Bethlen Estates

For the guestrooms, Thun took inspiration from the works of Czech artist Alphonse Mucha to curate a pared back aesthetic with organic materials and a warming palette of caramel and terracotta

Granted creative freedom thanks to his relationship with the family, Thun set about devising an interior scheme that worked within the parameters of the building yet injected fresh energy, much of which was influenced by the Czech Republic’s artistic heritage. “We wanted to design a timeless scheme in tune with a contextually aware, nomadic way of living,” Thun reveals, noting the importance of meeting various needs through a modern-day formula.

On the ground floor, the guest journey begins in a sleek lobby, where a series of stainless steel archways are offset by bold turquoise walls and burnt orange furniture. From here, a mirrored walkway leads to the Emporium bistro and bar at the centre of the complex. Lit by statement lighting from Czech brands such as Preciosa, the venue takes on a more autumnal colour palette, combining shades of green and orange with natural materials like timber and stone. “The idea was to channel a local feel through urban materials, reflective surfaces and Modernist colours,” says Thun, citing the works of Czech artists Alphonse Mucha and František Kupka as key sources of inspiration. “In the communal areas, we drew on Kupka’s abstract pieces to channel a more energetic atmosphere through vibrant tones and the ambient glow of bohemian glasswork.”

For the guestrooms meanwhile, of which there are 40 varying shapes and sizes due to the existing floorplate, Thun took cues from Mucha’s works to curate a pared back aesthetic with organic materials and a warming palette of caramel and terracotta. Homely touches come in the form of artisan rugs, cosy armchairs and soft textiles, echoing a distinctly residential style. And in the bathrooms, marbleeffect ceramic tiles from Italy – which also serve as flooring in the in-room kitchens and public areas – were used to clad the walls and vanity units, bringing a luxurious feel alongside freestanding bathtubs and fittings by Zucchetti. Throughout the hotel, Thun’s custom-made pieces ensure every space “arouses curiosity” – from the reception desk and black-tiled bar to the benches, upholstered headboards and bedside tables in the guestrooms.

With apartment living in mind, the design team also decided to separate the bedroom from the openplan kitchen and lounge. The residential feel comes

across in the use of technology too, with services available via an app to save guests the hassle of traipsing down to reception when in need of assistance. “The key was to offer flexibility and convenience, as well as the ability for people to help themselves,” Meinl explains, stressing that while the property does offer a service element, digital initiatives are geared towards evolving travel habits. “Nowadays, most people own a smartphone. We use it to order food, reserve restaurants and book taxis. Why should things change when we travel?”

The same ethos will be applied to future developments, with the family already on the hunt for prime European locations to grow its hospitality division; Warsaw, Budapest, Vienna have all been touted as possible destinations along with Rome, Paris and London. “The ultimate goal is for 15 assets in city centre locations, with a focus on historic buildings,” Meinl confirms, though is realistic in the challenges of finding such properties. Much like Prague, the new ventures will take inspiration from the architectural, artistic and cultural history of their location, designed in a way that aligns with the fabric of the city. “We’re flexible and we’ve shown that with this particular building,” says Meinl. “What we will not compromise on is our accessible luxury concept and the location, as we believe those two things are key for the customer experience and the long-term value of the asset. As an integrated owner, developer and operator, we must take a long-term view.”

Before Julius Meinl Living expands its offering across Central Europe, the brand is set to bring its retail expertise to The Julius Prague, opening an adjoining outlet where guests and locals can purchase gourmet food products from House of Julius Meinl partners. Something of a full circle moment, the move feeds into the group’s philosophy of giving back to the places it calls home, as Meinl concludes: “We build businesses with the view of multiple generations down the line, making sure that everything we do adds to the surroundings.” EXPRESS CHECK-OUT Owner: PPH Nove Mesto Operator: Julius Meinl Living Architecture and Interior Design: Matteo Thun & Partners Visual Identity: Studio LP, Something More Near www.thejulius.eu

25hours Indre By

COPENHAGEN

Martin Brudnizki combines old and new at 25hours’ first hotel in Scandinavia, exploring the idea of coming of age at a time when the brand is doing so itself.

Words: Matt Turner • Photography: © Stephan Lemke The first 25hours hotel in Scandinavia has opened its doors in a converted porcelain factory turned paper mill in the heart of Copenhagen. And as you’d expect from the eclectic, ephemera-filled designs of other properties in the brand’s portfolio, its interiors offer a marked contrast to the Nordic minimalism of most other lifestyle hotels in the Danish capital.

This 1885 building, most recently used by the university, is centrally located close to many of Copenhagen’s educational institutions as well as its main shopping district, and the Rundetaarn astronomical observatory with its spiralling helical corridor. Local architects BPP Arkitekter worked with Martin Brudnizki Design Studio (MBDS) on the project, and their combined efforts have reinvigorated the architectural quality of the building with a design described as “a fascinating, dichotomous arena that delivers a wealth of contrasting experiences”. Old and new elements have been carefully juxtaposed in a scheme with abundant references to art and literature based around “the conflict between knowledge and passion”.

Having researched the neighbourhood’s heritage, MBDS created a concept that blends old-school academia with the raw edge of industry. Colour and pattern is used to bring the building alive and ensure a cohesive thread throughout. With sustainability in mind, and mindful of global supply chain issues, the studio partnered with local brands and manufacturers on a number of pieces, making the most of Copenhagen’s rich design scene.

The studio also built on the idea of the hotel being like a campus, where everything is available in a central location. “Not only did this provide the backbone to the project, it also helped create a clear flow that ensures a smooth ride for operations,” says MBDS. “There is an intuitive sense to the layout, having been designed on a long linear formation. As soon as guests arrive at the front desk, there is a clear and seamless path to lead them on an adventure to discover the rest of the property.”

The Vinyl Lounge plays host to a pair of analogue turntables and a collection of LPs that sit beneath a neon sign declaring ‘Oh You Pretty Things’ in homage to David Bowie

That linear journey includes a series of recessed lounge spaces and literature-lined bookshelves along the corridor from the entrance, with its foliage-filled Assembly Hall central bar, through to the circular lobby area where a spiralling, gravity-defying sculpture comprised of second-hand books references the hotel’s educational heritage. The Vinyl Lounge plays host to a pair of analogue turntables and extensive collection of ‘70s and ‘80s LPs beneath a neon sign declaring ‘Oh You Pretty Things’ in homage to David Bowie. The Love Library features risqué artworks by South Korean illustrator Henn Kim on the walls, and an eclectic array of books on the shelves. A set of vintage typewriters are on display alongside Mid-Century Modern chairs by the entrance to the tuck-shop with its tastefully curated collection of artefacts and travel essentials. Visual diversity is a constant feature throughout too. The Assembly Hall is decorated with jacquard fabrics by Finnish artist Kustaa Saksi, while the hotel’s Neni restaurant acknowledges its Levantine roots with a mural showing Tel Aviv from a variety of perspectives.

Neni is one of two large F&B spaces located at the front of the property, situated either side of the Assembly Hall. The Israeli-inspired restaurant is a familiar hallmark of several 25Hours hotels including Berlin, Paris, Zurich and Vienna. Café Duse meanwhile is a new concept created for the Copenhagen site by Italian pastry chef Melissa Forti, who named the café after acclaimed theatre actress Eleonora Giulia Amalia Duse, aka ‘La Duse’. The Boilerman Bar in the basement below is another signature concept, developed in collaboration with celebrated mixologist Jörg Meyer, and one that will be familiar to anyone who has visited the 25hours Altes Hafenamt in the brand’s Hamburg hometown.

On the upper floors, 243 guestrooms traverse two design schemes – Passion and Knowledge across a range of room sizes from Small to Gigantic. Some offer a small terrace – a rarity in Copenhagen – and access to a