Enhancing Hospitality Designs with Newmor Wallcoverings

Hospitality design plays a fundamental role in enhancing the guest experience – it is also vital in conveying the character and identity of the hotel brand.

As one of the largest interior surface areas, wallcoverings play an essential role in creating the desired ambience; from the lobby areas, restaurants, bars, spas, conference facilities, guestrooms, and even the in-between spaces such as corridors.

All of Newmor products are designed, manufactured and stocked in the UK. From subtle silk effects and tactile raw embosses, to bold metallic geometric patterns and large-scale bespoke designs, the wide-width fabric-backed vinyl wallcoverings are durable, economical to install, and easily cleaned and maintained to keep surfaces looking pristine for up to 15 years.

ibis Styles Bournemouth is a hotel space they worked on to help create a powerful hospitality design for younger demographic, curating it’s own individual atmosphere.

Bespoke terrazzo wallcoverings at ibis Styles Bournemouth

The newly-refurbished ibis Styles Bournemouth is conveniently set in the heart of Bournemouth, this design-led hotel is close to both the train station and lively Bournemouth Pier. The ibis Styles Bournemouth takes inspiration from the local beach environment, so guests can enjoy the sunny Great British Seaside vibes.

All 109 bedrooms, as well as two function rooms, restaurant, bar and leisure and spa facilities, have been completely refurbished.

Using the tagline ’unique hotels, creative by design’, each hotel has its own unique design, theme and personality. Janine Powell, Nq2’s Design Director, said the new ibis Styles would appeal to a younger demographic, reflected in the design. The hotel also features a kids’ zone and an ice cream station.

Wallcoverings from the standard and Newmor Custom collections were selected to sit alongside bespoke terrazzo wallcoverings designed by our in-house studio especially for the project.

Accor commented that Ibis Styles Bournemouth’s contemporary design concept will draw on “the bold and playful pastel colours of ice cream, which Bournemouth is well known for”.

Get the look with Newmor Custom Terrazzo wallpaper (above), order samples here.

Take a look at their bespoke wallcoverings here, or contact Newmor Wallcoverings on sales@newmor.com or 01938 551 990 to discuss your project.

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The project is developed in an old house in the neighborhood of Palermo. A complete reorganisation of the space was carried out, generating two accesses to two spaces of different uses that complement each other according to the hours of operation of the restaurant.

Considering the history of the old houses of Buenos Aires, the courtyards have always been a space of congregation. So the first great design strategy was to create an access courtyard immediately after the façade as a symbol and blow of effect. This allowed to have a new façade of its own language, and as a consequence to preserve the old style of the main façade. From the point of view of operation, the patio is fundamental for the take away model and also explores outdoor post-covid use.

The proposed language was the result of a deep analysis of the elements that define the gastronomic proposal, a proposal that boasts of a type of American pastry. Hence the reference to the old way of "cooling the cake by the window" and its corollary proposal to use multiple windows on the façade of the entrance courtyard.

Another determining element has been the abstract representation of cakes built by cardboard cylinders, as a system of "skins" that cover certain areas such as the entrance arches and the bar back, a place that attracts all eyes in the purchase process.

These "cakes or cakes" also include two traditional symbols of pastry, the strainer and the whisks, both elements we condense into a single piece as a symbol.

The language of interior architecture is a vernacular composition of the typical demolished industrial style. From this word "demolished" started the idea of using elements that simulate an "under construction" area, that is, scaffolding woods, construction irons, metal fabrics. All neutral materials that make up a universe of constructive sieves and background a demolished house where dry vegetation takes possession of an old house that seems to be in a state of abandonment.

Lighting has become a distinctive element built with wooden structure supports and surrounded by dry vegetation, as a poetic act of how vegetation can take an abandoned wooden scaffolding structure.

On the first floor, crossing the symbolic wooden windows and a large vegetation that climbs through them, we find a private room where the high cocktail bar takes presence. We emulate through the symbolic Lagerstroemia tree in the center of the courtyard and the use of wood around the courtyard the idea of the house in the tree. Hence its name Moshu treehouse.

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This week’s instalment of the Project of the Week series features a spacious hotel lobby design by 2021 SBID Awards Finalist, Bishop Design by Paul Bishop.

What was the client's brief? 

SLS Hotels are renowned for breaking stereotypical molds, in sophisticated fashion, and The Sky Lobby at our Dubai destination is no exception. The brief itself was to create a world of true luxury, something that would leave guests overwhelmed with awe.

What inspired the design of the project?

Our creative concept became inspired by the story of Midas, infused with the SLS spirit and excessive glamour of Dubai. This narrative translates through the design and artwork, which perfectly capture these sentiments in a subtle tongue-in-cheek way, enforcing unforgettable connections with guests.

What was the toughest hurdle your team overcame during the project?

Our toughest hurdle started when we inherited the project late on and the construction had already started off the back of the previous design. It was a race against time to redesign the whole project without compromising the construction programme. There was minimal guidance from operations in terms of brand or standard hotel requirements forcing us to create one.

What was your team’s highlight of the project?

Even with the restrictions of the build being carried out during covid, it is known that we have now set a new benchmark for all SLS hotels going forward. An undeniable highlight for us and testament to the standard of work that was carried out.

Why did you enter this project into the SBID Awards?

SBID Awards celebrate the best in design and it is events like this where validation surfaces in recognition that what we are doing is right and that our designs are of global standards.

Questions answered by Paul Bishop, Owner & Founder, Bishop Design by Paul Bishop.

Award-winning design agency, DesignLSM, is well underway with its latest project: renovating the front of house and F&B areas at the prestigious Heythrop Park hotel, set to open in summer 2022.

Renowned for its beautiful architecture, stunning gardens and rolling rural estate, Heythrop Park, located on the edge of the Cotswolds, was originally built for the 1st Duke of Shrewsbury in 1706-1711 and was one of the first estates to marry the interior with the exterior – ensuring that it captures the remarkable vistas on offer. Paying homage to the baroque era, but keeping the modern traveler in mind, DesignLSM have created a distinctive design narrative for the property that runs across the sprawling estate, taking influence from the Duke’s Grand Tour in Italy and his close working relationship with his architect - Thomas Archer; alongside design inspiration woven in from the subsequent owner – Thomas Brassey.

Having a wealth of experience, most recently designing Gaucho’s new Glasgow restaurant and The Alchemist’s Spinningfields Bar, with Searcys’ St Pancras Champagne Bar refurbishment amongst many others currently in hand, the DesignLSM team have bridged the gap between the Grade II listed 18th century charming manor house and the contemporary extension - creating an engaging aesthetic that runs through the whole Estate; including The Orangery, six lounges, three restaurants, two bars, a ballroom and theatre. Each space has its own design identity that encourages a journey of discovery for guests.

The Market Kitchen restaurant with its soft colour palette, fresh biophilic patterned upholstery and wall paneling was inspired by the traditional kitchen garden, while the Brassey Bar, echoes Thomas Brassey’s love of engineering and background in the railways, housing traditional industrial patterns and materials - think dramatic beamed structures, metal detailing, rich leather banquettes, and intimate lighting.

Each space compliments the architectural language of the property, delivering atmospheric and inviting spaces with a contemporary feel and elegant grandeur - encouraging a sense of welcome, comfort and continued exploration.

“This has been a tremendous project for DesignLSM. We have worked closely with Warner Leisure Hotels from the very beginning – offering our strategic expertise to curate the proposition, creating and defining several new F&B concepts as well designing a new narrative and an immersive interior design across all of the front of house rooms in this grand Estate – influenced by, and respecting its historical roots, whilst bringing it forward into a new era of enjoyment and adventure.” Holly Hallam, Managing Director of DesignLSM.

The latest in a stunning series of design achievements, Heythrop Park looks set to be a forward thinking and vital edition to DesignLSM’s groundbreaking hospitality portfolio.

Cover image: Heythrop Hotel - Atrium

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This week’s instalment of the Project of the Week series features a whimsical hotel suite design by 2021 SBID Awards Finalist, Blue Sky Hospitality.

THE GYLE is an intimate 33-room hotel, crafted from three heritage-listed Victorian houses, built in 1845, located on Argyle Square, across Kings Cross station. It takes its name from the Duke of Argyle, Chief of Clan Campbell, who used to own property in the area.

What was the client's brief? 

Convert a set of three 19^th century listed buildings into an upscale boutique hotel that reflects the history of its location, drives high room rates, and acquires a high reputation.

• Optimise the internal volume and reduce impact of constraints.
• Draw inspiration from its location.
• Provide a joyful environment for staff and customers.
• Offer a unique, memorable social space.
• Enhances the neighbourhood of Kings Cross- St Pancras.

What inspired the design of the project?

The quirky boutique hotel has been conceived as a complete work of storytelling design by British artist and designer, Henry Chebaane, based on his first novel soon to be published. The design tells a story about Kings Cross and Scotland in 1880, blending facts and fiction.

The design narrative evokes the residence of a fictitious character from Nova Scotia, who while fighting a conspiracy, becomes caught in a space-time rift caused by Victorian scientists. The result is an irreverent juxtaposition of steam-age heritage, whimsical details and 21st century modernity…inspired by 19^th century St Pancras coal and gas industries, and Kings Cross steam trains to Scotland. This is manifested through a layered palette of black, silver and greys accented by moss, fern and juniper greens.

The bespoke furnishing, made in Britain are all elements of storytelling that juxtapose past and present, facts and fiction, style and humour in a quintessentially British fashion. THE GYLE is truly ‘a surreal townhouse in a real London square’.

What was the toughest hurdle your team overcame during the project?

Optimising the internal layouts to make it efficient to operate and provide a pleasant customer experiene, while respecting the Health & Safety and Grade II Heritage to maintain period internal layouts and façades.

A discrete extension was added behind the original houses, this increased the key count to 33 and provided a common footprint at ground floor, in which to set up the public areas.

What was your team’s highlight of the project?

The creation of a fully immersive art installation that functions as the resident lounge and whisky bar. The resin floor is a seamless image of the sky reflected in Loch Fyne, while the whole ceiling is an upside-down lawn ripped open by a 40 feet long ‘space-time’ rift from which lighting strikes and odd sounds emerge throughout the day.

Why did you enter this project into the SBID Awards?

We entered the SBID Awards to thank our client for the trust and confidence in our work.

Questions answered by Henry Chebaane, Creative Director, Blue Sky Hospitality.

This week’s instalment of Project of the Week series features an intricate historical bar design by 2021 SBID Awards Finalist, SHH.

SHH created new design strategies for The Bar at The Dorchester alongside proposals for transforming an adjacent under-utilized space into one that complimented the function of The Bar. Proposals needed to ensure that each of the spaces be versatile in that they could be used comfortably by guests, and that these guests’ needs could be functionally provided for, during mornings, afternoons and through into the evening, guaranteeing constant usage of the space throughout the whole day.

The requirements for The Bar included an ability during the day to operate as a lounge serving small plates and bar snacks, and doing so without compromising its essential use as an evening cocktail venue. The design proposal balanced display, visibility, intimacy and privacy with seating flexible enough to adjust to smaller pairings and larger groups.

Making use of a richly detailed palette of materials, the design interwove references to the history of the bar and hotel, references to the sites pre-hotel past, and to the stories and events that have taken place within its walls.

What was the client's brief? 

A significant amount of time had passed since The Bar had been refurbished, so the first part of the brief called for a new design that better reflected the character of the hotel and its brand, the buildings architecture, and the interiors of the other public areas within The Dorchester.

Secondly, a solution was needed that would allow the space to extend its operating hours beyond solely evenings, enabling it to be used comfortably by guests throughout the whole day.

The third part of the brief was to propose uses for an adjacent mezzanine area, and for which we designed a day-service tea room that could transform into an intimate evening whiskey and cigar bar.

What inspired the design of the project?

Honestly, we were spoilt for choice when it came to inspiration.

There was the personality of the bar manager Giuliano Morandin and stories of past guests and long-term residents like Sir Percival David, the collector of Chinese porcelain who kept large parts of his collection in his suite at the hotel and which was subsequently bequeathed to the British Museum.

There is the building itself which is that hybrid of Art Deco and Classicism. And period interior details such as fluted panelling; hand-painted wall panels depicting equestrian activities in Hyde Park; colour palettes combining gold, blues and greens.

And then there was Dorchester House that use to occupy the site and was the home of the Earl of Dorchester, the 3^rd Marquess of Hertford, and towards the end of its life the home of the American Ambassador whose guests included Mark Twain and Theodore Roosevelt. When the house was demolished one of its chimney pieces entered into the collections of the V&A.

What was the toughest hurdle your team overcame during the project?

The Bar at The Dorchester was last refurbished in 2006 and whilst the refurbished bar had a character of its own it felt alien to the rest of the hotel. The bar manager emphasised that existing guests and patrons were very attached to spaces in The Dorchester, meaning that any proposed changes needed to be done with sensitivity, addressing the desires of these existing guests at the same time as creating new appeal to attract a new generation.

What was your team’s highlight of the project?

The most amazing thing was designing a space within a building that had a history of its own, with its own stories to tell, architecturally and about the people who have and continue to pass through its doors. Digging into this past created extremely fertile ground around which we could build our design.

Why did you enter this project into the SBID Awards?

The SBID provides a great platform for recognition to practices who wish to showcase their work to a talented audience by bringing together high standards of work from across the world.

Questions answered by Brendan Heath, Director Hospitality & Commercial Interiors, SHH.

In this week's interview with SBID Awards Product Design judge and Associate at SHH, Tony Duesbury discusses the nuances of designing for commercial and residential spaces. He shares his insights on designing guest experiences and how hybrid ways of working are changing the interior design scene.

How does interior design help to curate greater guest experiences within the hospitality industry?

Every hospitality project is unique and a distinct design narrative allows the opportunity to curate a guest experience. Interior design can help generate interest by creating “a narrative” that helps people engage with the space and learn more about where they arrived creating a ‘sense of place’. This placemaking curates the experience and makes the guest experience more personal.

We have done this in a recent brasserie where the details of the wall panelling took inspiration from the 1970’s façade of the building that was removed, enabling the staff and guests to talk about where the interior inspiration came from. This design curation helps discussion and the engagement between staff and customer to enable a unique personal experience.

When considering the future of the built environment, how do you incorporate sustainable design principles into your projects, from design to procurement?

Our priority when considering the future of the built environment is to look at all aspects of the environmental issues that may affect a particular project and determine what best fits the project. Whether it is creating more greening, checking the carbon footprint of materials procured or considering the MEP to be implemented. As a first step towards achieving that we will look into forming collaborations with consultants and suppliers who have a relevant approach that is beneficial to the process. We will look at individual suppliers and the principles they have in sourcing and manufacturing their materials. Buying local materials and finding unique local craftsmanship within the project vicinity is obviously a huge consideration in order to reduce the transportation carbon footprint.

When it comes to product specification, how does your approach differ between commercial and residential spaces? What are your key considerations?

The selection of materials will be different when it comes to addressing a residential project compared to a commercial project. This is due to two aspects, firstly, cost is a huge factor in. Residential schemes are led more by the heart, whereas commercial projects are led more by the purse. Secondly, it’s about the traffic of a space. Residential schemes can have more luxurious materials that don’t need to take the same wear and tear that commercial projects do. The high footfall in commercial projects, however, means that the durability of the base palette has to have longevity and accents that are easily replaced can have that more luxurious touch.

With new consumer lifestyles and hybrid ways of working, how do you see the design of workspaces evolving in the coming years?

This is something like everyone we have been keeping an eye on as it is an evolving discussion that has yet to settle and likely to be a debate for years to come. Most recently the hybrid way of working has changed by introducing more technological elements that enable a seamless change from working at home and then back in the office. The largest shift is really going to be about creating staff retention by giving those unique offerings within the public office space to engage people to want to be in the office. For instance, in a recent project we have been looking at weaving in the local community and creating more opportunities for social interaction. Additional opportunities for offering amenities within communal space benefits peoples busy life styles and will have an increase in staff retention. As well as a way of attracting new talent.

Finally, what advice can you give to designers entering the SBID Awards?

My advice would be to remain very concise about their design proposal and communicate all aspects of the idea, story and design detail as clear as possible. It is important that the descriptive narrative conveys the same message as the visual design and both are coherent with each other.

Questions answered by Tony Duesbury, Associate, SHH.

In this week's interview with SBID Awards Product Design judge and Director of Design at IHG, Henry Reeve talks about the most important design and functional aspects of hotel interiors, key product specifications that influence choice and shares his personal sources of inspiration.

How can interior design influence greater guest experiences in hotel environments?

Good Interior Design I feel can make or break a guest experience. You need both form and function, yes of course we want to wow our guests with incredible atmospheres rich in detail and finesse but there is little point creating a spectacular environment if the space just doesn’t ‘work’. It's easy to create that spaces that impress but are poorly equipped or ill-thought through and don’t accommodate guests needs and functions. I think one of the most important aspects of hospitality interior design is to ensure our guest don’t ever feel stupid. Our guests are in an unfamiliar environment, and we want them to feel at home, to relax and unwind. Designs must be intuitive, how many times has one had to desperately search for the light switch, or struggle to find a plug socket or worse cant find the wardrobe!

How do you approach product specification for hospitality projects? What are your key considerations?

Specifying product particularly recently has become even more tricky,  there is a wealth of options out there but so many factors go towards influencing choice, yes of course shape and form but external factors are now more than ever influencing specification, lead times, environmental impact, over-use and of course cost are playing a huge role.

Why is product innovation so essential for the interior design sector, and how can we expect the relationship between manufacturers and designers to evolve going forward?

Constant innovation is mandatory in this sector, the world is moving fast and constantly looking to what’s next. Environmental factors are becoming ever more influential on both consumer choices and economic too. I feel this will become in time a far more important aspect of specification than it perhaps once was. Product life-cycle too is something I am interested to see how the wider industry addresses, how is product recycled/re-used when coming to the end of its life?

What inspires you both professionally and personally?

Inspiration comes from anywhere, but I must admit that Travel is certainly one source of inspiration to me that I am thrilled is now possible once again. To experience how different cultures use spaces opens ones eyes to new possibilities.

Finally, what advice can you give to designers entering the SBID Awards?

Put your best work forward, ensure photography is exemplar and try to explain your work in a succinct way. I look forward to seeing some wonderful entries!

Questions answered by Henry Reeve, Director of Design, IHG.

In this week's interview with SBID Awards Product Design judge, Maria Vafiadis discusses the compatibility of luxury design and sustainability, addresses the unique challenges between designing private residences and hotels, and shares her views on repurposing in the industry.

How would you define luxury today? Is it compatible with sustainability?

The luxury experience today is defined by space and how this space encourages us to make time for rejuvenation. This is one reason why many resorts and hotels are choosing to create standalone villas, cottages and treehouses where guests can quietly share time with family and friends and engage with the natural world.

Our new luxury values are increasingly compatible with sustainability. Government regulation, the marketability of eco-destinations, consumer demand and evidence that guests will pay a premium for experiences that respond to environmental and local community issues are coming together in a union which is already having an impact on hospitality. We are seeing a new, more thoughtful attitude to what luxury means together with a growing desire among owners and consumers to be better custodians of our planet’s resources.

How different are your priorities when you are designing a private residence versus a hotel?

My single focus when designing a private residence is the owner and his/her family. It is all about the owner’s aspiration and the family’s way of life, and the end result should reflect their personalities. By contrast, hotel design has several parties to please – the owner, the operator and, of course, the guest. As a hotel designer, it’s key to create a narrative as the wellspring for the guest experience while you also have to respond to an array of commercial and operational realities.

In your opinion, which offers the more interesting design opportunity – renovating a much-loved historic hotel or creating a new one?

It depends so much on the client and their aspiration; we have had amazing experiences working on both. Take for example Costa Navarino in Greece. It’s difficult to believe now but when we began our work on this resort it was no more than a bold vision to achieve a luxury destination which would celebrate the heritage and natural world of Messinia. It felt truly meaningful to work from a blank slate and create a new hospitality benchmark in the region.

Several years later, we were appointed on the recreation of The Burgenstock Resort in Switzerland. In its heyday, this had been a glamorous and pioneering destination and it was our task to take this legacy forward into a new era. This was a project that involved repurposing, refurbishment, extensions and new buildings. Its strapline ‘The Future has a Past’ was fascinating to honour and reflect in our work.

I must admit that I do enjoy delving into the past, discovering what was there and helping it to flourish again by combining the old and the new. We have just had a wonderful opportunity to do this in creating Matild Palace Budapest, a Luxury Collection Hotel. The lifestyle of the Archduchess of Austria who commissioned the original building was our inspiration and we wove our narrative around her imagined presence in the new hotel.

What are your priorities in making FF&E selections for your projects?

We love to work with artisanal and locally sourced products and, since sustainability is high on our agenda, we are always interested in re-purposed items. We believe in the inherent beauty of natural materials, tactility and in products that are well-made – longevity of things is one of the greatest gifts we can bestow on our planet.

You have recently published a book called Design Alchemist. What was the thinking behind this title?

At MKV, we believe in the power of design to affect behaviour and elicit emotion. This requires design that combines location, culture, history and modern life in any number of contextual stories which we tell. When they come together in the right balance for the particular project, alchemy results and a kind of chemistry is released between the space and its users.

Cover image: Alpine Spa, Burgenstock Resort

Questions answered by Maria Vafiadis, Founder & Managing Director, MKV Design.