity.

HELDER SUFFENPLAN is an independent journalist and creative consultant from Berlin, and has had a particular passion for perfumes since he was a child. With his successful 2013 launch of SCENTURY.com – the very first online mag­a zine for perfume storytelling – Helder has become a recognised authority in the global world of fragrance. He has been on the jury for events such as The Arts & Olfaction Awards in Los Angeles and the Prix Inter­national du Parfumeur Créateur in Paris. As a writer, he combines his passion topic of fragrances with a range of fields such as contemporary art, popular culture, literature, film and geopolitics.

Photo: Atelier PMP, Goutal

CONN ECT I NG M I N D S , CREAT I NG F U T UR E

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THE Stylemate Issue No 03 | 2021

ART

Amir Khojasteh Try To Catch The Moon, Painting, Sculpture, solo exhibition

WITH A FUTURE

Photo: Anna Shtraus

THEY’RE CONQUERING THE INTERNATIONAL ART SCENE FROM DUBAI. THEIR PORTFOLIO INCLUDES CONTEMPORARY ARTISTS FROM AUSTRIA TO ABU DHABI AND ALL THE WAY TO IRAN: MEET COUPLE KOUROSH NOURI AND NADINE KNOTZER AND THEIR GALLERY, CARBON 12. THE STYLEMATE SPOKE TO THE PAIR ABOUT THE FUTURE OF ART AND THE EXPO, AND GOT A FEW INSIDER TIPS ABOUT DUBAI FROM THOSE IN THE KNOW.

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THE Stylemate Issue No 03 | 2021

Gil Heitor Cortesāo, Folding Hall, 2021.

Oil on plexiglas, Diptych, 130 x 190 cm

Sarah Almehairi, Summer Temple, 2021.

Paper on book board, 21 x 14.8 cm

Philip Mueller, Hamam Headquarter Plaka, 2021.

Oil on paper, 70 x 50 cm

You’ve had your gallery for 13 years now.

What have been the most significant changes on the art market in that time?

KOUROSH NOURI: We’ve come a long way in terms of technology; many collectors went very digital very quickly, which we don’t think was a good idea for art in the short and medium term.

At the same time, the ease with which you can make better and better images and videos “stole” something from the inherent value of art. We feel that the personal appreciation of being anchored in a positive environment and context has been lost somewhat. COVID mixed things up in a good way. Going to a gallery now to see an exhibition has become an act of bravery and courage, a social responsibility towards the chosen gallery and artists.

We hope it stays that way.

carbon12.art

Why did you choose Dubai as a location?

NADINE KNOTZER: At the time, it just felt right – the place, the time and the opportunity! The area where we have our gallery has also undergone a great change in the last few years and experienced a huge amount of hype. You could actually say that about the entire city.

On which criteria do you base your choice of artists?

Kourosh Nouri: To make it as simple as possible, I’d say it’s based on real and authentic contemporary practices, professionality and how they complement our portfolio. Just like our collectors, we want to continue doing our job with passion and enjoy every second to the fullest and most professional level.

That’s why we look at and consider artists very thoroughly before taking them on.

When you’re establishing a new artist, how far into the future do you look?

Nadine Knotzer: We have to look 15 to 30 years into the future.

What future scenarios do you currently see for your latest talent Anthony Akinbola?

Kourosh Nouri: The future for Anthony is exciting. He had great exhibitions last year, lots of attention from great curators, collectors and galleries around the world.

But the most important thing is that he is more and more motivated to produce and display art.

What are three things you wish for the future of your artists?

Nadine Knotzer: Continued, genuine practice with constant progress, well- earned curatorial attention and epic shows.

How has the industry taken to digital­ isation and what’s your position on it?

Kourosh Nouri: The art world is ahead of many other industries when it comes to digitalisation. And even since the pandemic, galleries have managed to develop amazing things online. Carbon 12 was already very active online. Because of the pandemic, we also started a series of online shows, video exhibitions and virtual talks.

What do you personally associate with the Expo, and what are you looking forward to in particular?

Nadine Knotzer: When we think about the Expo, we think of lots of visitors from all over the world. Although unfortunately, the scope will be limited this year because of COVID. Of course, we’re looking forward to being in the centre of the action and discovering all the great architects of the pavilions.

How does the motto “Connecting Minds, Creating the Future” currently apply to the art world?

Kourosh Nouri: The title says exactly what the art world is already doing. We “connect” through exhibitions, publications, art fairs and much more. Our artists are helping to shape the future.

Which exhibition will you be displaying for the Expo?

Nadine Knotzer: We’ll be showing a special exhibition in collaboration with the pavilion, curated by Marianne Dobner, with artists Monika Grabuschnigg, Elisabeth Wild, James Lewis and Laurence Strula.

How do collectors in Dubai differ to those in the rest of the world?

Kourosh Nouri: It’s really interesting that the collectors in the United Arab Emirates are all very young. That makes for exciting and dynamic collections.

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THE Stylemate Issue No 03 | 2021

LIFE

A GUI DE TO DUBA I BY

KOUROSH

NOURI

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T H E 3 FAVOU R I T E R ES TAURAN T S MO ON R I SE I ’M E XC I T E D A B O U T T H E N E W R E S TAU R A N T F R O M Y O U N G S Y R I A N - F R E N C H C H E F S O L E M A N N H A D D A D C A L L E D “M O O N R I S E .” H E A N D H I S PA R T N E R M I S B A H C H OW D H U RY A R E K N OW N A M O N G C O N N O I S S E U R S F O R T H E B E S T P O P -U P S I N T H E C I T Y, AN D I N J US T A F E W WE E K S WI L L F I NA L LY OPEN T H EI R OWN RES TAURAN T. “MO ON R I SE ” WI L L BE T H E BE S T R E S TAU RAN T I N TOWN BY A L ONG WAY. HAPI “HAPI” IS A NO -NONSENSE, SMAL L R E S TAU RAN T BY T H E PA R K I N J U M E I RA H , W H E R E T H E Y U SE ON LY T H E VE RY BE S T PRODUC E . I T ’S A GR E AT SP OT FOR BRUNCH !

SAL L ET AL SAYED A PA L E S T I N I A N F I S H R E S TAU RA N T I N K A R A M A . T H E Y H AV E T H E B E S T P R AW N S I N T H E C I T Y !

YOU ’L L GE T T H E BE S T CO C K TA I L S AT...

W E WO U L D H AV E T O S AY, T H E B E S T MA RT I N I S A R E T O BE F OU N D AT “ T H E MA I N E.”

T H IS I S HOW I SPE N D A DAY AT T H E BEAC H …

WH EN YOU L IVE I N DUBAI, T H E T H I NG T O D O I S G O T O K I T E B E A C H AT T H E W E E K E N D , A P U B L I C B E A C H I N J U M EI RA H . WH EN I F E E L L I KE HAVI NG A LUXURY DAY AT T H E BEACH , T H E BULG AR I BE ACH I S ON E OF T H E BE S T – BEAU T I F UL LY QUI ET AN D GREAT F O OD.

T H E BE S T WE L L N E S S OA SIS ?

T H E R E A RE A S MANY SPA S A S T H ERE ARE GRA I N S OF SAN D ON T H E BE AC H. T H E RI T Z CA RLTON I S ON E OF T H E BEST SP OTS FOR MASSAGES. FOR NAILS AND HAIR , CHAL K SALON IS RIGHT UP THERE.

AN D WHAT A B OU T T H E CR E AT IVE S C EN E ?

I T ’S ON A L SERKA L AVENUE, WH ICH I S ALSO WH ERE OUR GAL L ERY IS. THAT ’S WHERE MOST OF THE CO -WORKI NG SPACES AR E AS WE L L , WH E R E T H E C I T Y ’S YOUNG CREAT I VES WORK .

I’L L BE BU YI NG M Y OU T F I T F OR T H E N EXT PR EVI EW AT… I FOLLOW WHAT THE SMALL FASHION LABELS ARE DOING VERY CLOSELY. SHABAB IS MY FAVOURITE STREETWEAR LABEL . THE SHIRTS ARE ALSO SUITABLE FOR PREVIEW OUTFITS.

Photos:Carbon 12

S OM ET H I NG YOU ’L L ON LY FIN D IN DUBA I… “3F I L S ”, ON E OF T H E B E S T J A PAN E SE F USION R E S TAU RAN T S I N A SMA L L HA RB OUR I N J UM EI RA H .

NADINE

KNOTZER

“DUBAI IS YOUNG, BUT STILL AUTHENTIC. THERE’S A MIX OF OLD AND NEW DUBAI AROUND EVERY CORNER.”

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THE “RED SEA PROJECT” IS ONE OF THE MOST AMBITIOUS REGENERATIVE PROJECTS IN THE WORLD. FROM 2023, THE WESTERN COAST OF SAUDI ARABIA WILL FEATURE A NEW FORM OF BAREFOOT LUXURY SPANNING OVER 28,000 SQUARE KILOMETRES, WITH AN ARCHIPELAGO OF MORE THAN 90 UNTOUCHED NATURAL ISLANDS, PLUS DORMANT VOLCANOES, DESERTS, MOUNTAINS AND CULTURAL SITES.

Photos: The Red Sea Development Company

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THE Stylemate Issue No 03 | 2021

A GRE AT DE A L OF PL ANN I NG HA S BE E N PU T I N TO T H E WES T ERN COA S T OF SAUDI A RA BIA .

J U ST T H E N UM BE R OF BU I L DI NGS AN D AT T RACT IONS YOU ’L L BE A BL E TO VI SI T F ROM 2023 IS I M PR ES SI VE E NOUGH – T HAT ’S WH E N T H E F I RS T PHA SE OF T H E PROJ ECT WI L L BE COM PL E T E , WI T H T H E SE C ON D PHA SE R E ACH I NG COM PL ET ION I N 2030. AN I N T ERNAT IONA L , ENVI RON M EN TAL LY F R I E N DLY A I R P ORT, 16 HOT EL S , MA RI NA S , L EI SURE AN D L I F ES T YL E AM EN I T I ES , AN 18-HOL E C HAM PIONSH I P G OL F COURSE AN D A I R AN D SEA T RAVEL H UBS COM PR I SE T H E F I R S T PHA SE . BY 2030, 50 R ES ORTS WI L L HAVE BEEN BUI LT, PROVI DI NG 8,000 HOT EL RO OMS AN D OVE R 1,000 R E SI DEN T IA L PROPERT I ES ON 22 I SL AN D S .

That’s no small task.

The island of Shurayrah is the heart of the Red Sea Project and home to 11 hotels on its own. Renowned architectural firm Foster + Partners won the competition to design an exciting resort with their Coral Bloom concept, which in future will be operated by international hotel chains.

Inspired by the natural surroundings of the island, the hotels are intended to give the impression of having been washed up on the beaches and settled on the dunes like driftwood. To achieve this, light materials with low thermal mass are being used, installed in an energy efficient way to ensure as little impact on the environment as possible. For a great deal of planning has gone into the constituent parts, too.

of

A P OL ICY OF Z ERO AN D T H E H IGH ES T SUSTAI NABI L I T Y STAN DA R D S The goal is to develop the destination according to the highest sustainability standards, and also to live by those standards after completion, meaning a policy of zero will be pursued.

That means no single-use plastics, no waste going to landfill and no dumping in the sea. During construction, off-site manufacturing methods will help to minimise waste and reduce the human impact of construction activity on site, such as noise and disturbances caused by moving vehicles. Innovative green concrete will be used throughout the development in order to dramatically reduce the impact on the environment.

This green concrete is made out of recycled waste materials. The composting facility will convert organic waste into compost that can then be used for the project’s green spaces and in the nursery.

Waste incineration plants will be used for processing any non-recyclable waste, with the resulting ash being mixed with cement to make bricks.

The Red Sea Project is the first project in the Middle East to obtain the first level of LEED Platinum certification, an internationally recognised rating and certification programme for urban sustainability.

HOM E TO A WE A LT H OF F L ORA AN D FAU NA Rare species such as dugongs, wild cats, endangered green and hawksbill turtles, one of the largest reef systems in the world and cultural heritage sites are all part of this sensational project. Visitors can also expect a moderate climate all year round with an average temperature of 25°C, a strategically interesting location (home to a wealth of flora and fauna, including rare species, as well as being within a three-hour flight of 250 million people and an eight-hour flight of 80 % of the world population) and an exquisite retreat that offers experiences, pampering and is seamlessly adapted to the unique requirements of every visitor.

We’re excited!

Discover more about the project at theredsea.sa

tourism

LIFE

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THE Stylemate Issue No 03 | 2021

LIFE

His great historical adventure novel “Das Floß der Medusa” (published by Zsolnay) was awarded the Bayerischer Buchpreis (Bavarian Book Award) 2017 and was on the shortlist for the German Book Prize 2017.

FRANZOBEL

“Some think the cosmos is a consciousness made up of the sum of all thoughts.”

We’re living in a time of change, a time of technological revolution. I’m not talking about the switch to alternative energy sources, nor the possibilities offered by genetic engineering, but rather about the internet.

All of a sudden, you can communicate with people in Papua New Guinea or the Antarctic.

Only 30 years ago, making a phone call to these places would have cost a fortune, and letters took an age to arrive. Now we can get information about the weather in East Timor, attend a virtual exhibition in Ushuaia and taste the menu at your favourite Chinese restaurant in Guangzhou. It’s no longer a question of what you’re able to find out, and more about what you want to find out.

The world has moved closer together, with the internet having turned our planet into a village. And how do people react?

Let’s take a brief detour to another time of great upheaval – the 16th century. At that time, there was the Copernican Revolution, meaning the sun, and not the earth, was now at the centre of everything. Martin Luther reformed Christianity, America was discovered, science disentangled itself from the grasp of the church, alchemy became chemistry, astrology became astronomy.

Out of those who believed in the hereafter arose middle class individuals with private property, a biography and childhood, which is why there were harsh penalties for theft and infanticide. And how did society react?

With a backlash! They clung on to old values, and an umbrella organisation of all book burners, pyromaniacs and funeral pyre supporters was formed – the Spanish Inquisition.

Something similar is happening in the present in countries that are ruled by religion. But even in western civilisation, the global village has its consequences: patriotism, nationalism, a small town mindset. The world is becoming closer because of the internet, but people are clinging on to borders and distance. Of course, the World Wide Web is nothing new, even the trees and the mushrooms are communicating, and it’s becoming easier and easier for people to sense when their distant relatives need help. We can now chat with anyone in the world without the need for telepathy, but what about extra-terrestrials? Some think the cosmos is a consciousness made up of the sum of all thoughts. There are probably ten thousand other civilisations in our Milky Way alone.

The question is simple: where are they?

There are billions of galaxies in the universe and more stars than there are grains of sand on earth. Man is insignificant in the context of dimensions in space and time, yet they’ve acquired the brain of a master. If we imagine the history of the earth as a road, we can drive around the planet once without meeting another living being. On the second lap, we encounter single-cell organisms that come along for the ride until we reach the Mediterranean. When we then drive up the Danube, there are the first dinosaurs in Romania.

Man appears just before Vienna. On one side of the city’s Praterbrücke man discovers writing, and on the other side we stand up straight.

Our evolution progresses incredibly quickly.

Just a few decades ago, there were young women in administrative offices connecting every telephone call, and now we communicate with whoever we want – in our urban village.

The path into space is denied us because of technological limitations, but even these problems will be overcome. It’s quite possible that people will soon be looking beyond the edge of the Milky Way and interacting with other civilisations – even if it’s just for an interplanetary song contest. That may sound utopian, but when you think about it, everything is possible. Then it’s no longer the earth that’s a village, it’s the entire cosmos – because the village is everywhere.

the village is everywhere

Photo: Dirk Skiba

FRANZOBEL is an Austrian writer. He has published numerous plays, works of prose and poems. His plays have been produced in countries including Mexico, Argentina, Chile, Denmark, France, Poland, Romania, Ukraine, Italy, Russia and the USA.

LIFESTYLEHOTELS LIFESTYLEHOTELS.NET

Selection 03 | 2021

Foto: Johan Jansson

TREEHOTEL – NATURE AND IMAGINATION The beautiful colours of autumn and the diminishing light of the north – they’re just two of the soothing ingredients of the Treehotel in Sweden, which is just an hour away from Luleå. Far removed from stress and the many demands of everyday life, you can withdraw with a sense of adventure. In seven remote and unique treehouses, you’ll find comfort, modern design, nature, spectacular views and a life of ecological values. Whether you’re in the “Bird’s nest”, “The Mirrorcube”, “The Ufo” or “Dragonfly”, everyone will find their own personal retreat and their imagination will be back to peak performance. You’ll be spoilt with the culinary offering at the restaurant, where the delicatessen prepares truly captivating dishes from the local area that are a treat for both the taste buds and the eyes.

TREEHOTEL SWEDEN / LAPPLAND

lifestylehotels.net/treehotel

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Issue No 03 | 2021

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ALPENHOTEL

10 December is the day: the Alpenhotel Kitzbühel am Schwarzsee is officially opening following extensive renovation with a brand new look.

grand opening

Holidaying by the lake: a bit like it was before, but different. More modern.

More exclusive. And with more to pamper guests – both mentally and visually.

That’s what awaits at the Alpenhotel Kitzbühel by the natural moor lake, not far from the infamous ski resort.

A handful of the new suites have already been available for exclusive bookings, but the overall project is still awaiting its official opening. It’s scheduled for the beginning of December 2021, the start of the winter season in one of the most glamorous winter sports destinations in Austria – the perfect starting point for a holiday like you’ve never experienced before on the banks of the idyllic lake Schwarzsee.

Photos: Alpenhotel Kitzbühel

KITZBÜHEL ****S

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Issue No 03 | 2021

AUSTRIA TYROL / KITZBÜHEL

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rooms and suites Modern lifestyle with Alpine character Nature-inspired architecture Book online lifestylehotels.net/ alpenhotel-kitzbuehel

of the untreated larch wood on the new façades gets closer and closer to that of the forest as it weathers,” explains architect Sebastian Mitterer from the team at Firn architects. “The buildings age with grace and become more and more a part of the natural environment.”

BY T H E J ET T Y

Photos: Alpenhotel Kitzbühel

AL PE N HOT EL , DAS S T EGHAUS AN D T H E L AKESI DE L OD GE S As soon as you reach the entrance to the new Alpenhotel, you’re confronted by a very specific feeling. A feeling of arrival.

And well-being. We encounter wood as a building material throughout the simple design of the hotel. It triggers another feeling that overwhelms us after we’ve checked in – a feeling of exclusivity and cosiness.

The modern elegance that radiates from the main building after the renovation continues in the rooms and suites. There are new additions in the form of the two annexes right next door: Das Steghaus and the Lakeside Lodges. They have a partly private garden and access to the beautiful natural bathing lake, which you should walk around at least once at any time of year. It’s only from the other side of the lake that you get a superb panoramic view of the Alpenhotel and realise how harmoniously the new architecture blends into the landscape. “The colour

Right by the edge of the lake is Das Steghaus, where we’re greeted not just by unique rooms and suites with a lake view, but also an à la carte restaurant.

The theme of untreated wood is seen here as well, underlining the laid-back jetty feel on the sun terrace and in the lounge area, both in summer and in winter.

Warm bronze tones prevail and create a stylish ambience inside and out.

Das Steghaus has been visually connected with the lakeside sauna, which provides a view across the lake Schwarzsee through its glass façade while you sweat.

The expanse and the warmth trigger a new feeling in us. We feel at peace and grounded.

A moment of unwinding in the lake breeze room, a lap of the infinity pool followed by deep relaxation in the tranquil dream room round off the experience in the 1,000-square-metre wellness area.

T H E AL PE N HOT E L KI T ZBÜ H E L IS OPE N I NG I TS D O OR S Such a comprehensive renovation arouses curiosity and words can only go so far in capturing the new holiday vibes at the Alpenhotel Kitzbühel am Schwarzsee.

As a result, the hotel is inviting people to come and discover it for themselves from the beginning of December 2021.

From € 659 per person, you can spend four nights at the new hotel and be upgraded to the next room category up, subject to availability. Breakfast, afternoon snacks, a five-course dinner, invigorating Grander water all day, a wellness area, bathrobes, free access to the lake, shuttle services, Wi-Fi, electric charging stations and so much more are included. With every visit.

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Issue No 03 | 2021

NEW MEMBER

04

The renowned winter sports resort will soon be gaining a new hidden gem: December 2021 will see the opening of THE SECRET, a cosmopolitan hotel that creates an exciting contrast with its unique location.

sölden’s hidden gem THE SECRET SÖLDEN

L A’L I V – T H E H EA RT OF T H E HOT EL The first thing we see when we approach is the golden entrance that takes us straight into the lobby. It transitions seamlessly into a kind of living room and the hotel restaurant, which combine to form the heart of THE SECRET under the name LA’LIV. It’s where guests come in the morning to feast on the breakfast buffet and in the evening to enjoy French-Alpine fusion cuisine – without any preconceptions or rigid menus. If you like dining as a family, you can have your meal served at a big table for everyone to share, or if it’s more of a romantic dinner you’re after, you can withdraw to a smaller table and be treated to every trick in the (recipe) book.

AUSTRIA TYROL / SÖLDEN

21

signature apartments

23

Alpine chic apartments

Innovative hotel concept Opening in December 2021

Book online lifestylehotels.net/ the-secret-soelden

T H E VUE – T H E F I RS T L A DY OF BA RS Enjoy an after-dinner drink (or several) in the spectacular THE VUE sky bar.

Its partially glazed ceiling allows you to gaze up towards the night sky and catch sight of its glittering inhabitants, accentuated by modern video installations and subtle light effects. The elegant interior means the bar is just the kind of venue the famous ski resort of Sölden was looking for. The art of bar tending is taken to a new level of extravagance that leaves room for comfort. Ideal for an intellectually stimulating evening among good company or a night cap at the bar before heading

off to bed. After the opening, it will only be a matter of time before other people in Sölden become aware of this gem in the town centre. And they’re welcome here, too.

LE FEEL – T H E WE L L N E SS R E T R E AT Sometimes you’re just not up to being sociable. Instead, you can enjoy the tranquillity of your spacious apartment or visit the LE FEEL spa. It’s the ideal place to find inner balance, a retreat where you can work up a sweat in the sauna while looking out at the Sölden mountain scenery and allowing your thoughts to slowly but surely disappear. Slowing down is the magic word, and the warmth is medicine.

In the infinity pool, we float off towards seventh heaven and submerge to energise ourselves. There’s something for everyone at the new THE SECRET Sölden – including a cosmopolitan experience in the heart of the Alps.

Photos: The Secret Sölden

It’s time for new beginnings at THE SECRET Sölden – in December 2021, to be precise, when the hotel will open its doors again for the first time following its extension and renovation, and surprise people with what has so far been a wellguarded secret. Their motto appears to reveal it all: A Cosmopolitan Experience.

And this is exactly what we get not far from the glacier at the end of the Ötztal valley in Tyrol. It creates contrasts that still fit together perfectly: the contrast between the pristine mountain landscape and the cosmopolitan atmosphere in the hotel and world cup venue that turns every holiday at THE SECRET in Sölden into an unforgettable experience.

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Issue No 03 | 2021

The only native conifer that creates a spectacular display of colour in autumn and then spends the winter bare plays a hugely important role at the NIDUM hotel – inside and out.

N I D U M C A S UA L L U X U RY H O T E L

the light of the larch C A SUA L , WOW & AWES OM E

Photos: Tiberio Sorvillo

The autumnal Alpine landscape owes its rich golden yellow colour mainly to the larch tree. They grow up to 40 metres tall and on steep slopes, their deep roots protect us from avalanches and landslides.

It’s no surprise, then, that their wood is no longer a stranger to modern architecture.

Natural, robust and with expressive markings, it’s a winning raw material that’s sustainable and boasts fascinating contrasts. It has been put to good use at the NIDUM hotel in the sunny mountain village of Mösern in Seefeld, where the popular alternative to exotic wood has been paired with timeless natural stone.

The result? A sense of cosiness in a setting where we experience the casual side to luxury.

In the 57 rooms at the NIDUM hotel, the seemingly rustic markings of the larch wood can be found in modern company.

You’d be hard pressed to resist the soft box spring beds with their simple design, and the same goes for the view of the Alpine landscape at over 1,200 metres above sea level through the large glazed façade.

In that moment, it quickly becomes clear why the rooms have names like Casual, Wow and Awesome. What we don’t see is the magic sprinkled around throughout the hotel by the larch wood. Nevertheless, you can still feel the natural materials lowering the blood pressure and having a cleansing effect. Is that what makes our day at the NIDUM so peaceful and laid back, or is it the pared-back appearance with its delicate natural tones? It’s also the fact that it looks so good. And it works.

G OI NG WI T H T H E F LOW It’s this calming and natural atmosphere that hotel manager Max Pinzger wants to maintain and foster at his sunny hotel on the edge of the forest: “Lots of our guests practise sitting still when they stay with us. They want to find peace.

That was more and more difficult to do during the enforced winter hibernation in 2020, so we’ve redesigned and reconsidered concepts to surprise our guests with new highlights following the lockdown,” he explains. Decorative objects gained strong design emphasis and the terrace in the spa area was turned into a place of well-being with soft loungers, canopy beds and sumptuous blankets. Curling up nice and warm, we gaze out into the mysterious fog that moves in across the Tyrolean mountains in autumn, watch the snow of the Tyrolean winter glitter before our eyes and enjoy a unique view of the Inntal at the foot of the mountains.

The combination of timeless architecture, luxury and comfort is what keeps drawing us back to this power place where, every season, we discover exactly what our holidaying heart really desires.

AUSTRIA TYROL / MÖSERN

57 rooms

SEEFELD OLYMPIC REGION

1,500 m2 wellness area

Book online lifestylehotels.net/ nidum-hotel/

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Issue No 03 | 2021

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The Gradonna ****S Mountain Resort in Kals am Großglockner is proof that a luxury resort can sit harmoniously in the Alpine landscape of a national park.

GRADONNA ****S M O U N TA I N R E S O R T CHALETS & HOTEL

AUSTRIA EAST TYROL / KALS AM GROSSGLOCKNER

104 rooms

NAT URE ?

YES

42 chalets

In the Hohe Tauern National Park Back-to-nature childcare included

Book online lifestylehotels.net/ gradonna-mountain-resort

The entire resort, with just over 100 rooms and 41 chalets, has been designed in such a way that guests don’t need a car.

It’s a mystery as to how the Schultz Group managed to arrange everything within such short distances, with the cosy atmosphere still conveying a sense of space and tranquillity – a mystery that reveals itself gradually with every visit through the use of many natural materials such as wood and loden cloth. Traditional raw materials from the Alpine region lend the modern low-rise buildings a rustic, safe and warm appeal.

The architecture itself is striking, visionary and yet still in touch with nature.

“Only those with the courage to evolve are able to offer their guests a spectacular experience,” believes co-owner Martha Schultz – and it is this spectacular experience that the Group has achieved with the design alone.

The mountain landscape in East Tyrol is imposing – imposing to the extent that even in this small corner of Austria, you’ll find 241 3,000-metre peaks. Together, they create a breath-taking backdrop that absolutely must be protected. Around one-third of the total area of the Hohe Tauern National Park is located in East Tyrol, which is why the Schultz Group, who opened the Gradonna Mountain Resort here in 2012, made the architecture of this special place their top priority.

A building like this ultimately needs to blend in harmoniously with the mountain and ensure that tourism doesn’t clash with the National Park in the resort.

The foundation of this clever interplay is clear design language paired with the rustic mountain charm that is present throughout the location. Large glazed façades allow guests to view the beauty of the nature that surrounds this modern yet traditional resort, meaning they feel connected to nature inside the building, yet in an unobstructed way. Be it from the rooms, the panoramic pool, the sun terrace or the spa, the view knows no bounds.

This experience awakens the senses during your holiday and you find rejuvenation in both relaxation and movement.

Very few people can avoid the healing magic of nature in the power place where the Gradonna has been built – it strikes you from the first moment you take in the incredible entrance hall with its Kals marble and wooden statues.

ADVE N T U R E AN D F U N ?

ABS OLU T E LY The well-considered balance of the resort ensures that there’s a right option for everyone. For some it might be an active schedule in the mountains, while for others it might be undisturbed bathing time in the hotel’s focal point: the solar-heated bathing pool. On the high, sunny plateau, children can explore the magical kingdom of flora and fauna in the forest kids’ club, or practise their beginner routes in the bouldering hall. Adults can hike or cycle through the National Park and enjoy treatments in the spa – all in the context of the natureinspired architecture of the Gradonna ****S Mountain Resort at 1,350 metres above sea level. With no stress. No compromises.

And of course, no cars.

Photos Gert Perauer

a modern take on nature

CA RS ?

NO

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Issue No 03 | 2021

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The dreamlike natural setting of Lake Garda evokes images of greenery, striking mountain peaks plunging down into glittering turquoise water and a feeling of enchantment. The EALA design hotel has captured this spirit and turned it into a holistic experience.

the luxury of nature EALA ***** MY LAKESIDE DREAM

I T A LY LIMONE SUL G ARDA – LAKE G ARDA

67

Junior suites and suites Natural spa treatments Private beach

Photos EALA My Lakeside Dream

Book online lifestylehotels.net/ealamy-lakeside-dream

The positive impact of nature on our mood, stress levels and general well-being has long been recognised in the built environment, and the increased use of biomimicry in architecture and design is further proof of nature’s appeal. With its position on the banks of Lake Garda, the design criteria for EALA were to immerse the structure of the hotel in the natural surroundings to create a luxury experience with all the benefits that offers.

NAT U RE

BY DESIGN

LUXURY

BY DESIGN

WE L L N E SS

BY DESIGN

A visit to EALA is a sojourn in nature.

Careful attention has been paid to ensuring that the exterior façades blend into the surroundings through careful use of materials and design features. On the road side, the emphasis is on reinterpreting the mountains through the choice of shapes, colours and materials, with different modules creating shadows and light effects that change throughout the day. The side facing the lake incorporates the balconies of the suites and is reminiscent of a rocky slope descending towards the water, bearing the same tones as the rock faces and playing on the shapes and contours of the mountains. Tall camphor trees punctuate the view and mimic the mountain faces.

Within these striking yet harmonious façades, the interior continues the natural theme. The suites are adorned with bespoke wallpaper and artworks bearing graphic interpretations of natural motifs, while large panoramic windows draw the gaze outside and place guests in the very heart of the landscape. Premium amenities including underfloor heating, coffee machines, private saunas and outdoor jacuzzis ensure a luxury feel. When hunger strikes and you absolutely must leave the comfort of your room, the extraordinarily designed dining hall, suspended above Lake Garda with splendid views of the calm waters, offers an experience for the eyes as much as the palate.

No stay at EALA would be complete without being pampered in the 1,500-square-metre luxury spa. The team uses natural products sourced from the region to send guests on a journey of self-discovery, with treatments ranging from moisture-rich facials to invigorating scrubs and massages.

Nature again comes to the fore in the materials, shapes and colours to stimulate all the senses. As if we needed further proof of the power of nature, EALA confirms once more through its design what a privilege it is to soak up the atmosphere of the lake and rediscover tranquillity and relaxation.

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Issue No 03 | 2021

DA S M AX LIFESTYLEHOTEL

08

Hunting trophies on wood-panelled walls?

Not at the dasMAX. The lifestyle hotel in Seefeld impresses guests with sleek, urban design amidst the Tyrolean mountains.

AUSTRIA TYROL / SEEFELD

19 rooms

Bistro and bar Modern rooftop area with sauna Book online lifestylehotels.net/ das-max

Anyone looking for knick-knacks, ostentatious décor and traditional Alpine chic at the dasMAX will come away empty handed.

And that’s a good thing, as this hotel relies on its minimal appearance to create added value from its simplicity. “dasMAX is the laid-back, uncomplicated and smart embodiment of clever holidaying in Tyrol,” summarises architect Alexander Meissl.

He and his team took on the interior design concept in 2018 and turned the dasMAX into a wellness oasis that deliberately avoids all of Tyrol’s kitsch nostalgia.

Combined with the sophisticated lighting concept from Tyrolean company Prolicht, the team of architects achieved a balancing act between premium quality and minimum quantity. Because less is more. Or you could call it lean luxury of the highest order, which can also be enjoyed in the wellness options on the expansive roof terrace with its sauna and relaxation area.

NORDIC EL E G ANC E

BIS T RO I NCLUDED

At the dasMAX, luxury manifests itself in the minimalism, in the paring-back, in the essential. Danish designer brands such as Bo-Concept and Kvadrat are the perfect match, which is why the lifestyle hotel worked closely with them from the very beginning.

Right next to the entrance, you’ll find the Bistro ready to captivate both hotel guests and other visitors to the popular Tyrolean winter sports resort with its visual and culinary offering. Whether you use it as a breakfast room, an on-the-move office or a break room for the times in-between, the continuation of the minimalist design lends itself to being suitable for a number

of uses and means there will be a favourite spot for everyone. The space is still cosy despite the simple design, and there’s nothing to distract you while concentrating on your work. Such a mix can only work with refined interior design, and that’s exactly what Meissl Architects achieved.

“In the Bistro, the line between fun, entertainment, work and culture becomes blurred. This is the heart and the social hub of the hotel,” says Prof. Carola Meissl-Handle.

AWARD -WI NN I NG SI M PL IC I T Y The unique architecture of the lifestyle hotel in the Alps hasn’t escaped the attention of the experts. In 2020 and 2021, the dasMAX received two prestigious awards: the European Big See Tourism Award and the international German Design Award, whose jury was unanimous: “The wonderfully simple interior looks appealingly fresh, airy and modern and creates a feeling of individuality and a high standard of living through carefully selected and placed decorative details.”

And at the dasMAX, everyone holidays just as they want it. Tailor-made.

Photos: Archiv Marcati

urban holidays in the alps

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Issue No 03 | 2021

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Inspired by the mountain landscape around the Tyrolean village of Sölden, a couple working in tourism and carpentry created a retreat where the scenery can be experienced both indoors and out.

larch and loden

AUSTRIA TYROL / SÖLDEN

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BERGLAND ***** DESIGN AND

rooms

WELLNESSHOTEL SÖLDEN

2,200 m2 Sky SPA

Own sheep farm Book online lifestylehotels.net/ bergland-design-undwellnesshotel-soelden

The natural colours of the Bergland Design and Wellness Hotel in the centre of Sölden blend into the mountain landscape of the Ötztal valley. This is where Elisabeth Grüner and her husband Sigi have fulfilled their dream of running a first-class design hotel in the Alps. Their starting point was an outdated traditional building in the town centre of Sölden in Tyrol. The idyllic town has a population of 3,200, and with an area of almost 470 square kilometres it is bigger than Vienna, while it also marks the start of the road leading to the World Cup glacier. Boasting glaciers, mountains, forests and pastures, the region is the ideal location for a luxury holiday.

Photos: Christoph Schöch, Andreas Schatzl

HA RMON IOU S C ON T RA S T S Before Elisabeth and Sigi Grüner were able to offer their guests premium holiday experiences, there was still one bold step to take: the renovation. The building was to be transformed into something completely new, and an architectural competition was launched that was won by Salzburg firm Wimreiter & Partner, who have experience in the tourism sector. With a strong grasp

of and much sensitivity to the natural surroundings, the architects devised an alpine design hotel – the first of its kind in the region. What fits in perfectly from the outside captivates on the inside with a contrast of regional and modern elements: larch, loden cloth and wool meet stone, glass and ceramics, while traditional shapes harmonise with contemporary features.

A RCH I T ECT URA L H IGH L IGH TS A total of over 1,000 square metres of terraces gives the hotel a feeling of openness and freedom. The well-considered floor plan with spacious rooms and suites of up to 212 square metres emphasises this.

The only thing that can make the ambience even better is the 2,200-square-metre Sky SPA boasting panoramic views – when you take to the treadmill here, you feel like you’re running through the mountains.

Moments of wellness at the same level as the summits await afterwards in the jacuzzi. Premium features like these aren’t overdone in this special place, but rather correspond with what you’d expect from a five-star location.

AN I MA L N E IGH B OU R S The bells and the bleating of the sheep that graze behind the hotel aren’t that interesting at first glance. Yet they fit in perfectly with the mountain backdrop at almost 1,350 metres above sea level. What’s special is that they belong to hotel owner Sigi Grüner, who has received several awards for the way he breeds the approx.

25 ewes and 40 to 50 lambs. Their wool is used to create products that can be found throughout the hotel, while the meat is also proudly served in the gourmet restaurant.

Top cuisine ranks as high as the peaks at this hotel. And anyone who doesn’t think that’s quite high enough will be able to reach Sölden’s glacier ski resort in just 30 minutes – winter wonderland guaranteed.

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Issue No 03 | 2021

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a simple statement

ALMMONTE

Maybe it’s the raw materials taken from nature: the dark stone next to the light wood, rough linen next to soft velvet, protective curtains in front of large glass façades. “Harmony and contrasts don’t cancel each other out. Nature is proof of that,” explains hotel owner Andreas Hutz, who invested blood, sweat and tears in the architecture and design of the building.

The Almmonte Präclarum Suites owe their

laid-back serenity and discreet elegance to him. This illusory contrast is what makes it so easy for us to be in the moment here.

The moment when we wake up in our cosy box spring bed. The moment we enjoy the panoramic view of the mountains from the heated outdoor infinity pool. And the moment we’re served regional specialities in the restaurant.

Photos: Almmonte Präclarum Suites

PRÄCLARUM SUITES

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Issue No 03 | 2021

That’s the Almmonte Präclarum Suites in the heart of the Salzburg mountain landscape – where holidaying is brilliantly simple, just as we like it.

SI M PLY T I M BER

SI M PLY S TON E

Before we even enter the lobby, suites, restaurant or the spa, we’re struck by the nature-inspired appearance of the building.

Its façade seems to bring the surrounding forest closer thanks to its effective timber cladding. Organic shapes such as vines and nets emphasise this effect and generate a feeling of warmth and comfort, even from the outside. A feeling of “I want to go in there”. We’re happy to accept this unspoken invitation and soon notice that the concept continues seamlessly in the interior with minimalist wooden furniture and subtle decorative pieces. Wood is used in combination with another mountain material in all areas: stone.

We encounter it in the form of granite floors with the classic salt and pepper pattern, we discover it in the dark shadows on the walls and ceilings and marvel at the contrasts resulting from the interplay with the markings of the wood. Although stone can often seem cold in the mountains, that’s not the case in this environment.

At the Almmonte Präclarum Suites, it invites us to take a closer look. It’s like it’s urging us to touch it: beneath our feet in the bathroom and with our hands on the wall. And actually, it feels warm and comforting.

SI M PLY NAT URE The overall impression that the design leaves us with is one of space, privacy and subtlety. The harmonious silhouettes lend the building its own personality.

Every area appears to tell stories, maybe our own, maybe one from the tourist region of Wagrain, which is known for its traditions and connection with nature.

“Our goal is to create experiences from the needs of our guests,” summarises Andreas.

And experiences are waiting here for us: both in the hotel and in the surrounding area.

AUSTRIA S A L Z B U R G / WA G R A I N

23 suites

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restaurants Outdoor infinity pool Ski-in, Ski-out Book online lifestylehotels.net/ /almmonte-praeclarum-suites/

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THE Stylemate Issue No 03 | 2021

DIRECTORY LIFESTYLEHOTELS

AU S T R I A

Lesehotel Wildkogel Resorts DAMÜLS A lpenstern Panoramahotel FISS Alps Lodge FÜGEN Mia Alpina . Zillertal Family Retreat GASCHURN Montafon Lodge Luxury Lodgehotel und Spa GEINBERG Geinberg 5 Private Spa Villas GRAZ Aiola Living GRAZ Augarten Art Hotel GRAZ Lendhotel GROSSARL Hotel Nesslerhof HALLSTATT Hallstatt Hideaway KALS AM GROSSGLOCKNER Gradonna Mountain Resort KALTENBACH Das Kaltenbach KITZBÜHEL Alpenhotel Kitzbühel am Schwarzsee LANGENFELD Naturhotel Waldklause LEOGANG Puradies MARIA ALM Hotel Eder MARIA ALM Hotel SEPP MAYRHOFEN ElisabethHotel Premium Private Retreat MELLAU Sonne Lifestyle Resort MÖSERN NIDUM Casual Luxury Hotel MUHLDORF LA PETITE IVY NAUDERS Arabella Retreat & Spa OBERGURGL Hotel The Crystal SAALBACH HINTERGLEMM Alpin Juwel SALZBURG STADT Hotel Goldgasse SALZBURG STADT Hotel Stein SCHLADMING Stadthotel brunner SEEFELD dasMAX SERFAUS Alfa Hotel SÖLDEN Bergland Design- und Wellnesshotel Sölden SÖLDEN THE SECRET Sölden STAINACH - PÜRGG Gästehaus Krenn TURRACHER HÖHE Hollmann am Berg UDERNS Sportresidenz Zillertal VIENNA Hollmann Beletage VIENNA Hotel Das Tyrol VIENNA Hotel Schani Salon VIENNA Hotel Schani Wien WAGRAIN Almmonte Präclarum Suites WAGRAIN Almmonte Sensum Suites ZELL AM SEE Seehotel Bellevue ZELL AM SEE Senses Violett Suites BAD GOISERN AM HALLSTÄTTERSEE

NETHERLANDS

CHINA NANJING

Kayumanis Nanjing Private Villas & Spa

AMSTERDAM AMSTERDAM

BRAMBERG

Sir Adam Sir Albert

GERMANY P O R T UG A L

Das Graseck NORTH FRISIA Hotel Landhafen NUREMBERG art&business Hotel PIRNA Laurichhof SANKT ENGLMAR Berghotel Maibrunn TIMMENDORFER STRAND SAND TIMMENDORFER STRAND Hotel SeeHuus GARMISCH-PARTENKIRCHEN

Sublime Comporta Country Retreat & Spa Vila Valverde CASCAIS The Oitavos LISBON Torel Palace Lisbon MADEIRA Quinta da Bela Vista PORTO Torel Avantgarde PORTO Torel Palace Porto PORTO Torel 1884 Suites & Apartments ALENTEJO ALGARVE

F RA NC E PARIS

Hollmann Paris

SWEDEN LAPPLAND

Treehotel

GREECE

Dexamenes Seaside Hotel Myst Boutique Hotel Saint Santorini

WESTERN PELOPONNESE SANTORINI SANTORINI

SWITZERLAND LUCERNE ZERMATT

Hotel des Balances Hotel Matterhorn Focus

I TA LY S PA I N

Casa Angelina AMALFI COAST Relais Blu APULIEN Paragon 700 Boutique Hotel und Spa CALABRIA Praia Art Resort CAMAIORE Locanda al Colle ISSENGO Gourmet & Boutiquehotel Tanzer KALABRIEN Praia Art Resort LAZISE Quellenhof Luxury Resort LIMONE SUL GARDA EALA My Lakeside Dream MERANO Boutiquehotel SuiteSeven Merano MERANO Steinach Townhouse Meran MONTEFOLLONICO Follonico NATZ NEAR BRESSANONE Seehof Nature Retreat PUGLIA Paragon 700 Boutique Hotel & Spa RIMINI i-Suite SICILY Monaci delle Terre Nere SICILY - Zash Country Boutique Hotel TRIESTE Hollmann Trieste VENICE Hotel Heureka AMALFI COAST

C R OAT I A

Meneghetti Wine Hotel & Winery Maslina Resort BRAČ Hotel Lemongarden ISTRIA HVAR

LIFESTYLEHOTELS Book directly. Enjoy benefits!

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MALLORCA MALLORCA MALLORCA MALLORCA

Convent de la Missio Fontsanta Hotel Thermal Spa & Wellness Hotel Can Simoneta Pleta de Mar

S R I L A N KA DICKWELLA SOUTH

UTMT – Underneath the Mango Tree

H U NG A RY BUDAPEST BUDAPEST

Hotel Collect Lanchid 19

“A S T E NO ORE

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THE Stylemate Issue No 03 | 2021

STYLE

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Photo: Courtesy of The New Raw, Michele Margot

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THE Stylemate Issue No 03 | 2021

FROM TRASH TO TREASURE: PANOS SAKKAS AND FOTEINI SETAKI FROM THE DUTCH RESEARCH AND DESIGN STUDIO THE NEW RAW USE 3D PRINTING TO TURN PLASTIC WASTE INTO BEAUTIFUL AND FUNCTIONAL OBJECTS. THE TWO ARCHITECTS SPOKE TO THE STYLEMATE ABOUT COLLABORATING WITH ROBOTS, USING WASTE AS A RAW MATERIAL AND THEIR VISION OF A FUTURE WITHOUT WASTEFULNESS.

Interview Nora Palzenberger

RAW

What do you see that I don’t when you spot trash on the beach or along the roadside?

PANOS SAKKAS AND FOTEINI SETAKI: Plastic waste is everywhere, in our cities, nature and oceans. This is a constant reminder that plastic pollution is the result of a design failure, where plastic packaging is used for seconds and then thrown away. For us, this material becomes the inspiration for sustainable objects and products that carry with them stories and messages. It is our mission to transform plastic waste into a valuable material that is kept, reused or recycled and not easily and instantly thrown away.

What do you answer to someone who considers you to be modern alchemists?

We strongly believe that seeing waste as a raw material will become the new norm; and sustainability and circularity will be the default features of all design products.

What some people call alchemy, we call crafting plastic waste with robots!

Do you remember your motive and the moment you decided to work with recycled materials instead of new ones?

Yes, it was the moment that The New Raw was born. Plastic is a versatile material and plastic waste is in great abundance!

Being Greek and living in the Netherlands, we could see how two different cultures use and manage this material, and this is what inspired us to do something about the problem of plastic pollution.

The question was how to bring it new life.

For the transformation of plastic waste into a new raw material, we employed digital craftsmanship. We have been working on this since 2015.

What is the aesthetic value of plastic waste?

We work on transforming plastic waste into something new by crafting it with robots. There is definitely an aesthetic value in plastic waste, and we work on expanding the possibilities of how we can use plastic waste, and make creations that it's hard to believe are made from a waste material. When the recycled plastic enters the 3D printing process it turns into a different material with distinctive properties.

Similar to rings in wood or the swirls of marble, the orientation and proportions of our 3D printed lines define the behaviour of the material and provide its distinctive ornaments.

thenewraw.org

We love working with plastic waste as if it were a natural material inheriting imperfect and non-homogenous qualities.

For your collection The Elements, you took marine plastic, transformed it into beach furniture and put it back on the beach again. What is your message behind this design approach?

Living in urban regions, we tend to forget about our dependence on the sea that is related to food and oxygen supply.

With The Elements, we wanted to give new life to plastics collected from the sea and provide useful and functional objects with a strong storytelling value. In the case of The Elements, the design draws its formal inspiration from elements that we often find or experience by the sea, such as the carcasses of marine organisms, saltation patterns on the sand and the waves.

Their sculptural forms consist of soft and/ or wavy surfaces that smoothly surround the user and offer a pleasant experience.

Our goal was to create objects that seem to be almost natural because of their shape, textures, and colour.

For the production of the beach furni­ ture, you used 720 kg of plastic waste.

What was the biggest challenge in the design process?

Making a series of products that would seamlessly integrate into the natural sea landscape and provide climatic comfort under the hot sun. Our designs were based on observations of living organisms and patterns formed on the sand and water surface of the coastal areas, and transferring those into our design language

and production technique. Choosing and mastering the material is part of our creative process. In recent years, we are happy to have joined forces with local partners and suppliers to assist us on this quest. Since 2015, the number of companies and initiatives that focus on marine plastic pollution has significantly increased!

Your beach furniture series has been digitally crafted via 3D printing.

What have you been able to achieve through this robotic manufacturing process that you wouldn’t have with traditional craftsmanship techniques?

Or, in other words: what can robots do that humans can’t?

Plastic is an industrial material that has not been used in craftsmanship before.

We explore how using our robots as the extension of our design team can transform plastic waste into objects of craft.

All our designs are produced on demand and can be tailor-made upon request.

If you could lead an ecological revolution, what would its slogan be?

Waste, no more!

Photos: Michele Margot

THE NEW

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THE Stylemate Issue No 03 | 2021

The Warehouse Lab, Panos Sakkas and Foteini Setaki’s studio in Rotterdam, is where the extraordinary creations are brought to life in their characteristic amorphous forms and multi-layered structures thanks to robots and 3D printing processes.

STYLE

The pandemic has changed the way we see our home and furniture. What are three characteristics of future furniture?

Local, sustainable, versatile.

Photos: Courtesy of The New Raw, Michele Margot

The motto of this year’s Expo is “Connecting Minds, Creating the Future”– how can design connect minds and create the future?

We believe that design thinking can tackle the big challenges of our times and provide valid solutions through co-creation and a multidisciplinary approach.

THE NEW RAW is a research and design studio based in Rotterdam founded in 2015 by architects Panos Sakkas and Foteini Setaki with the ambition to give new life to discarded materials through design, robots and craftsmanship. The multi-award-winning pair of architects look into the options for local recycling of plastic waste and inspire with projects like the Zero Waste Lab and Print your City! in Thessaloniki. Using a circular material process, The New Raw designs and produces high-quality outdoor furniture made from collected plastic waste with the help of robots to plot the 3D printing.

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THE Stylemate Issue No 03 | 2021

Interview Nora Palzenberger

You are both architects specialising in biotech design. When did you become aware of the fact that with your work you could not only impact the form and function of buildings, but also the health and hence the future of people?

CLAUDIA PASQUERO AND MARCO POLETTO: I would say since ecoLogicStudio was founded in 2005.

Our name is a reference to the book written by Gregory Bateson, Steps to an Ecology of Mind, in which the author speaks of ecology as the interconnection of various human and non-human systems through languages that are both logical and meta-logical. This perspective sets architecture free from the dichotomy of form versus function and towards architectural morphogenesis. Architects, in other words, should engage with the relationship between form, energy and the vital processes that shape life, and its evolution.

GET OU T I N TO T H E F R E SH A I R ! 93% OF C H I L DREN A ROUN D T H E WO R L D B R E AT H E P O L LU T E D A I R , A C C O R D I N G T O I N FOR MAT ION F ROM T H E WOR L D H E A LT H ORG AN I Z AT ION (WHO). THAT GAVE CLAUDIA PASQUERO AND MARCO POLETTO F ROM T H E L ON D ON A RC H I T E C T U R E AN D I N NOVAT ION AGENCY ECOL O GIC S T U DIO T H E I DE A L E XC U SE TO BRI NG T H E WOR L D ’S F I R S T BIO T E C H NOL O GIC A L PL AYGROUN D TO L I F E: I N T H E AI R BU BBL E I N C E N T RA L WA R SAW, CH I L DREN PL AY BEN EAT H A BU BBL E OF A I R T HAT ’S BEEN PURI F I ED

BY M ICROAL G AE . ecologicstudio.com

Photos: Maja Wirkus

playing in

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THE Stylemate Issue No 03 | 2021

STYLE Your new project, AirBubble, merges architecture, biotechnology and urban design. How did you manage to connect these disciplines?

Architecture for us is a framework to embed nature-based solutions in the built environment. They are the best hope we have to solve the challenges that industrial technologies have created. It is therefore an illusion to think that biotech can be the solution without the framework provided by architecture. The challenge is to clarify this distinction to key industry stakeholders, to make them realise the added value we can all get by embedding technological innovation in a social and spatial framework.

Please tell us about the moment when you envisioned AirBubble for the first time. Why did you particularly choose a playground?

Play affords a unique way to learn, going back to Bateson, through meta-logical processes. And kids are best placed to deploy meta-language to understand and transform their surroundings. Kids are also the most affected by urban air pollution since their respiratory apparatus is still evolving and their breathing is very intense while they play. So a playground was a very good typology to address all these issues at once and turn them into opportunities for change.

How do you explain the idea behind AirBubble to a child in three sentences?

AirBubble needs two sources of power: solar energy and your instinctive drive to explore and to play. These constitute the inexhaustible and renewable fuels of the AirBubble that can be obtained effortlessly.

The AirBubble is the trigger of a process that can only grow and multiply its beneficial effects towards future generations.

It’s all in your hands – you are responsible for our health and climate.

What is it that you want children to have learnt after having visited AirBubble?

We hope kids can learn through experience and interaction the benefits of transforming the quality of the air they breathe with nature-based solutions, and in this case with the power of microalgae. They will also experience how this process can lead to delightful new urban environments.

What is your favourite playing area within the bubble?

Certainly the hanging ropes combined with the bouncy bubbles. Kids invent unique ways to balance themselves while interacting with each other over it.

There is never a final static state, it is a constant process of negotiation and dynamic interaction.

Photo: Maja Wirkus

nature

What immediately apparent effect does AirBubble have on its visitors?

Certainly curiosity and, for the kids, rather wild playfulness, which was great to see.

However, our main objective was to ensure that kids would want to come back and play regularly in the AirBubble, in order to be able to observe and experience the patterns of change and evolution over time, of both microclimate and algae cultures.

At the moment, AirBubble is a test bed of applied biotechnology. When do you know your project is ready for the mass market?

AirBubble is already fully functional, it is a real biotechnological architecture.

There will certainly be other locations in the future but we do not want to consider it as a product for the mass market. We see AirBubble as always being customised to the specific context of application. To the local microclimate, building regulations, local algae species and social norms. That is why we have designed it using cuttingedge digital design and fabrication technologies and why we have embedded a real-time monitoring system in it that feeds us with data on pollution reduction and algae culture resilience. These systems enable a continuous learning and optimising process. It is not just the algae that are alive, the whole project is an evolving architectural system.

What would you love to put in a bubble of clean air next?

The next version of AirBubble should be a factory, or bio-factory. A factory shaped by the circularity of its processes of production, where emissions become raw materials for new products. A factory that is part lab, part greenhouse and part production facility. A factory that welcomes citizens in the processes of production and consumption and becomes participatory.

We are already working on two pilot schemes, for the food and pharmaceutical industry.

THE PROJECT AirBubble is located within the public green space outside of the Copernicus Science Centre (Centrum Nauki Kopernik) in Warsaw, which also hosts a dedicated exhibition illustrating the design innovation behind the invention.

The Polish capital is one of the most polluted cities in Europe. The project integrates photosynthesis into the built environment and in doing so invents a new architectural typology: a real urban algae greenhouse. The cylindrical timber structure inside is wrapped in an ETFE membrane – an evolution of the PhotoSynthetica urban curtain system – that protects 52 glass algae reactors. They contain 520 litres of living green Chlorella sp algae cultures that can filter a flow of polluted air of 200 litres a minute. The purifying process is powered by solar energy and children's playfulness. The space is equipped with ropes, foot pumps and bouncy spheres, and the white bubbling noise of the algae gardening system provides a calming atmosphere.

THE ARCHITECTS Claudia Pasquero and Marco Poletto studied engineering at the Polytechnic University of Turin and attended London’s Architectural Association School of Architecture before founding ecoLogicStudio in 2005. Based in London, the architecture and design innovation firm specialises in environmental design, urban self-sufficiency and biophilic sculptures.

Their portfolio of nature-based design solutions, through which the architect couple want to have a direct positive impact on climate change, includes the project BIT.BIO.BOT presented at the Venice Biennale that aims to improve the indoor climate via algae-based living façades.

Their Deep Green project, which is funded by the United Nations Development Program, uses artificial and biological intelligence to create new green ecosystems on the urban landscape.

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THE Stylemate Issue No 03 | 2021

a discreet style

INO circle luminaires by XAL, sideboard by Lapalma

I N AN OL D BUI L DI NG I N T H E C E N T R E OF GRA Z , AM I D T H E U R BAN H US T L E AN D BU S T L E , YOU ’L L F I N D T H E H EAD QUA RT ER S OF L I F E S T YL E HO T E L S , WH ERE ROBERT EISENBERGER FROM INSIDE EINRICHTUNGEN G AVE T H E I N NOVAT IVE C OM PAN Y T H E SPACE TO MAKE A DI S CR EET S T YL E S TAT E M E N T.

statement

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THE Stylemate Issue No 03 | 2021

ADVERTORIAL

Montana bookshelves and console table

Photos: Walter Luttenberger, Oliver Wolf

High ceilings, elegant parquet flooring and large windows formed the foundation that interior designer Robert Eisenberger had to work with. The basic concept that immediately came to his mind was that the furnishings should be as understated as possible so as to be able to highlight the things that make the Lifestylehotels business stand out. You only have to enter the reception area to see that that’s been achieved. Previously restricted to white and with no reference to the company or the products it makes, you can now tell from the entrance exactly where you are thanks to the showcasing of the company’s print products. Against a background of anthracite walls, we’re now greeted by a colourful masterpiece that’s appropriately lit and displayed. “We wanted to create an atmosphere that corresponds with the innovative character of the company, and makes reference to the content it is known for,” explains Robert Eisenberger.

The wall in front of you is devoted to the Lifestylehotels book, which is exhibited in small items of modular furniture by Montana to give the effect of a type case.

The Montana modules are positioned in a grid layout on the wall and act as a small theatre of window displays to create a presentation space for the books published every year. The reception area forgoes the use of the company logo as the products are the most powerful representation of the Lifestylehotels brand. The colour of enamelled water-blue tiles on a vintage fireplace has been picked up on the walls and rugs in the reception area.

inside-einrichtungen.at

Glamora wallpaper, Lapalma desk, Kartell meeting table, Moroso armchair

S TA RK CON T RA S TS

A RT, WA L L PA PER AN D ACCES S ORI ES Moving into the office where the administrative staff are based, you encounter a clean and pared-back environment so you can focus your full attention on exactly what happens here. The open-plan space boasting large windows forms a contrast with the management offices. The furniture has been kept low – no sideboard is allowed to exceed the normal desk height of 75 cm so as to give the art, wallpaper and accessories the opportunity to shine.

“Managing director Thomas Holzleithner has a great affinity for art and we quickly agreed how we wanted to proceed,” says the interior designer. Desks and sideboards

by Lapalma have been incorporated into the design. Large-scale wallpaper by Glamora has been used on some of the walls as a design feature – in some places it has been applied to a panel set away from the wall to create a focal point in the room.

At the same time, the acoustics of the room are optimised thanks to these panels and the thick-pile rugs by Object Carpet.

Robert Eisenberger, interiors expert and owner of INSIDE.

The offices of the two managing directors have been limited to black, allowing them to become bright, light-filled rooms, with lamps by Wever & Ducré and XAL having the effect of installations. In one of the offices, there is a bay window that’s been accentuated with upholstered furniture from Moroso, designed by Patricia Urquiola.

The ellipse-shaped meeting table has the advantage of creating an additional seating option. The matching chairs with delicate colour accents in gold are from Petrali.

In the other office, an understated sofa

by Wittmann steals the show. Across the corridor, you come to the kitchen and a dining area where Montana furniture has been combined with pieces from Kartell.

Returning to the reception area, you’re struck by the special surface on the furniture, which doesn’t show any finger prints thanks to a nano coating. You take one more glance at the boxes showcasing the books and are duly shown back out.

Bookshelves Montana, Desk and Chairs from Kartell

THE Stylemate Issue No 03 | 2021

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THE Stylemate Issue No 03 | 2021

DUTCH DESIGNER IRIS VAN HERPEN REVOLUTIONISES THE WORLD OF FASHION WITH HER HAUTE COUTURE PIECES. HER SYMBIOSIS OF TECHNOLOGY, NATURE AND INNOVATION IS UNPARALLELED.

23 STYLE

THE STYLEMATE PRESENTS 8 REASONS WHY IRIS VAN HERPEN IS TAKING FASHION INTO THE FUTURE.

Photos: Fee-Gloria Grönemeyer

FASHION

FORWARD

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THE Stylemate Issue No 03 | 2021

VAN HERPEN

04 After her studies, Iris van Herpen trained with none other than visionary British fashion designer Alexander McQueen.

She is a pioneer of 3D printing technology in fashion.

Back in 2011, one of her dresses created using 3D printing processes was selected by Time magazine as one of the 50 best innovations of the year.

I RI S VAN H ERPEN HA S A PA S SION FOR DANCE AN D I TS PAT T ERNS OF MOVEM EN T, WH ICH SH E REGUL A RLY I NCORP ORAT ES I N H ER DESIGNS .

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05 06

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irisvanherpen.com

In 2014, she created the costumes for Benjamin Millepied’s Neverwhere at the New York City Ballet. That was followed by costumes for the Paris opera and the Berlin dance group Sasha Waltz.

She applies an interdisciplinary approach to the production and design of her collection and regularly collaborates with artists and architects, including Jolan van der Wiel, Neri Oxman, Philip Beesley and Benthem Crouwel Architects.

The symbiosis of design and technology is an essential component of van Herpen’s work. She exchanges ideas regularly with world-leading institutes like CERN (The European Organization for Nuclear Research) and MIT (Massachusetts Institute of Technology).

Space exploration is also one of her sources of inspiration.

Natural experiments: for one of her collections, the designer developed a fabric made out of tree roots in partnership with a biologist.

Iris van Herpen relies on a long-term and sustainable overall concept. Haute couture allows her to produce just a few select pieces, with her natural and experimental approach to fabric and production ensuring minimal CO₂ emissions.

Photos: Fee-Gloria Grönemeyer, Wendelien Daan

IRIS

THE Stylemate

Fotos: Fee-Gloria Grönemeyer

Issue No 03 | 2021

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THE Stylemate Issue No 03 | 2021

up, up

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WI T H T H EI R H IGH H EEL SN EA K ER , M ICHA EL A WORS CH I T Z AN D J Ü RGE N HOL L HAVE C R E AT E D A SHOE T HAT COM BI N ES T H E BES T OF T WO WORL D S : T H E C OM FORT OF T RAI N E R S AN D T H E E L E G AN T F EEL OF H IGH H EEL S . M ICHA EL A WORS CH I T Z SPE AKS TO U S AB OU T T H E JOU R N E Y F ROM I DEA TO F I N I SH ED PRODUCT AN D HOW YOU CREAT E U N IQU E N E SS.

MOCKERY

MIA

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THE Stylemate Issue No 03 | 2021

and away!

STYLE

Why are two architects working on shoes?

MICHAELA WORSCHITZ AND JÜRGEN HOLL: From dealing with architecture, we recognise that buildings and shoes meet the same requirements, what’s different is just the way of achieving that.

Both objects need to provide comfort, fulfil statistical requirements, be functional, protect against the rain and the cold and conform to subjective aesthetics.

How did the idea come about to turn a sneaker, of all things, into a high heel?

The idea came up during my architectural studies at the Graz University of Technology.

I also wrote my thesis about it. Using the same software that I’d learnt how to design buildings on, I designed the first High Heel Sneaker. It was actually for entirely personal reasons: I’m rather short, and really wanted to be taller in everyday life without having to endure the usual associated foot pain and without losing any practicality in day-to-day life.

The advantage I was aiming for, as well as height, was to deliberately take a different path with high-heel shoes. They just make you feel different.

And that’s why sneakers with a heel are better than normal sneakers or high heels?

I’m active and I enjoy being out and about on my feet a lot, so I need a shoe that can carry me comfortably through the day.

But one that will go well with an elegant outfit. So, sneakers with a heel. Only ever wearing trainers was sometimes a bit too boring, and what’s more, in my opinion you shouldn’t wear sneakers to a wedding or other special occasions.

What else can the High Heel Sneakers do?

“When people start staring at your shoes and stop looking at your ass” is one of our slogans. The High Heel Sneakers don’t just stand out because of their striking design, but also because of the totally new walking experience and how they enable the wearer to walk for hours at a time without any pain.

Photos: mockerymia.com

What materials are they made out of ?

The outer is made from moulded neoprene, while the inner is naturally tanned leather. The wedge heel is made out of recycled thermoplastic polyurethane (TPU), a plastic that’s also used for highend sneakers. The materials come from Italy so as to ensure the shortest possible transport routes to the production site.

The issue of sustainability is important to us. That’s why we didn’t want the manufacturing to be done in China.

You say that comfort can be achieved through design. What does that mean exactly?

The wedge heel of the shoe was created with the help of parametric design, meaning finding inspiration in the surroundings and drawing on shapes that are already successfully in use in nature. The heel is made out of a honeycomb structure that ensures the optimum transfer of force and thereby provides above-average comfort. The soft materials used also ensure shock absorption.

What inspired you to create the design?

The designs are inspired predominantly by chaotic formations in nature, such as those found in the branches of plants, river banks, mountain ridges and coastlines. These recurring geometries have sparked the interest of parametric design. Incidences in nature are random, but unique in their own way. That’s what generates demand for the designs: creating uniqueness.

ABOUT MOCKERY MIA Architects Michaela Worschitz and Jürgen Holl developed the High Heel Sneaker. During their architecture studies they dealt with parametric design and looked for an application for this design method in areas of everyday life – and they found it!

You invested a couple of years of research in this project. What did you need to research for your High Heel Sneaker?

With a wedge heel, there is considerably more strain put on the ball and the heel of the foot than with sneakers, as the transfer of force isn’t flat but rather reduced to two main points. To be able to keep your balance despite the height of the heel and the high number of overlying cavities caused by that, a material is needed that ensures stability and flexibility at the same time so as to prevent the wedge heel from buckling, as well as ensuring cushioning.

Roughly the same cushioning is afforded to wearers of any weight so no one is at a disadvantage.

What does the brand name mean?

Mockery mia (mia = Italian for “my”) serves as a way to see the world in a self-deprecating way. Why not laugh out loud at yourself every now and then?

And at the same time stand up for yourself and your own style. Life is much more fun and exciting if you can look at it in a playful way. The basic idea behind mockery mia internalises the questioning of existing structure to drive the development of new, well-considered solutions. Prevalent issues shouldn’t be taken lightly. However, we welcome prescribed rules and structures because that’s the only way we can have the opportunity to break them.

When are the High Heel Sneakers meant to be worn?

Aesthetics and style are part of my life.

I celebrate dressing in an extraordinary way and find it fun. You speak differently, move differently. The great thing about the High Heel Sneakers is that you can wear them for a whole day and night without becoming bad-tempered through pain. When other people would rather sit down, I’m still dancing. mockerymia.com

LET’S HANG OUT TOGETHER RAY likes swinging from the ceiling alongside other Wever & Ducré luminaires. The trick is suspending up to eight luminaires as a round, multi-ceiling rose and up to five in a straight form. All you need is a single light outlet from which you can tailor the arrangement. Whether it’s straight as a die or in the form of a spider’s web where the cables become a design element. Who can join the team? Besides WETRO and DOCUS, BOX, HEXO, ODREY and SHIEK are also absolute combination geniuses.

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