A skinny hotel is set to rise in Downtown Los Angeles’ historic core. Designed by Buffalo, New York–based Adam Sokol Architecture Practice (asap) for developer Lizard Capital, the new Spring Street Hotel will tower 325-feet over the street and feature 176 guest rooms. At 28-stories, the design introduces tallness to an area that's currently mid-rise area, but not for long. Renderings of the project, which was recently submitted to the Los Angeles Department of City Planning, shows a tower sandwiched between two historic structures. The design offers a conservative grid up until the halfway point. Things get squirrely once the building clears the height of the adjacent buildings: the facets appear and the geometry opens up to reveal large interior volumes, which could associated with the planned 3,310-square-foot rooftop bar. Other amenities include a 6,100 square restaurant, 1,570 square feet for retail, and a 1,250 square feet conference center. The Spring Street Hotel is expected to break ground late next year and is aiming for a 2017–18 opening.
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The 467 foot tower is organized around the clean lines of a 4 mm thick aluminum composite material (ACM) panel system.Tourists in Manhattan might now be overheard saying something to the effect of: “Did you go to the observation deck at the Empire State building!?” "No, but I did stay at a Holiday Inn." Rightfully so, as there is a new way to experience the Big Apple: 50 stories in the air, in a bed, at the “world’s tallest” Holiday Inn just three blocks south of the World Trade Center. The 490-room, full-service hotel was designed by Gene Kaufman Architect (GKA) in collaboration with Gwathmey Siegel Kaufman & Associates Architects (GSKA), who created the façade. When asked about the “world’s tallest” designation, Kaufman recounts, “The building was originally 42 stories and after development rights were obtained for an additional seven stories, we figured out how to make it an even 50. Only then did someone suggest finding out if that would make it the tallest Holiday Inn.” The 176,600-square-foot Holiday Inn has a low-rise base that complements the surrounding streetscape. Atop the plinth is a dramatic tower with graduated setbacks, from which striking views of the city, the harbor and the Hudson River can be seen from a large number of rooms. A preliminary building shell design incorporating modular bricks presented both geometric and weight issues. Because the site has limited space for construction staging and is constrained by irregular property lines, Kaufman and his team sought out a more lightweight, flexible system that allowed for an angular floor plate. “Although we like brick and use it for most of our projects, we looked for and found a very slender metal panel system that could accommodate all of these conditions and all of the issues related to the building's height.” According to PG Drywall, installing the Reynobond material going up 467 feet with perfectly aligned metal panel joints running from the bottom to the top of the building was presented a unique challenge. The setbacks required frequent reworking and moving of swing scaffolding and mast climbers in a limited staging area. The project was completed in just 10 months. The installation was aided by the use of Allied Metal’s patented Dry-Seal Gasket System, an open V-joint system with snap-in silicone gasket (110 PSF) and locking progress that exceeds the New York City Building Code requirements and is compatible with the attachment and panel in the 1.5-inch space mandated by the limited space air rights. Another advantage to selecting a metal panel system was contextual, says Kaufman: “People refer to the streets in this area as ‘canyons’ because they are so narrow and the buildings so tall that the streets can be very dark. We chose a very light color with a metallic finish that would reflect light down into the streets. We also created a setback tower on a base. These decisions, and taking advantage of being only one block from the river, help light the streetscape.” The jewel-like, multifaceted facade, with its silver cladding that captures and reflects the light, creates a striking image while brightening the street-level pedestrian landscape.
LAM Group and Virgin Hotels in collaboration with interior designer and architects at VOA, have broken ground on their 39-story tower on the southwest corner of 30th Street and Broadway in the NoMad neighborhood of Manhattan. Responding to Virgin's demand of a "lifestyle" hotel product, VOA has topped a 90,000-square-foot retail podium with a 500,000-square-foot glass tower containing 465 rooms. Included in the tower is 30,000 square feet for amenity space such as banquet halls, meeting and conference centers, and a sky lobby club room with a private roof deck and pool. A vertical arrangement of embossed stainless steel panels breaking up the predominantly glass facade. “The design of the tower was conceived from the inside out, taking cues from the hotel room guest floors," Brian McFarland, VOA principal and lead architectural designer on the hotel, said in a statement. "Efficiently cellular in nature, the tower originally dictated a simple building form. Deconstruction of this otherwise simple tower was achieved through selective massing being removed and reapplied to create a more interesting form and offer more corner rooms and greater views.” The neighborhood north of Madison Square Park, hence its acronym, has witnessed an explosion of growth in the past decade, with several prominent hotels already in place, among them the Ace Hotel and NoMad Hotel, also on Broadway. ”The Virgin Hotel New York’s distinctive look is sure to play a key role in the NOMAD neighborhood’s transformation process,” VOA Principal Len Cerame said in a statement.
Groundbreaking on the Divine Lorraine, Philadelphia's luxury hotel turned graffiti artist playground, begins this afternoon. Completed in 1894, Willis G. Hale's 10 story Lorraine Apartments featured state-of-the-art technology (electric lights), and bourgeois amenities (a kitchen staff that cooked for the tenants, eliminating the need for household servants). At the beginning of the 20th century, the apartments were converted into a hotel. The Reverend Jealous Divine bought the structure in 1948, and opened the country's first integrated hotel. Abandoned in 1999, the structure steadily decayed, battered by urban explorers, graffiti artists, and sixteen Philadelphia winters. Last year, The Architect's Newspaper explored the property from the ground up with developer Eric Blumenfeld. Blumenfeld plans to turn the $44 million property into a hotel. If the hotel's capsule collection on Instagram is any indication, the Divine Lorraine should receive an extensive aesthetic makeover from the redevelopment team. Philadelphia firm Wallace Roberts & Todd (WRT) is spearheading the renovation.
Driving through Miami Beach on Florida’s A1A highway, one cannot help but notice the particular brand of American beach culture passing by—an eclectic architectural mix of decades-old spring break destinations, vintage art deco buildings, and glossy new condo developments. A one-mile stretch of Miami Beach, for example, contains 14 mid-century structures including five of Morris Lapidus’s flamboyant resorts, while the blocks between 32nd and 36th streets are home to a burgeoning $1 billion arts, cultural, and residential development involving Foster + Partners, OMA, and Philippe Starck. If you manage to escape this commotion and continue north, you will hit Fort Lauderdale. Here—just 23 miles up the road, but in a comparatively calmer setting—is one of Michael Graves’s last built works: a nautically inspired, ocean liner-like structure known today as the Ocean Resort Residences. The project was initially developed as the Trump International Hotel & Tower Fort Lauderdale, but development halted during the 2008 financial crisis. The building fell under foreclosure about six months from its scheduled opening. Graves’s office pulled out of the project and the building sat vacant for four years until CFLB Group purchased it with plans to develop it into a Conrad, Hilton's luxury brand. Many groups have had a hand in the shaping and repositioning of this building, overlaying their own political agendas and recasting narratives that freshen up the experience for today’s evolving luxury market. Prior to reselling the property, the bank repainted Graves’ contextual pastel sky blue and sandy beach tan scheme a stark modern white, presumably to make the building more marketable to luxury condo buyers. After acquiring the building, Conrad spent the next two years completely reimagining Graves’ interiors. The project is now in its third interior design scheme and is finally nearing completion. Conrad’s revamped interiors pair Graves’ nautical inspiration for the exterior with thematic yacht-like detailing through custom material selections and furnishings like teak wood paneling, leather trim, and furnishings such as modified marine table lifts re-contextualized into dining room tables. Today, as the Ocean Resort Residences are set to open to the public, we are reminded of Graves’s associations with Le Corbusier and the New York Five. Whether intentional or not, the Ocean has brought Michael Graves’s career full circle. We owe this to the unlikeliest of sources: the foreclosure bank that left its mark on the building by painting it white. Michael Graves’s career began with his participation in the New York Five, a group of architects nicknamed “The Whites” by the press primarily because their work resembled more neutral white abstract forms. The projects of the Whites were a series of built houses which borrowed largely from early Corbusian-inspired form. Despite the nickname, the Whites held a very strong interest in the use of color in the work of Michael Graves and John Hejduk. In fact, Graves had claimed in interviews that his early houses were intended to be colored but that his clients rejected such schemes in favor of all white exteriors. Graves’s career evolved beyond the New York Five era, adopting an architectural language aligned with a commercial populism: design for the masses centered around colorful and legible, yet abstracted, classical forms. The story here is ultimately not about Graves’ contribution to the architectural scene along the A1A, nor the fact that this building is one of the last that he ever designed. Rather, it is about a disciplinary question of legacy, authorship, and narrative. Would it be correct to call the 2015 posthumous Conrad version of this building a Michael Graves project, or should we avert our eyes, referring instead only to sketches and a few marketing photos of the incomplete Trump version which no longer exists? Graves’s contribution here is not a tangible building, but rather a narrative about contextualism. In the end, what we are left with is a sail-like gridded white facade, and a thematized luxurious interior loaded with a fresh new amenities package that perhaps even Le Corbusier would enjoy.
In London's high-end Mayfair neighborhood, the Brutalist United States embassy, originally designed by Eero Saarinen, has been keeping watch over Grosvenor Square for 55 years. Diplomats will soon be exiting the building, however, as developers prepare for a hotel conversion by David Chipperfield Architects. The Architects Journal reports that Chipperfield bested Foster+Partners and U.S. firm Kohn Pedersen Fox Associates (KPF) for the job. However, there is some uncertainty as to whether Chipperfield has actually been commissioned or not. A spokesman for Qatari Diar, the company that now owns the site, refused to confirm that Chipperfield won the competition, stating: "A range of options on the best use of this important site are currently being considered." Qatari Diar Real Estate Investment has secured the remaining 939 years on the Mayfair district building’s lease and will not be allowed to alter the embassy's design as it was awarded grade 2 listing status for its historical and architectural significance and its "dynamic facade" in 2009. According to the Department of Culture, Media & Sport (DCMS), the concrete building was the "first purpose-built US embassy in Europe." The building's "dynamic facades, well-detailed stonework and consistency of detail and the innovative application of the exposed concrete diagrid" led to its protected status, the DCMS added. Occupying 225,000 square feet, the embassy takes up the entire west side of Grosvenor Square and currently has, according to Bloomberg, around 750 staff. Philadelphia-based KieranTimberlake has drawn up plans for the new U.S. embassy in Nine Elms, just south of the Thames, which is set to welcome occupants in 2017. The firm's winning design has been described by the Times as having a "moat" due to its semi-circular pond on one side. The new embassy resembles a crystalline cube and is surrounded by extensive public green spaces.
Starwood Hotels has announced that it will open The Westin Hamburg next year in the much-anticipated Elbe Philharmonic complex. The 10-story, 205-bedroom hotel by architects Herzog & de Meuron will be housed within a glass-fronted, wave-shaped building that sits atop a historic warehouse on the banks of the river Elbe. Boasting a pointed, wave-shaped roof, the complex will also feature three concert halls, 45 private apartments and a more than 43,000 square foot, publicly accessible plaza offering 360-degree city views. A head-turning assimilation of old and new, the bottom half of the complex is a former warehouse known as Kaispecher A, designed by Werner Kallmorgen and built between 1963 and 1966 on the site of the original neo-Gothic Kaispecher. Architects Herzog & de Meuron gutted and renovated the warehouse specifically for the project. Meanwhile, the upper half of the complex is an all-glass expanse of 1,100 panes, each measuring 13–16 feet wide, with carefully placed projecting curves that give each window a fingerprint-like accent. The windows were shaped with high precision and marked with small basalt grey reflective dots that prevent the building from overheating in sunlight while creating a shimmering effect that ripples as it catches different reflections. Sandwiched between the conjunction of old and new, the aforementioned viewing plaza is set off by the contrast between the bottom half’s brickwork and the top half’s iridescent glass frontage. The hotel lobby, a café and access to the foyers of the new concert hall are also located there. At the heart of the complex is a world-class concert hall with 2,100 seats that rise up on interwoven tiers on all sides of the stage like vineyard terraces. Enter acoustics specialist Yasuhisa Toyota, who was commissioned to seal the concert hall in a material he developed known as White Skin, which also guarantees perfect acoustics. As an added precaution against sleep-deprived hotel guests, the entire concert hall is enclosed in two concrete shells. Floor and ceiling flow seamlessly into one another as if from a single skin made of 10,000 gypsum fiber panels composed of natural plaster and recycled paper. Accessing the warehouse is a journey unto itself: visitors mount a 269-foot escalator with a concrete arch, whose end cannot be seen. The glowing spherical tunnel, speckled with glass sequins that refract the light, envelops one completely. If you’re wondering about that seafaring roof, its pointy undulations consist of eight spherical, concavely bent sections merged together. It is sprinkled with 6,000 giant sequins that make it ripple and shine like the water surrounding it. Those raring to visit should bear in mind three important dates: the Westin Hamburg is due to open in October 2016, the public plaza in November 2016, while the Elbe Philharmonic will be inaugurated on January 11, 2017.
Scandalous no more: The Watergate Hotel post-$125 million renovation looks more classy and elegant than ever
As Washington, D.C.’s first “unapologetically luxurious” stomping ground for the rich and famous, The Watergate Hotel recently underwent a $125 million modernizing facelift. Inextricably connected with the Watergate scandal, the hotel has maintained its avant-garde design and curvaceous, classic elegance in a nod to its 1960s design by Italian architect Luigi Moretti. Moretti designed a series of curvilinear buildings made from reinforced concrete as a counterpoint to Washington's conformist neoclassical architecture. New York–based real estate developer Euro Capital Properties commissioned Ron Arad Architects to design the lobby, whisky bar, and restaurant, filling these spaces with custom-designed sculptural furnishings by the architect. “In its heyday, the Watergate Hotel was a playground for powerful people. My vision was to recreate that by celebrating [Luigi] Moretti’s original design and updating it with modern, luxurious details that guests and locals will value,” said Rakel Cohen, Vice President of Design & Development, Euro Capital Properties, in a statement. Floor-to-ceiling windows in the lobby frame views of the Potomac River, with the graded black granite ceiling and floors creating a floating sensation akin to Moretti’s inspiration of a boat sailing on the Potomac. Pops of color complement the sculptural metalwork and showstopping chandeliers, while a wall of hand-patinated brass tubes draws the eye toward the Potomac. Avoiding straight lines altogether, the 46 foot-long brass reception desk recalls the building’s signature curves. Meanwhile, twisted columns made from mirror-polished stainless steel tubes create distorted reflections. On June 16, 1972, four men rented two rooms in the Watergate Hotel and dined on lobster at the hotel restaurant. That same evening, they broke into the Democratic National Committee headquarters on the sixth floor of the Watergate office, triggering the scandal that caused Nixon to resign two years later. Arad admits that the Watergate scandal was an irresistible lure for him when asked to come on board. “Working within such a significant period piece, you can’t ignore the context, but at the same time you don’t want to mimic it. Instead, you want to create something complementary, but most importantly, something new,” Arad said in a statement. “We have tried to enhance Moretti’s original curves using our own, while at the same time influencing the anticipated flow of people through the spaces. To honor Moretti, we introduced a brilliant Italian fabricator to the project as a way of completing the cycle,” Arad continued, referencing Italian furniture designer Moroso, which manufactured most of the hotel's sculptural furnishings. The lobby of the 377-room hotel features a new double-height space carved out of the original building, with casual and fine dining concepts under a black polished plaster ceiling with eight custom-made spiral chandeliers. The fine dining restaurant is wrapped by a red, curving banquette and decked with bespoke Watergate Chairs designed by Arad for Watergate Hotel and manufactured by Moroso.
You can credit Chicago's recent boom in boutique hotels with revving up an historic 16-story building once home to the Chicago Motor Club, which rolled back onto the market in May as a Hampton Inn. As AN wrote at the project's inception, the design draws heavily on 68 East Wacker Place's history. Perhaps most notably, Hartshorne Plunkard Architecture retained a 29-foot mural by Chicago artist John Warner Norton that suggests cross-country driving routes from 1927. Mural restoration expert Dmitri Rybchenkov, of the Chicago firm Restoration Division, led those efforts. In addition to the mural, other details recall the building's original identity as a motorist's mecca. To wit, an original 1928 Ford Model A overlooks the lobby. Interior designers with Gettys One also worked to restore many of the art deco details originally included by architects Holabird & Root. Vacant for over a decade, the building was destined for demolition before developer John T. Murphy, president of Murphy Asset Management, cobbled together historic preservation tax credits and financing from the Hampton Inn hotel chain to revive the short yet handsome structure.
Via Kenny Kim Photography, take a look inside the renovated Chicago Motor Club building:
Lucrative gains from annual religious pilgrimage has the Saudi Ministry of Finance clamoring to build the world’s largest hotel in the desert of Mecca, featuring 10,000 guest rooms, four helipads, and 12 tightly clustered towers on a 10-story plinth. Crowned at its summit by one of the largest domes in the world, the $3.6 billion mega-hotel has five off-limits floors earmarked for Saudi royalty, 70 restaurants, and an entire multi-function commercial space at its base for a shopping mall, food courts, a bus station, conference center and a lavishly appointed ballroom. Construction conglomerate Dar Al-Handasah designed the mammoth edifice to model a “traditional desert fortress,” sporting flourishes such as fluted pink pilasters framing arched blue-mirrored windows. The two towers within the dome will rise up 45 storeys above the Mecca desert, while two more towers will attain 35 floors, with the remaining eight towers at 30 storeys tall. London-based interior design firm Areen Hospitality has signed on to appoint the interior spaces in the palatial luxury typical of the region. While deep pockets are an unspoken mandate, guests can choose between four and five-star luxury accommodations. The hotel occupies a 646,000-square-foot site in the Manafi district, and is less than one mile south of the Grand Mosque, thronged by two million pilgrims per year and currently undergoing a $61 billion expansion to accommodate seven million worshippers by 2040. The world’s largest hotel by number of hotel rooms, soon to be dwarfed by the Abraj Kudai, is the MGM Grand Las Vegas at 6,198 guestrooms. The gargantuan construction, opening in 2017, is the latest in a spate of residential and commercial developments galvanized by rising tourism revenue, currently raking in more than $9.2 billion annually. An example is the Jabal Omar development along the western edge of Mecca, which will accommodate nearly 100,000 people in 26 luxury hotels, as well as a six-story prayer hall. “The city is turning into Meca-hattan” Irfan Al-Alawi, director of the Islamic Heritage Research Foundation, told The Guardian. “Everything has been swept away to make way for the incessant march of luxury hotels, which are destroying the sanctity of the place and pricing normal pilgrims out.”
The future of the mobile office is on its way, and it's blurring the lines between the home and the workplace. Spacious is the name of a "coworking hotel" concept being touted by its founder and CEO, Preston Pesek, as the future of the workplace, combining a traditional coworking space, a hotel, and retail into a giant live, work, play experience. And what better way to house the modern nomadic workforce than shipping containers? New York–based architects at LOT-EK—who designed the coworking space—have built their reputation on living and working inside shipping containers. The firm's principles, Ada Tolla and Giuseppe Lignano, explained on their website that the modular design is organized around a roughly 50-foot-tall central atrium that "opens to the street with a large glazed opening visually connecting to urban life." The massive space helps to uncramp the potentially claustrophobic sensation of typing away inside an 8-foot-6-inch tall container all day long. "The building design is a response to natural human cycles of productivity," Pesek said in an email. "Sometimes we need social interaction for stimulation, and sometimes we need privacy to be productive. The building offers a spectrum of environments for public engagement and quiet privacy, on demand, as needed." Guests can belly up to long, shared desks overlooking the activity of a sort of "public plaza" lined with retail space. Members can also choose a private bedroom/office combo. Each 8-foot-by-40-foot shipping container can hold two bedrooms and bathrooms that convert into offices by folding beds up against the wall. Two shipping containers can be combined to create larger rooms. Pesek's promotional website said repurposing shipping containers is a sustainability and financial no-brainer. Each container ranges from $2,800 to $4,000—and diagrams show upwards of 80 would be needed. That cuts down on the cost of raw materials, leaving more room in the budget for sprucing up the interior. Details on the project's website let the renderings do most of the talking, but it does explain that Spacious is all about reducing temporally wasted space—and, in turn, bring down real estate prices. "Our daily movements create vacancy gaps in the spaces where we live, work, and play," the site reads. "Even the densest cities reveal an abundance of available, usable spaces hiding just under the surface." Members would be able to book the secure hotel rooms—with full hotel amenities—on demand. And if you venture out during the day, you can earn a rebate by loaning your room to others. The larger coworking space would be open to anyone in need of coffee, doughnuts, and some free wifi. You likely won't be able to plug into your local Spacious any time soon, however. A location for the New York City flagship has not been announced, and Pesek said it's too early to disclose details about a timeline. Spacious still plans to ship out its concept to other cities in the future. [via Motherboard.]
Work is currently underway on a new mixed-use development at Ohio's Oberlin College that, once complete later this year, will include one of only a handful of hotels pursuing LEED Platinum certification in the United States. The hotel operator is Olympia Companies, based in Portland, Maine. In addition to 70 guest rooms, the building features a restaurant focused on local food, 10,000 square feet of retail, a conference center, and a basement jazz club. Rounding out the facility's 105,000 square feet will be offices for the college's admissions and development staff. The Peter B. Lewis Gateway Center, developed by Cleveland's Smart Hotels, was planned to be “the cornerstone of Oberlin's Green Arts District,” at the intersection of North Main Street and East College Street. Chicago architects Solomon Cordwell Buenz designed the project, which will draw on Oberlin's existing 13-acre solar photovoltaic farm adjacent to campus. Smart Hotels' Christopher Noble said the design team worked with the New York office of Germany's Transsolar on the development of that solar farm, and the new building will not throw Oberlin off its target of purchasing 100 percent renewable energy for electricity by the end of 2015. Mechanical engineers KJWW helped finesse the building's fully radiant heating and cooling, which employs no forced-air ventilation—although some back-of-house areas will still use some water-source heat pumps, Noble said. “We're relying on nonconventional HVAC systems,” said Noble, who added that heating and cooling needs will be fulfilled fully from geothermal wells on site. The building is expected to be certified LEED Platinum after opening early next year. While the design team hasn't assessed the payback period for the building's sustainable features, Noble said Oberlin made energy efficiency a project priority. “It wasn't a cost issue,” he said. “It was a design issue—we were going to make a statement and do this.” Of the $35 million total project cost, $12 million came from outside donors, including $5 million from the building's namesake, the late philanthropist and chairman of Progressive Insurance Company, Peter B. Lewis.