Waldorf Astoria Bangkok for Hospitality Design

For the first entry of Hilton’s luxury hospitality brand in Southeast Asia, Waldorf Astoria Bangkokneeded to make a grand statement. Seven years in the making, the 57-story mixed-use tower from global firm Gensler and local firm D.I. Designs is capped with a magnolia flower-inspired design, dubbed the Petal by locals, that reveals itself as a magnificent flower in bloom.  Hong Kong-based André Fu, founder of AFSO, was appointed to craft the 171 guestrooms and suites, two restaurants, and a lounge for a design that reflects the timeless legacy of the Waldorf Astoria brand while celebrating Thai culture.

“When I first embarked on the planning process of this project with my team, we sought to create a thoughtful interfusion of Waldorf Astoria’s legendary heritage, a present-day narrative of the capital city the hotel lives in, and what modern travelers are seeking,” he describes. “Just as the Waldorf Astoria New York is quintessentially New York, the Waldorf Astoria Bangkok needed to give guests a strong impression that they are in Bangkok.”

To create a sense of place, Fu balanced the building’s architecture and Waldorf Astoria’s classic Art Deco language with subtle Thai references. “I wanted to challenge myself with the goal to juxtapose these elements into a new form of expression in the hotel,” he explains. Here, curved lines dominate notably in the sweeping staircase, which recalls the movements of a Thai dancer.

Cultural elements are visible in details like bronze lobby screens with intricate Art Deco motifs and subtle Thai twists. In the Front Room restaurant, for example, glistening lanterns suspended from the ceiling are inspired by floating paper lanterns popular on Thai beaches, adding a magical quality to the double-height space. Meanwhile, Peacock Alley lounge is a deconstructed version of the famous clock in the New York property, weaving bronze detailing with a regal purple palette and luxurious marble.

A muted palette of ivory and warm gray with accents of mauve, mineral turquoise, and racing green ensure the hotel is distinct from other Waldorf Astoria properties. Similarly, within the 171 guestrooms and suites, hints of Thai references made their way into the key distinguishing features, including in-room screens and handpicked artisanal décor.

New York firm AvroKO was responsible for the sky-high venues Bull & Bear, the Loft bar, and the Champagne bar, which is accessed through a hidden sculptural wooden door. Inside, vintage furnishings, wood carvings from Thai artists, and a sectional sofa evoke a moody lair. Indeed, all three venues “explore an East-meets-West philosophy,” says William Harris, principal at AvroKO. “We were inspired by the legendary Thai artisan and craft culture, a counterpoint to the New York art world and the many artists that helped shape New York City.” He adds, “It was important that our design honored the original brand DNA but also pushed the boundaries to help redefine the Waldorf Astoria experience for the future.”

“Ultimately, it is about the spirit of the place that makes it interesting for people to converge at and also to return. It is not so much about what I do visually, but more about what I do to make it relevant, how I tap into the ethos of that and translate it to create a personality and an experience,” says Fu. “Waldorf Astoria Bangkok is a new take on my design journey to challenge myself.”

Tai Kwun Centre for Heritage and Arts by Herzog & de Meuron for HabitusLiving

Herzog & de Meuron’s thoughtful intervention to the historic fabric of a former police station transforms a walled-off compound into a nexus of cultural exchange.

With the ever-competing diversity of building typologies and programmes in dense urban environments, big cities often struggle with balancing the pressure of space optimisation and preservation of history. In Hong Kong, one of the densest cities in the world, the new Tai Kwun Centre for Heritage and Arts achieves the balance by adaptively reusing a collection of historic buildings while activating a historic compound with careful interventions that enable art programmes and social spaces.

When Herzog & de Meuron faced the task of revitalising the former Central Police Station, the Central Magistracy and the Victoria Prison on Hong Kong island, the design team wanted to not only preserve the history of the compound but also to create an oasis of openness and public recreation in the heart of an urban jungle. The approach demanded a careful and non-intrusive strategy to create a new public space dedicated to cultural programming via revitalisation of the existing courtyards and buildings and careful addition of new spaces conducive to contemporary art exhibitions and cultural programming.

The resulting intervention allows two new distinct building volumes to float gently above the historic buildings as careful insertions into the existing fabric of the site. Cantilevering above the adjacent structures, the new volumes maximise the buildable floor area while retaining the existing generous courtyards and circulation spaces for gathering and activity.

The new buildings are clad with a cast aluminium façade system that draws references from the scale and proportion of the existing granite blocks of the revetment wall surrounding the site. The buildings deliberately set themselves apart from the existing collection of historical buildings and create a symbiotic relationship between the old and the new. The façade, apart from drawing references from its context, is also a response to Hong Kong’s subtropical climate, addressing sun shading and rain protection. Its textural quality reduces the reflectivity and glare during the daytime.

A Global Discussion About the Future of Our Cities

RIBA’s first-ever International Week brings together leading names in architecture to open a global discourse on the roles architects can play in shaping future cities.

With an aim to bring together some of the most renowned architects representing continents around the globe, the Royal British Institute of Architect’s (RIBA’s) inaugural International Week is a high-profile event set to promote constructive discourse and debate on the future of cities.

Tackling the issues of design in an age when more and more people are living in cities than beyond them, leading professionals including Ma Yansong, Sir David Chipperfield, Odile Decq and Amanda Levete, among others, are scheduled to speak at a keystone conference. Titled ‘Change in the City: Opportunities for Architects in the New Agenda’, the conference will comprise a part of the International Week events.

It will address urban design challenges and opportunities as laid out in the ‘New Urban Agenda’ – a framework adopted at the United Nations Conference on Housing and Sustainable Urban Development that tackles how cities should be planned. The conference’s roster of international speakers will seek experts’ perspectives and examine key opportunities for architects highlighted in the New Urban Agenda.

Anchoring on three main themes – housing, cohesive society and cultural heritage – the panel of experts will seek to interpret what the New Urban Agenda defined by the UN summit (and attended by very few architects) means for architecture, including how it can be adapted by architects to stay relevant in the rapidly changing times.

RIBA President Jane Duncan has commented: “Architects need to play a vital role in shaping our urban future. RIBA’s International Week will connect with architects, no matter where or what size their practice is, to help them understand the potential impact and opportunities of global urbanisation. Under the umbrella of the New Urban Agenda, the week will provide explanation and inspiration, showing how the architecture profession can use its skills over the next two decades to make a valuable and long-lasting contribution to our future cities and society.”

The ‘Change in the City’ conference will form an integral part of a week of activities from 3 to 7 July at the RIBA and serve as a vehicle for discussion of current issues such as rapid urbanisation and migration, from architectural and sociological perspectives. The conference will be accompanied by a free exhibition, showcasing the participating architects’ work in relation to contemporary urban challenges.

Singapore's Playful New Bowling Center Integrates History and Vision for the Future for Interior Design

Mixing fun, history and functionality in an intriguing entertainment venue concept, interior design company Kyoob-id brings an unexpected level of profoundness and innovation to the new Orchid Bowl bowling center in Singapore. Located in Punggol, a transurban planning area and residential town, the bowling center is the latest addition to the waterfront area under the Punggol 21 initiative, launched to transform the northeastern coast area of Singapore into a self-sustaining waterfront enclave, representative of the 21st century living.

The design team at Kyoob-id approached the project with a unique perspective, integrating history and a new vision for Punggol, while maintaining a playful and fun atmosphere. Echoing back to Punggol’s legacy as an early fishing village,while emphasizing the town’s recent transformation into a forward-looking, sustainable waterfront development, Kyoob-id’s interior design team unveiled a modern interpretation of a waterfront city within the center’s interior in a light-hearted and non-obtrusive way through subtle references, colors and design features.

In a nod to Punggol’s history, Kyoob-id created an impactful entrance wall consisting of polygons in varying textures to represent abstracted leaves and vegetation while strategically placing two tree-like displays with clusters of polygonal acoustic panels adorning the abstracted tree canopies close to the entrance. “The fruit tree installation has successfully managed to bring the noise levels down significantly and created an aesthetic and meaningful design feature with a [compelling] story,” said Kyoob-id’s senior designer Nut Ruangsorn about the playful and functional design.

Throughout the bowling center’s spaces, the design team introduced curves created by vinyl anti-slip tiles and carpeting to subtly suggest the bends of a riverbed and features like textured panels, black galaxy solid surface counter tops and wall graphics to hint at both the past and the future of the bowling centre’s neighborhood. Along the bowling lanes, Kyoob-id used strategically placed LED lights to run parallel to the ball return and gutter tracks, giving the space a dynamic and futuristic look without distracting the bowlers. The design team deliberately placed the reception counter at the back of the bowling centre, so that the visitors could experience the space in its entirety.

With functionality and fun driving the bowling center's overall aesthetic, the legacy and future vision of the Punggol town come together in the final design in ways that do not seem forceful or contrived.

“We wanted to bring the external environment such as natural foliage that exists outside the center’s walls into the interior,” summarizes Ruangsorn. “Our plan was to retain a semblance of Punggol’s rich history and blend it with its dynamic vision of a new waterfront city as seamlessly as possible.”

New Face of Intercontinental Singapore for IndesignLive

Inspired by the historically rich surroundings and traditional craftsmanship, interior design firm FBEYE International mixes nostalgia and contemporary influences in the interior renovation of InterContinental Singapore. Olha Romaniuk writes.

http://www.indesignlive.sg/articles/projects/the-new-face-of-intercontinental-singapore

Situated in the vicinity of historic districts such as Kampong Glam, Arab Street, Chinatown and Little India, InterContinental Singapore, established in 1995, has recently unveiled its brand new look, revealing the newly transformed interior spaces inspired by the rich heritage and culture of the surrounding neighbourhoods. With the extensive five-year renovation project undertaken by interior design consultancy FBEYE International, the hotel’s refreshed spaces embrace their multicultural context, striking a balance between the old and the new and infusing local flavour into the international hotel brand’s Singapore location.

“The history of the venue plays a large part in the hotel’s lifespan, so we wanted to enhance and bring in more elements to make the design a talking point between the staff and guests as they interact,” explains Warren Foster-Brown, Managing Director of FBEYE International.

To achieve a design that balances the aspects of old and new luxury within the context of modern day Singapore, the team at FBEYE International sought inspiration from the local and colonial architecture of old Singapore and incorporated bespoke details and décor elements into the public spaces, restaurants and guest rooms of the hotel. Within the hotel’s interiors, FBEYE International carefully mixed British, Peranakan and Chinese influences, creating a harmony of textures and colours for a strong unifying theme.

From the moment one steps into the hotel lobby, the experiential journey to Singapore of the bygone era begins. There is a strong correlation between the hotel’s exterior façade, with its architectural forms derived from the iconic Singapore shophouses, and the interior of the lobby, fashioned after a traditional living room in a Peranakan house. Within the lobby, the mix of vibrant colours that evoke Peranakan undertones reinforces the stately architectural features of the space.

The guest rooms of InterContinental Singapore strengthen the design essence of the hotel through a careful blend of contemporary luxuries and historical references. FBEYE International selectively used traditional fabrication techniques, like block-printing to create Peranakan-inspired motifs for the padded silk covering on custom headboards above the beds, while choosing more contemporary surface treatments in white, gold, and duck egg blue tones to strike a balance between the old and the new within the culturally inspired rooms.

“The existing architecture of the guest rooms and suites presented an advantageous opportunity for us,” says Foster-Brown. “As we tried to elevate the level of heritage influences in the guest rooms and, at the same time, add a touch of modernity, we were able to retain a key design element – pillars that were reminiscent of the Colonial influence.”

Similarly, the design of the dining establishments at InterContinental Singapore embraces the heritage setting of the hotel. The Lobby Lounge features colonial pillars, whitewashed and juxtaposed with traditional furniture pieces and contemporary lounge chairs. Coloured tiles with traditional laser-cut motifs commonly used in Peranakan houses line the bases of the pillars, while the ceiling treatment stands out with a contemporary interpretation of the Peranakan tile motifs developed from a laser cut-out.

Throughout the spaces, bespoke and custom-made furniture pieces and décor components come together cohesively to evoke a sense of time and timelessness at once. Artworks by Gladys Chow that combine Chinese motifs with a contemporary minimalist approach line the walls of the guest room corridors, while the patterns on bespoke carpets take references from a common symbol of peace – a phoenix – and readapt the recognisable motif in a contemporary way.

For the FBEYE International design team, retaining and emphasising the historical essence of InterContinental Singapore was a continuous mission that drove the design to a cohesive final result, despite the diverse functions and requirements of the hotel’s spaces. “From the guest rooms to the public spaces, heritage is expressed in the essence of the hotel, be it in the colours, artwork, fabrics and architectural details,” explains Foster-Brown. “It would have been all too easy to get rid of everything and start afresh with a modern concept, but InterContinental Singapore is one-of-a-kind and we wanted to retain that sense of place within the Garden City.”