The green oak building tradition of the Hogg family forms the inspiration behind Rachel McLane’s crafted designs in the new 40-bedroom Sandburn Hall Hotel in the Yorkshire countryside.
Design-led and built to a country-style specification, the 1,000-acre Sandburn Hall estate was developed by the late Mike Hogg seven miles from York. The new adjoining hotel complements what is already one of North Yorkshire’s leading golf, wedding, events and business venues.
When Pickering-based Rachel McLane was contracted in 2018 to provide her innovative, specialist interior design work for the ambitious new build it was immediately clear that the Hogg family wanted to build on Mike Hogg’s legacy.
“From day one we worked very closely with the client to incorporate the Hogg family firm’s wonderful custom building heritage into the design, bringing that history, the shape, feel and emotion of that green oak frame building structure to the fore,” said Rachel.
“Given the freedom to interpret their brief we have created a design that not only makes the most of the space and enhances the building, but understands and incorporates the Hogg family heritage, interests, and craftsmanship into the final design.”
The new hotel’s centrepiece uses natural green oak beams to frame a triple-height lobby as part of Sandburn Hall Golf Club, Grand Function Room and Tykes restaurant. Hand picked artwork is established on the walls, including photos of green oak frames and black and white prints going around the corridors and rooms. The designs also take some of their inspiration from the local area where York and the East Coast are evident in the natural colours, earthy tones, and real materials including vintage maps depicting the Sandburn Estate.
“In doing so, we were able to fulfil an important part of the brief that the rooms and spaces had to feel individual and not corporate,” added Rachel.
Rachel’s design vision created a unique cohesive feel across all rooms and into the common areas ensuring that the Hogg family connections to nature and craftsman trades were reflected in the room décor. Rachel commented: “The designs merge the traditional and the contemporary and aim to achieve a balance that bridges the core golf, wedding and business customer base.”
The Rachel McLane team’s design expertise is evident throughout the new hotel’s range of 40 double and twin rooms all with dressing areas, including larger family, luxury and accessible rooms, and two luxury suites. They also all come with handcrafted built-in case goods. “We wanted the signature and family rooms to be fun, a bit urban and industrial where the raw richness of exposed brickwork and soft leather combine with cool-toned sawn grey oak flooring and built-in bespoke joinery.”
Well lit, spacious and airy with eclectic pieces of furniture that differentiate between room types, the large windows of these signature and family rooms are of a natural oatmeal palette, soft grey and brick in a modern, fresh design that naturally marry the hand-crafted structure of the building.
Super-king beds and luxury, made in Yorkshire Harrison Spinks mattresses are a feature, and bathrooms are a mix of contemporary and traditional with the emphasis being on quality and timeless design. The hotel’s premier rooms, including the courtyard premier, have been designed with a feel that is classic and calm with raw, untreated materials to give a fresh, bright, light and airy atmosphere. Reclaimed bricks are softened by natural cream and teal curtain fabrics with artisan hand-blocked characteristics. Elements of teal and natural weave have been picked up in soft woven tweeds and the carpet’s muted tones, and the furniture has a comfortable country feel in a calm palette.
“The biggest challenge was the length of time it took from creating the fixtures and fittings specification to fulfiling the initial design with Covid-19 a constant hindrance. We found that not only were some products unavailable, but more than one company had ceased trading.”
Despite the challenges of a long project Rachel says that the team has loved working on Sandburn Hall Hotel: “The client is a pleasure to work for, they appreciate high-quality workmanship, attention to detail, and above all understand the value of design and the difference having a designer on board makes to a project.
“It’s also lovely being local to a project as you feel like you are contributing towards the good of the local area.”
About the Author
Rachel McLane developed a wealth of experience designing for the retail sector for eight years in London and York before setting up her practice, Rachel McLane Ltd specialising in the design of interiors for professional clients with commercial interests.
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In a particularly turbulent world (enduring an ongoing pandemic) where there is so much uncertainty, striving for wellbeing in our daily lives is all the more important. Our homes now act as a substitute for offices, gyms, entertainment centres and sanctuaries to name but a few of their additional uses. As we’re spending significantly greater time in them overall, it is clear they need to work harder than ever to meet our demands, suit our needs and ease our minds. The question is – can biophilic design really help? Peter Oudejans, director of leading biophilic design studio, Oudejans Interiors shares key insights on the benefits of integrating concepts of biophilia into our interior environments.
Biophilia, simply stated, is the human connection to nature that assists us in attaining wellness in our lives. Have you ever noticed how calm and uplifted you can feel when walking in the woods, strolling along the beach or simply sitting in a park? That’s the ‘Biophilia’ effect. In rural settings, this connection can be more obvious, but as more of us live in densely populated, urban environments, this connection is slowly being lost. That does not mean however, that we are unable to embrace nature’s beauty at home. There are numerous ways to live more meaningful, holistic lives and in practice this is about re-establishing links with nature to create healthy environments for life and work.
“It is the simple core truth that humans need a connection to nature to be content”, according to Sally Coulthard, author of the book Biophilia. It is the notion that humans need to feel connected to their natural environment not only to survive, but also to thrive.
Research undertaken over the past few decades has shown that biophilic design can improve cognitive function, physical health, and psychological well-being with benefits that include:
According to architect Claudia Bonollo of Monamour Natural Design, “our mood and our capacity for communication are influenced by a combination of physical, mental and sensory factors. Therefore, an environment that involves all the senses makes us happier and more receptive,” she says.
Oliver Heath Design, has found that the inclusion of Biophilia to the design process can increase productivity by 8% and rates of wellbeing by up to 13% in an office environment. In healthcare settings, pain medication was shown to be reduced by 22% and in the education setting, rates of learning can be increased by 20-25% where biophilic designs have been incorporated.
And finally, Florence Nightingale, the founder of modern nursing weighs in with “I shall never forget the rapture of fever patients over a bunch of bright-coloured flowers… People say the effect is only on the mind. It is no such thing. The effect is on the body too.”
With regard to interior design, Biophilia is considered more of a lifestyle than a design trend. It can be applied across the entire spectrum of interior styles from contemporary to classic and has a place in all areas of interior design, be it in a residential or commercial setting. Eco design and green architecture are very closely related concepts with a focus on environmentally-friendly design practices that are good for people and planet, just as Biophilia is focused on the wellbeing of humans through their connection to the natural world.
Biophilic design has three key threads that together make a space biophilic:
1. Being in a space that has a direct, physical contact with nature; 2. Being in a space that reminds you of nature through the use of natural items; 3. Being in a space that connects to natural rhythms and outside spaces.
There are numerous key elements of biophilic design which include incorporating a few or all of the following:
Take the example of firelight and candle light, which have slowly decreased in domestic settings as the use of heating (central and otherwise) and of course, electric light, now almost completely dominate in the modern home. Yet the ‘red’ light that emanates from firelight and candlelight plays an important trigger in the body’s preparation for rest and relaxation, making us feel calm and cosy.
In a study by the anthropologist Christopher Lynn, he measured people’s blood pressure and how sociable they felt after watching a log fire on a screen. One group watched with sound, the others no sound. The results found that those that watched with no sound showed little benefit, but those that experienced the audio and visual effects of the fire, had significantly reduced blood pressure, felt more mindful and focused on the present and were increasingly communicative and sociable. [1]
Including such a simple yet multi-sensory element such as a fireplace within the home can make a significant difference to the wellbeing of the individual. Just imagine the other benefits and sensations a real fire provides, such as the soothing radiant heat and comforting wood scent. And this is just one simple addition in the whole armament that nature and Biophilia can provide.
Biophilia is still deemed to be in its infancy within the interior design profession, despite being based on one of the most fundamental connections humans have with their environment. But with the current focus very much on the recovery, both physically and mentally, from a global pandemic, never has there been a better time or more crucial need to draw upon the healing powers of nature to improve our wellbeing.
Interior designer’s approaches to home design should now be looking to design sustainably with nature at its core for the creation healthy, happy homes that are better for people and the planet. After all, it truly is all about creating nature-inspired spaces to support our health and wellbeing.
References:
[1] Lynn C.D. The Psychophysiology of Fireside Relaxation. American Journal of Human Biology 25 (2013). 265-265
Projects photographed are undertaken by Oudejans Interiors Ltd. All photos are credited to photographer Glenn MacKay.
About
As a leading biophilic design studio, Oudejans Interiors feels it is vital to live more sustainably, in an increasingly connected manner to the natural world. Their motivation for designing spaces is to consciously straddle the line between nature and interior architecture. From creating a living wall to redecorating with natural hues, incorporating biophilia into living spaces is an effective way to restoratively transform them, whilst boosting body and mind.
SBID Accredited Designer, Portview strive to positively contribute to the creation of legacy-defining spaces that work for people, businesses, communities, owners, and investors. Sustainability is an extension of this and has been driving real change across the construction industry over the last decade. The next ten years will undoubtedly see this ramp up even further as the industry aims to reduce emissions, future-proof projects and slow the rate of climate change.
To reach the ambitious targets set out by The Paris Agreement and the UK Government’s goal of achieving net-zero emissions by 2050, the way construction and fit-out projects operate is going to have to evolve.
“While governments and clients have a central role to play, construction companies and specialists have the opportunity to lead this process,” says ProZero Environmental and Quality Manager, Lisa Trainor. “As interior fit-out specialists, we can integrate sustainability into our approach while ensuring quality, budget control and delivery.”
Here are some of the lessons that Lisa and the rest of the Portview team have learnt about making the construction industry more sustainable:
Companies of all shapes and sizes want to create sustainable buildings, but the planning and execution involved can be complicated and time intensive. Reaching a BREEAM excellent or outstanding rating relies on implementing sustainable working practices at every stage of a project. This includes resource efficiency, waste management and using the right building materials and techniques, but it also means effectively engaging all stakeholders. By setting out sustainability goals at the start of the process and maintaining an ongoing dialogue, we can ensure clients, architects, and contractors can consider sustainability at every stage. This includes things that can often get overlooked, such as sourcing low VOC products or using electric rather than diesel-fuelled forklifts onsite.
It feels like the whole world has taken a crash-course in sustainability over the last decade, and we have seen a considerable leap in expertise among our industry and clients just within the last five years. There is still a lot of progress to make, and continuing to build in-house capability is critical.
“Clients and investors are increasingly knowledgeable about BREEAM, LEED or WELL. However, they still need practical knowledge and insights into making these goals a reality,” says Lisa. “While expert consultants will always have a role to play, having in-house expertise is increasingly emerging as a key differentiator for clients. They want specialists that can provide value throughout the process, from sourcing materials to issuing commissioning certificates and providing aftercare.”
Sustainability is often still seen as a tick-box, regulatory exercise by many in the construction and fit-out world. And while it is undoubtedly the case that the prospect of increasingly heavy financial penalties is a significant motivating factor, we are finding that a growing number of clients are taking a more positive view. Achieving a BREEAM ‘outstanding’ rating requires additional cost, such as paying to conduct thermographic surveys or making sure that all materials are fully recyclable. But the long-term benefits are likely to be significant in terms of reduced utility costs, future-proofed businesses, increased tenant demand and increased wellbeing for employees and communities. Again, engaging stakeholders early is often critical in elevating sustainability from a regulatory requirement to an exciting opportunity.
The practical challenges of transitioning to a low-carbon economy touch every part of modern life, from the way we heat our homes to the lacquers and glues we use to finish a fit-out. Sustainable design has become a niche market over the last decade, but it will only become more important and mainstream. Companies in the construction and fit-out space also need to start holding their own operations to the same standards their projects are judged by. For example, we’ve pledged to use only low-VOC paints and reduce our carbon footprint by 30% by 2030.
“This is not only an essential part of making sure we practise what we preach,” says Lisa, “it will also help us to attract and retain talent from younger generations who may not currently see the construction and fit-out sector as a potential career choice.”
Choosing the right materials and construction techniques is an integral part of sustainable design and creating local systems that support wellbeing and the environment. On the one hand, this means considering such factors as sun orientation, implementing high-efficiency electrical, plumbing and HVAC systems, as well as using more renewable energy. But it’s also important to be aware of the broader local environment in which our buildings exist. This includes design choices such as using trees, plants, and grasses native to the area or installing stormwater management strategies.
Buildings also play a role in our social systems. A commercial building’s average lifespan is 25-30 years, which presents some challenges for sustainable design. Either these buildings must be made with completely recyclable materials so that they can be cleanly dismantled, or the initial designs need to be flexible enough to accommodate future changes of use. The UK government is encouraging the latter through the introduction of Class E permitted development rights.
There are many other ways that projects can be more sustainable that are unique to their local contexts. For example, we have developed several closed-loop solutions that reduce waste and benefit the local community.
We are part of recycling schemes for Correx, Plasterboard and Armstrong Ceiling tiles. Used materials are collected from our sites and re-manufactured; reducing raw materials, carbon waste and skip space.
We donate waste wood from our projects to a local college’s carpentry department within our local community, providing a new use for materials that would otherwise be destined for landfill. We also work with The Turnaround Project, who have created a workshop out of the wood we’ve donated. We’ve also recently partnered with Tools for Solidarity – who take our old tools, refurbish them and send them to Tasmania and Malawi.
Developing these solutions not only helps to reduce the impact of every job we complete, but it helps to strengthen community relationships, allowing us to lead the sustainability conversation from the front.
Part of what makes the challenges of sustainability so intimidating is their scale. The narrative around the topic is often focused on the bigger picture, and goals like the UK achieving net zero emissions by 2050 can feel daunting. As with any large project, it can be difficult to know where exactly to start. In reality, seemingly small wins can begin to create the momentum for change when taken together. Organisational leadership has a really important role in educating stakeholders and making sure that construction and fit-out companies lead by example and hold themselves to account. Effective education drives changes in behaviour that help contribute to the larger goal of transitioning to a low-carbon economy.
“Although it may seem small, an onsite worker stopping to quickly check whether a paint is low VOC before applying it shows that people are beginning to think differently about the way they work,” says Lisa.
The construction and design industry is at the heart of making our towns and cities more sustainable. By taking a proactive approach to driving change rather than reacting to it, we can help clients create amazing, future-proofed spaces with social and environmental benefits that ripple outwards. We can also help them differentiate themselves in a crowded market and make sustainability the norm.
Discover the latest sustainable products for interior design, here.
Market expectations and perceived building standards are holding back the country’s progress to construct net-zero buildings, according to the UK Green Building Council, UKGBC. The organisation would like to see developers adjusting investor and owner-occupier expectations about green buildings and this should be set out early in a development’s narrative.
It is often said buildings were completely fitted out to maximize appeal during the leasing stage, resulting in over-provision and waste as typically incoming occupiers remove final fit-outs.
UKGBC head of business transformation Alastair Mant said: “Achieving the necessary reductions in embodied and operational carbon requires large scale changes to how buildings are designed, constructed, and operated. There are many barriers along the way and we must work quickly to identify them and the corresponding opportunities to overcome them.”
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SBID Accredited Partner, KI Europe has published new Environmental Product Declarations (EPDs) for its portfolio of UK-manufactured products to help customers meet their sustainability objectives. Valid for five years, these documents help to achieve credits towards SKA, BREEAM, LEED and other certifications and standards.
KI’s furniture helps the world leading organisations create happy, healthy, high performing working and learning environments for their people; bringing together good design, advanced engineering and sustainable resources.
An EPD is a standardised and verified way of quantifying the environmental impacts of a product based on a consistent set of rules known as a PCR (Product Category Rules). Conformant with ISO 14025 (ISO 14025:2006 Environmental labels and declarations – Type III environmental declarations – Principles and procedures), these cradle-to-grave EPDs are concise and include environmental information and life cycle assessments (LCA) which have been conducted by Giraffe Innovation Ltd. LCAs cover materials, production, distribution, use, through to end of life; helping specifiers and customers to confidently make more sustainable procurement decisions.
Jonathan Hindle, KI’s Group Managing Director, EMEA, comments: “Sustainability is a top priority for a growing number of public and private sector projects. These EPDs show our commitment to tackling our shared issues such as climate change, carbon footprint and environmental impact. Additionally, analysing the environmental performance of our products over their lifetime can help us to develop even better products and processes in the future.”
KI’s products manufactured in the UK with third-party verified EPDs, published on Environdec (www.environdec.com) include:
Additional KI products including bespoke items have self-declared third party reviewed EPDs that have been produced by using the same calculator and standards.
With ‘renew, repurpose and replenish’ at the heart of her work, award-winning interior design consultant and SBID Accredited Designer, Rachel McLane has just completed the Bike & Boot – Scarborough’s newest hotel. As well as the design and fit-out of the 65 bedrooms, Rachel’s Yorkshire-based designers have created eye-catching common areas including the bar, residents’ lounge, film club and restaurant.
“We were fortunate with the Bike & Boot as the building was once a row of Georgian terrace houses and retains much of the original architecture. Even now, the envelope of the building remains true to its heritage,” said Rachel, who heads up a close-knit team of specialist designers experienced in concept design, design detailing and space planning for the hotel, residential, retail and leisure industries.
“It made no commercial sense to strip back and re-plaster the walls. Rather than hiding the faded grandeur of the original building, we have worked with it and given it a new lease of life.”
“My attitude is not to be overly precious; interior design is not about me forcing my ideas onto a client and their customers. Instead, it is about creating something that works for them and enhances their business. It is about producing the best solution we can, for the budget – but that does not mean holding back on quality or design. And good design does not have to cost the earth.”
Striving to be local as far as possible, Rachel employed craftsmen and suppliers from the area who were passionate about harnessing their skills to revitalise this once grand feature of the Scarborough seafront. This work has included bespoke case goods, re-upholstering furniture, sourcing local photographs for bedroom doors, creating graphic blinds using original railway poster designs and producing wall mounts featuring bicycle seats and handlebars instead of the traditional taxidermy heads. Other bespoke items in the hotel on Cliff Bridge Terrace include clocks made of brightly coloured bicycle bells and flip flops. Bespoke lighting was created from old bike wheels and crates, and a bespoke handle for the residents’ lounge is based on the ampersand between the ‘Bike’ and ‘Boot’.
A Georgian inspired colour palette was used to paint over the old anaglypta wallpaper giving the rooms a new identity and feel, and the team also designed and commissioned wallpaper based on activity maps of the area and recreated posters of original postcards of Scarborough from its heyday as a fashionable spa resort.
The design and installation of the Bike & Boot’s new hotel bar shows all of the company’s green, recycling values coming through by giving a second life to the metal back-bar of an old venue in Leeds at the same time as commissioning a Harrogate based company to produce the joinery elements to Rachel McLane’s designs.
“If you have been walking or cycling all day, you want to be able to relax and feel at home,” said Rachel. “The team sourced the bar furniture with that in mind – some of it was new and some of it was pre-loved and repurposed. An old chair can be upholstered by a skilled tradesman, and by choosing fabric of the right quality and design, the result looks great and provides the luxury of comfort.
“Renew, repurpose and replenish is an ethos at the heart of our work. I believe in avoiding sending things to landfill or bonfires whenever possible, and I am glad to say we have done our little bit with some of the bar and restaurant furniture at The Bike & Boot. This has also helped to reduce our carbon footprint in shipping in new products,” added Rachel, who worked on the concept of the Bike & Boot for two years with its directors Simon Kershaw and Simon Rhatigan, and for the last nine months with the local refurbishment contractor Infiniti Roofing & Construction.
SpeakEasy with Patrick Folkes
In this episode of the SBID podcast, host Grant Pierrus talks business and sustainability in interior design with entrepreneur and founder of The Graphene Company, trading an innovative and ground breaking line of natural paint.
Patrick explains the origins of the Graphene Company and how the process of combining Graphene and minerals developed to create this new healthy and high-tech range of ecological paints.
As a globally certified sustainable paints company with credentials in environmental performance, cradle to cradle practices and social responsibility, Patrick shares his approach to achieving genuine sustainability throughout the entire product lifecycle.
Shedding light into the concept of what “eco paint” really is – he talks green washing in the industry, how levels of VOC impact biophilic design and the integral role of lime in air purification. Discussing the future of the paint sector for interior design, he explores the importance of health considerations, ecological characteristics and indoor air quality in the industry.
Tune in to the whole conversation to discover more.
Patrick Folkes
Patrick Folkes has focused his career on a range of financial and entrepreneurial activities. He began in 1980 when he was involved in derivatives broking and gold and silver bullion market-making in London and New York. In 1990, he founded his own fund marketing and advisory firm, Folkes Asset Management. Later, in 2016, he founded The Graphene Company, trading Graphenstone Paint UK with its innovative range of sustainable, healthy and high-tech ecological coatings that are air-purifying and free of plastic and VOC.
This week’s instalment of the #SBIDinspire interior design series features the beautifully bespoke, authentic and consciously curated interiors for the re-design of Miramonti; a luxury boutique hotel in Brescia, Italy. Located just over two hours away from Milan, the hotel is surrounded by stunning natural beauty and is popular for seasonal activities including: skiing, ice climbing, hiking, fly fishing, porcini mushroom picking and wine-tasting at the vineyards nearby.
The London-based, proactive and purposeful design studio, Boxx Creative completed a timeless design for the hotel’s new minimalist contemporary interiors. Inspired by the scenic Italian mountains, the interior design provides a tranquil place where guests can experience total relaxation, reconnect with nature and re-balance.
Defining a new standard of boutique hotel design for the local area and beyond, Miramonti celebrates the achievements of conscious design, showcasing the spectacular results that can be achieved when design is fully considered from all aspects; aesthetics, functionality, innovation, social and environment impact.
Practice: Boxx Creative
Project: Miramonti
Location: Brescia, Italy
Image credits: Mariell Lind Hansen
What was the client’s brief?
Originally built in 1958, Miramonti is a family-owned hotel that had recently passed onto the third-generation. The hotel’s new owners had a clear vision for what they wished to achieve, great design style and taste, an appreciation for quality, timelessness and longevity, as well as a desire to support the local community and minimise the environmental impact of the project.
The hotel was to be totally transformed, with space maximised to increase bedroom numbers, flexibility of room use and defined room types created for couples and spacious suites with connecting bunk-bed rooms for families with children. The existing bedrooms provided for self-catering with kitchenettes and dining tables, which were to be removed. In the ensuites, small shower cubicles and bidets were to be replaced with walk-in showers.
The hotel was to be fully modernised, offering guests something completely different in terms of room layout, furnishings, lighting and materials. The design had to be a real game changer and ensure that Miramonti could continue its proud legacy and be enjoyed by future generations of guests and locals.
What inspired the interior design of the project?
Miramonti, meaning mountain view, draws its name from nature. Its holistic design was also inspired by the beauty of its surroundings and every design detail was thoughtfully considered to reflect this connection, including the colour palette, hard finishes, bespoke furniture, textiles, artwork and accessories.
The deep terracotta facade evokes the changing seasons and rich natural Italian colour palette. In the twenty-one guest bedrooms, the complementary green and blue colour schemes are both balanced and calming.
The design concept draws on the natural elements of earth, fire, air, water, wood and metal. Materials were selected for their authentic properties and link to the surrounding environment and feature in the natural stone wash basins, solid trunk coffee tables, round metal bedsides and soft natural fabrics of the sheer linen blinds and cotton bed throws.
Consideration was also given to all elements of the hotel’s design to ensure quality, longevity and minimising environmental impact. Everything was designed and built-to-last. Locally sourced, sustainable materials were used wherever possible and carpet made from recycled fibres line the corridors.
The majority of the furnishings were made completely bespoke by the contractor and his team of talented artisans in his local Tirano-based workshop. The bedrooms feature headboard panelling and wooden beds, metal framed open cabinetry storage and sturdy desks, wooden flooring, panelled doors and shuttered windows, each thoughtfully hand-crafted.
The build contractor was chosen for his energy saving principles and employment of workers within the area. All the wood chips left-over from his workshop were burnt in a furnace to heat houses in the village.
Lighting was a key part of the project where the clients wished to make an impressive statement. Layers of lighting with iconic FLOS feature pendants and Scandi-inspired statement wall lights make strong visual impact and create focal points in the guest bedrooms and ensuites. For the light switches, electrical sockets and ironmongery, Buster+Punch’s architectural hardware was the perfect companion with its strong design edge.
What was the toughest hurdle your team overcame during the project?
We experienced three main challenges with the project – time, distance and language barrier.
Time: The project had a quick turnaround, once the project got the go ahead, we had just over one month to do all the design work and produce all the technical drawings. The build work had to be completed within a 3-month time frame during the low season and finish on time for the start of the busy December ski season. We flew out in the final week to snag the build, install the furniture and artwork, then dress and style all the rooms for the professional photoshoot, before the hotel opened its doors to welcome guests. It was an extremely tight schedule, however the project was successfully completed and delivered on time.
Distance and Language Barrier: Unlike all our other projects where do regular site visits during the build phase, for Miramonti we worked remotely from London. Unfortunately, we can’t speak Italian and the Italian contractor couldn’t speak English, so we developed different ways of working and communicating. We setup a WhatsApp group, which was great for quick questions and sending pictures and used GoogleTranslate to translate each other’s messages. These smart phone apps were invaluable to us working together on the projects.
What was your team’s highlight of the project?
In the guest bedrooms, one of the highlights for us is the intricate details of the wooden furniture and joinery hand-crafted from our bespoke designs by the contractor and his team of skilled local artisans. Two of our favourite design details are the elegant curves of the wooden bed frames and the rippled effect of the under-sink cabinets, which are replicated in the ensuite pocket doors with reeded glass panes. These small, thoughtfully considered and beautifully made details may easily go unnoticed, however for us these are a great delight to see and experience.
Questions answered by Nicola Keenan, Co-Founder and Co-Director of Boxx Creative
We hope you feel inspired by this week’s Hotel design! Let us know what inspired you #SBIDinspire
If you missed last week’s Project of the Week featuring a memorable hotel public space with playful and immersive design, click here to see more.
To commemorate 100 years of Bentley motor cars, SBID Accredited Industry Partner, Alexander Joseph in collaboration with DMark Concepts produced a one of a kind cordless lamp, named Mulliner. The design of this exclusive premium lamp not only pays homage to the luxurious specification of Bentley’s prestigious interiors and their brand-new convertible model, but does so sustainably.
Made completely by hand in their UK workshops, the Nickel lamp body has been cushioned, replicating the decadent seating synonymous with the Mulliner specification. In collaboration with Bentley, the lampshade has been crafted in Vegan leather, then hand stitched in the iconic quilted diamond shape. The piece took 5 months to complete and represents approximately 600 hours of meticulous labour! The lamp also benefits from cutting edge, patent-pending battery technology and software, which delivers 3-4 weeks of use on a single charge. After the briefest of visits to the Geneva Motor Show, Mulliner will be offered for sale privately via a small number of Interior Designers with an appropriate client profile.
Sharing his insight to the key factors driving industry change and how makers should respond, we interviewed Mark Robinson, Managing Director of Alexander Joseph to find out more about what went in to produce this Bentley-inspired, vegan lamp!
What social trends are driving change and how do your designs respond to them?
Consumer desire for ethically made and sustainable products forces makers to think hard about their products, often this means using new techniques or materials where traditional methods are now considered morally redundant. This in turn can affect the way a designer must think about a piece to ensure whatever the item happens to be can be made cost effectively.
Manufacturers ignore customer demands for ethical and sustainable products at their peril. It’s no longer good enough to “carry on as normal”, customers have started to vote with their feet, or wallets! Brands should see this as an opportunity to inspire new design and perhaps techniques, rather than a begrudging obligation.
A great example of a brand adapting to what the market wants is one of our most iconic British brands, Bentley. The company recently introduced a range of vegan leathers for their vehicles.
Can you talk us through the manufacturing process. How did you take the initial design concept to achieve the final end product?
Alexander Joseph partnered with DMark Concepts to make this piece. The two businesses have worked together on other projects and discussed how to produce something unique. DMark who are also based in Dorset are best known for handmaking body parts for vintage cars you simply can’t buy.
The concept for the Mulliner lamp came following a meeting between the two companies for an unrelated piece destined for a luxury yacht. During a conversation about Bentley, Mark Robinson mentioned their drive to become more environmentally aware, this in turn led to a conversation about new Bentley models including the upcoming Mulliner. Within 10 minutes the group at the meeting had sketched out the initial concept.
In rudimentary terms, the piece can be broken down into three parts. The body, the shade and the technology. We decided to make the body from copper, primarily because it is an easier material to roll than most. It also lends itself to being highly polished as well as being the perfect plating surface.
A single sheet of copper was hand rolled, then using a laser light, the sheet was painstakingly worked over a wheel to create the pillowing synonymous with Bentley Mulliner models. This section of the lamp took almost 300 hours to create.
The technology for this piece also had to be reworked onto a new platform as the internal space wouldn’t allow for our existing electronics layout. This in turn meant we had to redesign the charging system for the lamp!
How was the choice of materials important? Why did you choose to use Vegan leather?
Our initial idea was to make our first carbon neutral product, just to see if it could be done. Using Vegan leather for the lampshade was an obvious and easy choice. We approached Bentley about the project, and they were able to give us all the information we needed to see the piece to conclusion.
The black vegan leather we eventually selected was then sent to a car upholstery specialist who formerly worked for another car brand, Aston Martin. He was able to hand stitch the material, replicating the Mulliner specification in Bentley cars.
Your products are manufactured by hand in the UK. How do you see ‘Made in Britain’ trend evolving after Brexit?
We don’t fear what Brexit means to ‘Made in Britain’. In fact, we see it as another opportunity. As a country we may struggle to compete with other regions for lower priced high-volume products, but nobody does quality engineered and hand-made products better than Britain. We see no reason why this wouldn’t continue. If anything, it could be argued that an overt independence only enhances the cache of Made in Britain.
How do you go about sourcing your materials locally? Why do you do this?
We ensure every component used in our lamps come from UK suppliers. When we launched our business one of our proud claims was that our lamps were 100% British – and this is still the case today. We audit all our suppliers to ensure everything they supply to us has been sourced and made in the UK. Wherever possible we buy from local suppliers with around 80% of our raw material coming from firms within a 20-mile radius of our workshops.
Sourcing specialist components and materials from UK suppliers is challenging, the research is time consuming, as is the administration of controlling the supply chain, but we think it is worth it.
All our pieces have a serial number. We record every component that goes into a customer lamp, so in the future if the piece is damaged, we can replace a part without the cost of replacing the whole lamp. As a result, we also know what date we received every component and which batch it came from. We even record ancillary information such as the depth of plating, or the colour density of glass.
Questions answered by Mark Robinson, Managing Director of Alexander Joseph
This week’s instalment of the #SBIDinspire interior design series features the timeless explorer’s lodge which beats with the pulse of wild Africa. Lying on the edge of Botswana’s mysterious Savute Channel and within Chobe National Park – where the big five roam, the skies are large and the land is washed with the muted colours of the Savute – the Belmond Savute Elephant Lodge has undergone a full redesign and has since become a tented retreat infused with the romance of a bush camp. This is the result of a robust collaboration among Belmond (owner/operator), Luxury Frontiers (project manager and architectural, infrastructure and back of house design), and Inge Moore of Muza Lab (interior design). Together, the team designed entirely new public areas including an arrival lobby, dining room, lounge and bar, library, pool, spa and game-viewing hide – while also refurbishing the guest accommodation suites. The resulting design is a contemporary tribute to the golden age of exploration. And while the design rightfully evokes a sense of adventure and discovery, guests are also drawn to connect with the natural world and slow down to the rhythm of the land that surrounds them.
SBID Awards: Hotel Public Space finalist sponsored by Viva Lagoon
Practice: Luxury Frontiers
Project: Belmond Savute Elephant Lodge
Location: Chobe, Botswana
The Belmond Savute Elephant Lodge has long enjoyed a beautiful location within Chobe National Park, Botswana’s most biologically diverse park with one of Africa’s largest concentrations of game. However, the lodge had become tired, it was not engaged with its location as an experience and it did not reflect Belmond’s commitment to sustainable development and practices.
In addition to design responsibilities, as Lead Consultant and Project Manager for the project, Luxury Frontiers was responsible for the full coordination and contracting of the professional team, bringing on board the local expertise of general contractor Lodge Builders of Botswana and the hotel interiors talent of international designer Inge Moore. With the lodge’s state of affairs, Muza Lab and Luxury Frontiers were tasked with reinvigorating the resort not only to reflect Belmond’s principles, but to also engage guests through curated spaces and to showcase the natural beauty of the locale.
The goal was to create spaces which both reflect the greatest sense of place and are where people can embrace their surroundings, all while paying the highest respect to the environment through sustainable design. Materials are simple and natural, including limed and white painted saligna wood floors, rattan furniture and fabrics combining bright geometric prints with earthy tones. The tented public areas which include an arrival lobby, dining room, lounge and bar, and library are a collection of tented rooms which flow outdoors onto large terraces with magnificent views. The public areas have been designed to lend a comfortable, lived-in feeling with layers of collected artefacts, yet bring in plenty of local context with clusters of carved poles recalling the sticks used by the indigenous people, traditional decorative screening details and locally crafted lights inspired by the region’s clay pots.
Befitting to Belmond Savute Elephant Lodge’s location within an unadulterated wilderness area, all structures were designed to celebrate the great African bush, frame spectacular views and have a truly experiential function. Take for instance the game-viewing hide which allows guests to inconspicuously watch the area’s beloved herds of elephants and other exotic animals which gather around the lodge’s watering hole. Added to that are the hide’s beautifully simple design and its composite bamboo walls, which cast striking, spindly shadows throughout the space.
A real point of pride for the team was the fact that the project was devoted to minimising environmental impact to the lodge’s stunning site and to supporting local businesses and organisations. All of the lodge’s structures were constructed on suspended, timber-based platforms and made of composite boarding and canvas. The previous lodge’s timber was recycled and reused, and the lodge’s decks were rebuilt using composite bamboo – one of today’s highest green timber alternative products. In the guestrooms, local thatching grass purchased from communities in Northern Botswana was chosen to cover the roofs. In fact, all the furniture, fixings and equipment at the lodge was sourced locally in Southern Africa, including gorgeously crafted pieces produced by The Blind Society of South Africa.
A design challenge – but one which was embraced – was the team’s commitment to making the lodge completely self-sufficient. As a specialist in infrastructure and back of house design in off-the-grid locales, Luxury Frontiers was excited to think outside the box and come up with efficient, cutting-edge solutions. Previously, the whole lodge was run on generators, which could consume up to 300 liters of diesel daily. This was replaced with a state-of-the-art solar farm of 665 panels and a Tesla battery system (one of the first in Botswana), and this has cut fossil fuel consumption by approximately 90%. Luxury Frontiers had installed a new anaerobic Sewage Treatment Plant, replaced the gas-fired hot water heaters with power-efficient thermodynamic geysers for each of the guestrooms, and put in an automated biodigester (the first of its kind in Botswana). The machine processes five tons of kitchen food waste monthly and turns this into compost, which is then bagged and used in local community-based farming initiatives.
Why did you enter the SBID Awards?
The Belmond Savute Elephant Lodge project team was excited to enter the SBID Awards to give credit to the complexity of the project, which was further heightened by the sensitivity of the project’s site (an unadulterated wilderness site within a national park). As projects are judged by SBID on both aesthetic creativity and technical merit, we knew the work done at Belmond Savute Elephant Lodge needed to be highlighted and heralded in the design community as world-class interior design was thoughtfully married to the utmost sustainable design considerations. Through our work here, we hope the design community (and the hospitality world) witness and strive to further the push the boundaries in sustainable design.
Questions answered by Graeme Labe, Principal & Managing Director at Luxury Frontiers with support from Inge Moore, Principal at Muza Lab
If you missed last week’s Project of the Week featuring Art Déco inspired interiors for a luxury residence, click here to see more.
We hope you feel inspired by this week’s sustainable Hotel design! Let us know what inspired you #SBIDinspire
SBID Awards 2019 | Hotel Public Space finalist sponsored by Viva Lagoon
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