7 minute read
In the hotseat
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 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
most powerful. From the viewer’s point of view, they seem to be beautiful paintings of Victorian china dishes, yet they are depictions of the first meals prisoners have when they regain their freedom after having spent years behind bars for a crime they didn’t commit. Their layers and depths are incredible.
A more confidential artwork would be a 1972 pencil drawing, Two Different Views, by Louise Kramer, an American artist who was known for working in a wide range of media, from printmaking to drawing, sculpture and site-specific installation. This piece is situated in the basement area and epitomises the pleasure of treasure hunting – we bought it in a warehouse in a remote place in Queens, New York.
Which piece would you most like to add to your personal collection and why?
The question is difficult as each piece is carefully and purposefully curated and a coup de coeur. Among a long list of pieces I would love to own, the triptych commissioned from the Australian artist Kristian Hawker, which is installed behind the reception desk. Approximately 90,000 small ink circles represent an embrace in an abstract way, almost like a mapping. It was finished a few weeks before the pandemic started and carries a sense of time gone by.
Please describe how the art has been curated to change the mood/energy flow throughout the various communal spaces in NoMad London.
The hotel’s public spaces aim to evoke the feeling of walking through a collector’s home.
The main foyer, lobby and reception area showcase two large masterpieces by Caroline Denervaud. Such a performance combining dance and drawing, her art pays homage both to the proximity of the Royal Opera House and the post-war expressionist movement. Denervaud’s pieces show graphic traces left by deliberate dance movements, a perfect introduction to the expansive collection of unique pieces featured throughout the hotel and in every guestroom.
The library presents a series of photographs, drawings, sketches and oil paintings in salon groupings that aim to celebrate the connection with the Royal Opera House and capture the neighbourhood’s nightlife.
The Magistrates’ Courtroom (right), a tall, internally focused, historic room, showcases a large-scale mural commission by French artist Claire Basler, whose subject is gestural rather than pictorial and conveys a sense of beauty and tranquillity during those magical moments at dusk or dawn.
The photographs in the Side Hustle display a series of Californian vibes through the work of photographers Travis Jensen, Megan McIsaac, Kevin Weinstein and Julien Roubinet, to complement a series of police force photographs by British documentary photographer Martin Parr. Parr is known for his photographic projects that take an intimate, satirical and anthropological look at aspects of modern life, documenting the social classes of England, and more broadly the wealth of the Western world.
The Magistrate’s Bar showcases Julie Green’s poignant and brightly coloured ‘first meals’ series, while the private dining rooms’ art programme continues the conversation with the neighbourhood, reflecting on past and present Covent Garden through a mix of archive photographs by Clive Boursnell, 18th- and 19th-century verdure tapestries and architectural drawings, and gestural abstract and constructivist drawings.
Any tips for choosing art for creating the best environment for hospitality?
Besides contacting/hiring be-poles? Think of the overall narrative you wish to convey: how is this collection telling a story? How do the pieces connect to the viewer and overall space in which they live? Do the pieces coexist and breathe on their own?
be-poles.com thenomadhotel/london
To read our full review of the NoMad London, see
thecocktaillovers.com
