in the hotseat
The hotel’s public spaces aim to evoke the feeling of walking through a collector’s home
And what’s more important, curating an art programme that makes a connection with the guest or one that conveys the philosophy of the brand? The whole challenge of a bespoke art programme is to combine both – convey the philosophy of the brand and establish an emotional connection with the individuals who experience it. You work to a process that you’ve coined ‘narrative design’. Describe what it means and how it sets you apart… ‘Narrative design’ describes how we translate the brand philosophy, history and pillars into a story that is deployed via perceivable and non-perceivable experiences throughout the guest’s relationship with a brand. The selection of artworks displayed on the wall or laid on the floor, the materials that make up the space, the choice of paper, the logo, the lighting, the crockery, the furniture, the proximity to others, the quest for sincere emotions, serenity or creative effervescence, the sound of the sea or a turntable, the colour palette used – all these points of contact, though they may seem anecdotal, are considered and designed with the same energy to form a distinct narrative. How does the process come into play in your work for the NoMad properties? Tell us about the way you approached the US outposts to unite them but also give them their unique personalities… be-poles’ partnership with Sydell [the group behind the NoMad hotels] began a decade ago when it was developing the first NoMad in New York City. Sydell CEO Andrew Zobler
18 - The Cocktail Lovers
was captivated by the Johnston Building, at the time an unpolished gem of BeauxArts architecture at 28th and Broadway, and sought to highlight the design dialogue and cultural interchange between New York and Paris in bringing the hotel to life. He selected celebrated French designer Jacques Garcia for the interiors and in searching for a studio to create the visual identity for the brand, he was drawn to the work, philosophy and overall vision of Paris-based studio, be-poles. (Virginie works freelance for be-poles as art programme curator). The studio was called upon to bring its French sensibility and modern eye to the NoMad brand identity in 2010, and a fruitful collaboration began. As they began to explore the identity design together, Zobler fell in love with be-poles’ Portraits de Villes series and together they began to explore how art curation could add layers to the story and experience of NoMad. The NoMad art programme was born. With the growth of the brand, both Sydell and be-poles realised how the bespoke art programme had been a grounding pillar for the success of the property and the brand. As NoMad has grown into Los Angeles, Las Vegas and London, be-poles has continued to have a deep influence on the expression and evolution of the brand and of the meaningful stories that contribute to the soul of NoMad. We curated collected and commissioned works for each hotel, telling a rich and layered story centred around a sense of place and a passion for exploring the world, uniting the properties together. Among the other pillars of the brand were the building and the neighbourhood, which became an inspiration within this storytelling, allowing each property to be a part of the brand yet have its own identity. And on to NoMad London… Again, there is harmony in the narrative but a completely different energy to the US sites. What was the story that you wanted the art here to convey? The art programme for NoMad London celebrates the influence of post-war
American art and European avant-garde, exploring the exchange of creative ideas between London and New York. Old-world references are inspired by the origins and rich history of Covent Garden, as well as by Victorian-era artists, including Turner who was born in the neighbourhood. The hotel’s public spaces focus on an intimate point of view, as seen through the lens of a New York art collector, emphasising stand-alone masterpieces, collections and series of works. In a continuous narrative from the public spaces, the art programme in the guest rooms and corridors focuses on the post-war American art movement and its influence on today’s emerging artists. The lens of a New York art collector is pursued through a rich and eclectic collection of art, both in its content and display. In NoMad London, you’ve brought together an incredible 1,600 pieces of art. How do you go about sourcing on such a massive scale? With the same passion and intensity as for a small art programme – just with a larger timeframe. Our first art programme was curated for the NoMad New York property, with 168 guest rooms. Knowing that we could curate and custom-frame individual pieces at such a scale gave a strong sense that it was possible at any scale. It was lucky in a way; if we had started with a small project, we might never have launched ourselves into anything massive. Which three pieces/collections in NoMad London are you most proud of and why? The large piece by Caroline Denervaud near the reception desk – this was produced in situ at an early stage when the building was in full demolition works, which brought a special energy to it. Denervaud’s work is an iconic part of this art programme. Her pieces are an homage to the action painting movement, exploring the process of creation and the performance in making art and linking the surrounding neighbourhood of performance spaces, including the Royal Opera House and the theatres nearby. The series of artwork by American artist Julie Green in the Magistrate’s Bar is the
