Already in the lobby of the POST Family Resort  in Salzburg, Austria, you notice that design here doesn’t end at the surface. The reception desk is built so that children can climb up a small set of stairs and »check in« at eye level. It’s a detail, almost incidental. And yet, it already encapsulates the entire design philosophy of this establishment: architecture that creates connection instead of distance.

Arriving as a Shared Experience

If design aims to be more than aesthetic self-affirmation, then it must prove itself where complexity reigns. And there is hardly a more demanding form of use than the daily life of people with small children. Different rhythms, different needs, minimal patience. Anyone speaking of design here inevitably speaks of function, anticipation, and serenity.

The POST Family Resort  thinks precisely from this reality. The lobby is not a representative empty space, but a finely balanced system. Bar, play area, passages, and lounge zones are combined so that every generation can pursue their »leisure activity« simultaneously. The bar next to the playground is not a provocation, but a realization. Parents will know what that means.

Eating Can Be a State of Being Here

This attitude continues in the restaurant. Here, it has been accepted that children under five do not stay in their chairs. Period. So, the gastronomic concept is not linear, but flexible. Food can be taken away, interrupted, resumed, or simply left. In addition to a classic four-course menu for adults, there is a permanently available children’s buffet that doesn’t feel like a compromise, but like a logical extension. This is complemented by well-thought-out pop-up formats, for example, with the Viennese culinary love brand Mochi. A subtle message resonates: Parenthood is not an (aesthetic) decline.

Particularly impressive is the attention to those details that are either overlooked or outsourced in classic hotels. In the hallways, you’ll find bottle warmers, sterilizers, and all those devices that otherwise have to be laboriously carried along. In the bathrooms of the rooms, there are—almost unbelievably—ample storage surfaces. Many of them. Anyone who has ever traveled with a baby, a toiletry bag, and all the accessories of half a household knows how rarely one feels seen here.

Of course, the rooms are spacious, quiet, and designed to a high standard. That almost goes without saying. More interesting is that they don’t try to block out everyday life, but to defuse it. Design not as an escape, but as support.

Fewer Journeys, More Vacation

The resort is by no means lacking in experiential offerings. Indoor and outdoor play areas, pools, water slides, childcare, cinema, toboggan run, petting zoo, pony riding, ice skating rink—everything is available, everything is close. Proximity here is not a coincidence, but a strategy. It reduces friction, planning, stress. And that is precisely where the luxury lies.

In the end, the question remains that one always gets after stays in upscale family hotels: Was it worth it? The honest answer is yes. Not only because of the comfort, but because of the experience of what everyday life could feel like if spaces thought along with you. If design doesn’t have to be explained, but works. If someone tries to take a little burden off tired shoulders. And perhaps that is the real point of this establishment. That it makes us realize how rarely we experience places in everyday life that allow for this simultaneity. And how much we miss it.

If design’s task is to make the lives of its users better, then the POST Family Resort  is not just a design hotel. It is one of the most convincing proofs of what this category could achieve today. [KS]

What appears today as a spacious, luxurious retreat began with an unassuming step: In 1960, the Forsthofgut rented out two rooms to holiday guests for the first time—at the address Hütten No. 2, still current today, one of the oldest houses in the village of Leogang. From this beginning, an ensemble developed over the decades, steadily growing and evolving without losing its original philosophy: To this day, the Forsthofgut is about pausing and experiencing nature, architecture, and hospitality in harmony.

The house number—Hütten No. 2—bears witness to this: The Forsthofgut was one of the first houses in the Hütten district of Leogang. The first holiday guests could stay at the Forsthofgut from 1960.

The natural swimming pond forms the center of the five-star establishment and a tranquil focal point around which life at the Forsthofgut  unfolds. Its sight evokes literary memories of Henry David Thoreau, who in »Walden, or, Life in the Woods« (1854) described how he lived in a simple cabin by Walden Pond  to exist consciously and in harmony with nature: »I went to the woods because I wished to live deliberately.«

This idea of a conscious life in harmony with nature and spirit has lost none of its fascination to this day—and it resonates clearly at the Forsthofgut. The hotel embraces this desire for introspection and mindfulness and translates it into a contemporary form of hospitality and retreat, always in dialogue with its surroundings.

The Wellness & Family Hotel Forsthofgut  today comprises 109 rooms and suites, designed with natural materials and a clear contemporary design language. This rootedness in nature and history is also reflected in the hotel’s overarching design philosophy, which goes far beyond the harmonious fusion of traditional and modern architectural styles. Materials, craftsmanship, and the dramaturgy of spaces are chosen with great care: wood, stone, glass, and textiles enter into a lively dialogue with the surrounding landscape. The furnishings always show attention to detail; for example, some of the high-quality design furniture comes from the renowned furniture manufacturer Wittmann.

The holistic concept of the waldSPA includes state-of-the-art longevity offerings as well as individually tailored regeneration and prevention programs, accompanied by innovative treatments for vitality and balance. It is complemented by classic wellness rituals such as massages, saunas, steam baths, and relaxation zones, which always offer views of nature and make the interplay of body, mind, and surroundings tangible.

The variety of culinary experiences ranges from the Japanese restaurant Mizumi  with a sushi master in the open show kitchen, to fine dining at Silva, and traditional cuisine at 1617. Additionally, there are experimental cocktails at the hotel bar Botanist, designed in the style of a 20th-century apothecary, as well as in the weinWALD, where guests can discover and taste a wide variety of international wines under the guidance of sommeliers.

The complexity and ethos of the Forsthofgut are also impressively reflected in the art it houses. Works by significant artists such as Erwin Wurm, Martha Jungwirth, Anselm Kiefer, Georg Baselitz, Marc Brandenburg, Gregor Hildebrandt, Mary Ramsden, Sylvie Fleury, or Stephan Balkenhol are not intended as decorative accessories here, but as artistic impulses. An outstanding example is Martha Jungwirth’s expressive painting, which vibrates between abstraction and figuration and unfolds an unexpected resonance in dialogue with the alpine spaces.

Martha Jungwirth, »Untitled«, 2022
Oil on paper and canvas

With the work »Untitled« from the series »Francisco de Goya, Still Life with Ribs and Lamb’s Head« (2022), Jungwirth takes up the Spanish artist’s eponymous work and reinterprets it. She mirrors the form of the lamb’s head and the disassembled ribs that characterize Goya’s still life. The work was exhibited at the Guggenheim Museum Bilbao.

The intention of allowing guests to become part of a cultural discourse is also evident in the almost natural encounter with contemporary art. Immediately upon entering, one encounters Erwin Wurm’s monumental sculpture Big Suit (2010/2016)—an oversized, empty suit that exists without a body. A garment normally closely associated with a person appears here as a gigantic, almost formless shell in space. It is precisely in this absence that its power lies: questions of identity, power, and presence are raised. The depiction of the headless suit-wearer is characteristic of Wurm’s ongoing engagement with the concept of sculpture and his view of society.

Erwin Wurm, »Big Suit«, 2010/16
Aluminum, paint

Erwin Wurm, »Respect«, 2020
Portoro Marble

The sculpture »Respect« (2020), from one of Wurm’s most recent series of works, depicts an oversized sausage made of polished marble, whose form almost evokes ancient statues. In addition to the two sculptures, two photographs are also exhibited in the Workation Room, provided as a loan by the Salzburg gallery Thaddaeus Ropac.

The conversation about art continues – in personal encounters with artists, in the podcast »waldGEFLÜSTER« or at regularly held Art Talks. Artists, gallerists, and art historians such as Jan Wentrup, Thaddaeus Ropac, Helmut Friedel, or Cornelia Stender engage in dialogue with guests. Thus, the hotel becomes not only a stage for contemporary art but also a forum where its social relevance is discussed. The fact that all of this takes place in a house with 400 years of history makes the experience all the more special.

Anselm Kiefer, »Alkahest«, 2011
Emulsion, acrylic, oil, shellac and object on canvas

The series of works »Alkahest« consists of a number of monumental canvases, sculptures, and overpainted photographs. Alkahest is an artificial word used in alchemy, referring to a solution whose recipe alchemists sought: with this solution, any substance could be dissolved or broken down into its elements. In this work, mountains and rock are “dissolved” through erosion when encountering water – sediments shift, and the mountain is gradually worn away. The liquid Alkahest, which could anticipate or accelerate this natural process, is located in a glass fixed in the center of the image. The work points to Kiefer’s deep interest in transience and the cycle of creation and destruction.

The Forsthofgut  sees itself as a refuge where history is continued, art is part of everyday life, and design is always pleasantly subtly present. Here, luxury is not expressed in abundance, but in understated precision and contemporaneity. It is a place where nature and architecture, art and recreation come together, and where hospitality means offering inspiration and involving people. [DM]

In the heart of Rome lies a hotel where – in the very best sense – one is instantly thrown back onto oneself and one’s own perception. The minimalist, almost raw and sculptural interior of the Nomos Hotel offers countless opportunities to pause and be touched by the existing objects and the materials from which they are made – and in the process, perhaps come a little closer to one’s own core being. The history of the building, still palpable today, plays a central role in this: built in the 18th century, it once served as a monastery and was closely connected to the nearby church of San Paolo Alla Regola.

There is no trace of design trends or opulence here. The Nomos Hotel Rome, designed by artist and designer Henry Timi, is a poetic love letter to restraint and a sermon for focusing on the essentials. The materials used play a decisive role – stone, wood, metal, clay, terrazzo, terracotta, and travertine. »Mother nature has granted us the luxury of being able to enjoy its products and transform them with our hands. Matter is born from the earth: wood and stone. Lots of different types of stone represent my work, but one of my favourites is travertine in all is shades and nuances«, says Timi in EST Magazine about his love for natural materials.

The Nomos Hotel  Rome is the first hotel project by the designer, artist, and artisan. He describes the essence of his hotel as a unique simplicity in which the visitor comes into contact with a materiality that has today been lost to artificiality and excessive decoration. Such decoration misjudges the human being as an individual. His material-based minimalism elevates both the space and the person inhabiting it. In this way, the soul finds its space and perceives the spirit of the place along with its authenticity. It is therefore also about creating, through a reduced, clear interior design, space for experiences that, in the best case, later become memories. At the same time, it invites a rethinking and redefining of the concept of luxury.

The Nomos Hotel was realised together with architect Angelo Zampolini and Italian craftspeople, who breathed new life into the historic spaces while preserving the building’s connection to its past. On the ground floor, there is a courtyard, an entrance area, and an equally pared-down restaurant with bar. Robust wooden tables and floors with geometric inlays reminiscent of antiquity characterise the bar and restaurant area. The colours throughout the hotel harmonise with its monastic past, ranging from biscuit beige to deeper earth tones. In the basement, there is a gym, a spa area, and a wine cellar.

The monolithic hotel suites are spread over the upper four floors and are furnished with artworks made from raw materials, which also serve as storage space. The beds are dressed in simple, coarsely woven linen; soft velvet poufs and clean-lined desks complete the suites, which – like the entire hotel – offer a counterpoint to the hustle and bustle of Rome’s streets. The ancient Greek term »Nomos« may translate as law, but the hotel developed by Henry Timi seems to break all the rules usually associated with upscale hospitality and luxury. [SW]

»The hotel was the international home of the cosmopolitan«, wrote the author Stefan Zweig in his 1942 autobiography The World of Yesterday (OT: Die Welt von Gestern). For the well-traveled Zweig, the so-called grand hotels were far more than mere accommodation—they embodied places of international encounter, style, and social etiquette, thus laying the foundation for a form of travel he regarded as a truly cosmopolitan way of life. Even today, the symbolic power emanating from grand hotels remains unbroken.

Heritage & awakening

The Grand Hotel Belvédère in Wengen rises high above the Lauterbrunnen Valley, set against the majestic backdrop of the Bernese Alps. Built in 1912 during the golden age of the Belle Époque, it stood at the height of tourism when the small village became a place of alpine longing for European society. The Belvédère welcomed guests from all over the world—wealthy, cosmopolitan, and sophisticated. However, the splendor of those years faded amid the political, social, and economic upheavals of the 20th century. The hotel itself oscillated between operation and vacancy—frozen in time, in any case.

In 2024, the Grand Hotel Belvédère was acquired by the French hotel group Beaumier and reopened. The company, known for its thoughtfully designed boutique hotels, has breathed new life into the Belvédère following extensive renovation and restoration in keeping with its listed status—with a modern take on its rich heritage and with respect for the authentic values of this unique location.

Down-to-earth scenography & contemporary art

To live up to the reputation of the grand hotels as places of timeless style, history and, above all, attitude, the Swiss architecture firms Complete Works, Crausaz Tremblay and Clavien & Associés were entrusted with the redesign. Their approach is defined by a respectful handling of historical elements, the conversion and expansion of the existing structure, as well as the careful preservation, ambitious uncovering, restoration, and in some cases even reconstruction of original decorative features such as wall paintings, stucco ceilings, and wood panelling from the early 20th century in the restaurants and lobbies. The aesthetic diversity is expressed in the seemingly effortless integration of the nostalgic charm of the so-called Heimatstil and—by contrast—the almost opulent elements of Art Nouveau.

The 90 completely renovated rooms and suites were also the result of an intensive engagement with the local heritage. Featuring custom-made wooden furniture, natural materials and contemporary design, they reinterpret the region’s Alpine tradition with clean lines and modern comfort. Each room also includes exclusive artworks, such as those by textile artist Manon Daviet. For the Grand Hotel Belvédère, she created a series of tufted pieces whose motifs—grazing cows and lush green pastures—playfully reflect on the clichés of Swiss folk culture and the rich local flora and fauna, rendering the idyllic Wengen landscape almost surreal.

In addition to archival materials acquired at auctions that document the history of Wengen and its surroundings, the public areas also showcase contemporary works by Swiss artists—including pieces by Douglas Mandry that explore themes of landscape and territory. Aligned with the creative vision of the hotel and its spectacular setting—with unobstructed views of two of the most iconic Alpine peaks, the Jungfrau (4,158 m) and the Mönch (4,107 m)—Mandry’s series The Monuments Project reflects on photographic narratives of what once was and what may lie ahead.

The artist works with iconic imagery from the past century, transferring photographs of snow-covered mountains from the 1930s and 1940s onto worn »glacier covers« using a lithographic process. These protective textiles are currently used in Switzerland to slow the melting of glaciers. His works oscillate between a sense of mourning for a mythical era and the attempt to preserve it through technological means—reflecting on the complex relationship between progress and climate change.

»…like a brutalist relic…«
— Valéry Clavien, Clavien & Associés

The newly created, exclusive spa area, on the other hand, defies all local tradition and playful charm. Partly integrated into the stone slope, the building completely dispenses with classic »spa glitter«—brutalist in its design, monolithic in its effect. Reduced to atmospheric axes of light, the warming quality of mineral materials, the meditative presence of water and a captivating silence, an unexpected spatial dramaturgy unfolds: created as a place of contemplation and reduction. An indoor and outdoor pool, sauna, steam bath, cold water pool and relaxation area are inspired by Japanese onsen, a place of silence and purity.

In contrast to the spa itself, the minimalist seating furniture by internationally acclaimed designer Konstantin Grcic pays homage to the traditional alpine design language—crafted from simple wooden elements in keeping with local custom. Always with the majestic backdrop in sight: towering glacier cliffs, cascading waterfalls, and the restorative power of the surrounding nature. Elements that also resonate with the hotel’s own design fabric and atmospheric presence.

The recent revival of the Grand Hotel Belvédère by Beaumier continues to embody the glamorous qualities of a bygone era, as nostalgically described by Stefan Zweig. At the same time, the hotel opens a new chapter—reinterpreted and thoughtfully reimagined yet deeply rooted—not only to carry forward the tradition of Alpine grand hotels but also to guide this historically rich establishment with sensitivity and enthusiasm into a new, yet-to-be-defined era. [DM]

The naming of the luxury motor yacht, which has been under construction since 2021, represents a significant and inspiring milestone for Aman, as Vlad Doronin, President and CEO of the brand, explains. The name Amangati  means »peaceful movement« and symbolizes forward momentum, fluidity and the gentle flow of water.
These principles are also reflected in the elegant lines of the design—an allusion to the harmonious lightness that should characterize the experience on board. The yacht was designed by the renowned Dutch design studio Sinot Yacht Architecture & Design, which specializes in bespoke luxury yacht projects.

The construction was taken over by T.Mariotti S.p.A., a leading Italian player in shipbuilding based in Genoa. The shipyard specializes in luxury cruise ships, mega yachts and technologically advanced offshore vessels. Like Aman itself, T.Mariotti is known for customized projects, the highest quality standards and environmental certifications. The state-of-the-art yacht will be equipped with a range of eco-friendly technologies, including the use of battery power—for a more sustainable way of traveling. The commitment to reducing its environmental footprint is said to underline Amangatis  ambition to protect the landscape and marine environment and to continually innovate.

But while the Aman at Sea project is still taking shape in the background, the goal remains clear, according to Doronin: to create a ship that not only meets the highest standards of technology and design, but also embodies Aman’s core values—transferring the quiet elegance and peaceful atmosphere of Aman resorts on land to the water.

The Aman at Sea floating retreat will have 47 spacious luxury suites with private balconies, which are among the largest on a ship of this size (183 meters / 600 feet). On board the Amangati there are also four international dining concepts, a jazz club, a spacious Aman Spa including a Japanese garden and an extensive beach club, which offers guests direct access to the water at the stern of the yacht.

Amangati is expected to set sail in 2027 and will also be available for private charters. [Red.]

Located slightly below the hustle and bustle of Sunset Boulevard, the hotel focuses on a much more understated form of self-presentation. Even the inconspicuous, almost hidden driveway bears witness to a 5-star hotel that focuses on discreet, unagitated luxury, well thought-out comfort and a restrained design concept between cool Britishness and generous Californian economy of space.

Opened in 2008, The London West Hollywood—formerly known as the Bel Age Hotel—was (re)designed by renowned London design studio David Collins. The much more opulent décor of the original Bel Age was transformed into a refined design style that translates the classic grand hotel concept into a contemporary form. Muted colors, generous proportions, quality materials and only selective glamorous accents characterize the aesthetics of the hotel. The consistently unagitated design vocabulary is intended to represent a fusion of Anglo-European lifestyle with dignified Hollywood luxury.

The 226 bright, spacious suites all feature oversized bathrooms (designed by luxury outfitter Waterworks) and balconies with impressive panoramic views—of either downtown L.A., the luxury villa-lined Hollywood Hills, the Sunset Strip or the neighboring Beverly Hills to the west. Light natural tones, soft textiles and only a few accents in brass or dark wood characterize the furnishings. The high-quality materials, muted color schemes and generously structured rooms are the main protagonists at The London West Hollywood—Glamour and opulence are usually only hinted at.

As the highest bookable category, the two-storey penthouse suite—is the largest of its kind in Los Angeles—and offers a guest experience at the very highest level. The over 1,000 square meters luxury penthouse was personally furnished by Vivienne Westwood and, quite surprisingly for the designer, follows a very simple style with clean lines. The suite features a grand salon, a dining room with a view of Beverly Hills, a modern kitchen with a private service entrance, light-flooded atriums, a fully equipped media room and a private roof terrace with a 360-degree view.

No less impressive is the hotel’s general rooftop terrace with pool, bar and cabanas, including an impressive view over Los Angeles. The hotel’s own 110-seat cinema hall for screening events that are of course particularly relevant in L.A.—, including a private VIP entrance—, also deserves a special mention, as does the Fifth Avenue Club, a branch of the American luxury department store chain Saks Fifth Avenue, which offers guests personal styling and shopping by appointment.

In the gastronomic area, too, the focus is on the highest quality and attention to subtle detail: the design of the London Bar and the adjacent in-house restaurant Boxwood is inspired by English conservatories and orangeries and is flooded with light, equipped with furniture in mostly light natural tones and subtle Art Deco touches in places. The culinary focus is on modern, seasonal and innovative Californian cuisine with occasional references to British classics—created by head chef Anthony Keene, who took over the hotel’s former Gordon Ramsay Restaurant as executive chef in 2010.

By the way, it does get a little playful: the official mascots of The London West Hollywood are two bulldogs named Winston and Churchill. The two signature pups can be seen again and again at—whether as small statues in the lobby or bar or as eye-catching artwork by the rooftop pool. Perhaps a subtle nod in the direction of staging or simply a reminder that British charm is best expressed with a pinch of humor. [Red.]

In the south of downtown Palm Springs, where the lively Palm Canyon Drive meets the majestic tranquillity of Mount San Jacinto, you will find the Royal Sun Palm Springs — a dreamy design hotel and creative melting pot of desert modernism, Japanese minimalism and subtle references to the former glamor of Hollywood.

The 66 rooms and suites follow a minimalist design: clear lines and natural materials contrast with expressive accents. Exposed concrete and warm wood tones meet patterned floor coverings and textile interiors in earthy shades. Plush lounge chairs and graphic tiles quote the aesthetics of the 1950s — without drifting into the decorative.

The heart of the hotel, however, is the outdoor area, which gives the impression of being in the middle of a movie by American director Wes Anderson. Precise symmetries and an atmospheric colour scheme between retro orange and sage green reflect both the surroundings and the historical sources of inspiration for the hotel concept, harmonizing with the cactus-heavy landscaping as a tribute to the surrounding desert. The concept and colors are always in harmony with the famously unique soft pink to golden (sunset) light of Palm Springs.

Substance over spectacle, retro charm without drifting into kitsch and Palm Springs-typical lightness instead of convulsive coolness: The Royal Sun Palm Springs  may not inspire with the highest luxury amenities, but its design concept, which plays with the exciting contrasts of its surroundings, with nostalgia and diverse styles, is a place that stands for functional luxury without attitude—a dreamy retreat with an impressive understanding of colors, materials, proportions—and especially: atmosphere. [SW]

Connected

With more than 300 destinations and one of the densest route networks in the world, the renowned airline, which has received numerous awards for its high quality, emphasizes its close ties with the metropolis of Istanbul, the important link between the Orient and the Occident and the country’s creative and cultural driving force. With an enormously rich cultural heritage, Istanbul is also a city in which the constant interaction between tradition and modernity, between history and new beginnings, between conservatism and openness can be felt on almost every corner. Cultures meet, interact and combine to create something new every day. For Turkey’s national airline, a company that sees itself as a modern bridge-builder between East and West, it is particularly about that very moment of connection that ideally gives rise to a form of solidarity.

Metropolis Istanbul: The most important link between Orient and Occident and the country’s creative and cultural driving force.

Human Centered

The Turkish Airlines Lounge at Istanbul Airport, which is considered one of the most luxurious airport lounges in the world and was designed by the renowned design studio Autoban, which is also based in Istanbul, is also an important element of this. The design of the lounge is intended to reflect both the outstanding hospitality and cosmopolitanism to which Turkish Airlines is committed as an airline. To achieve this, the studio opted for warm, natural materials such as wood, leather and stone, as well as combining traditional Turkish design elements with modern, minimalist forms. Organic shapes and arcade-like structures characterize the 3,000 square meter lounge, which is divided into different areas. In addition to luxurious seating, it offers private cabins, comfortable work areas and an almost endless gastronomic offering as well as a wellness area.

Left: Center of Turkish Airlines: Istanbul Airport, one of the most modern and largest global hubs in the world.
Right: Turkish Airlines Lounge at Istanbul Airport, designed by the renowned design studio Autoban.

This human-centered design approach is also reflected in the cabin design of Turkish Airlines, an excellent example of human-centered design in the aviation sector. By continuously focusing on the needs of passengers, a cabin experience is created that addresses both physical and psychological needs—from ergonomic comfort to user-friendly technology and a psychological feel-good atmosphere.

Turkish Airlines’ cabin design—is an excellent example of human-centered design in the aviation sector.

Modern

As a global ambassador of Turkish art and culture, Turkish Airlines also relies on partnerships with museums and cultural institutions. This includes, among many others, the cooperation with Istanbul Modern, the first museum for modern and contemporary art in Turkey, founded in 2004, whose collection covers a period from 1945 to the present day. The original Istanbul Modern building, converted from a former warehouse on the Bosphorus and designed for temporary use, was designed by the Turkish architecture firm Günay-İbrahim. The new, larger building, which was designed to meet the growing requirements and expansion of the collection, has been under construction since 2018. The internationally renowned architect Renzo Piano was commissioned with the project. The star architect stands for the transnational significance of Istanbul Modern as a cultural institution that establishes the museum in the global architecture world.

The new building by star architect Renzo Piano stands for the transnational significance of Istanbul Modern as a cultural institution that establishes the museum in the global world of architecture.

Istanbul Modern is the first museum for modern and contemporary art in Turkey, founded in 2004, whose collection covers a period from 1945 to the present day.

In particular, this example of Turkish Airlines’ integration with local cultural initiatives positions the airline as an authentic mediator of a national identity—, a strong narrative engine that also functions as a differentiator from other leading premium airlines with comparably high-quality services and a modern design language: A successful creation of a stringent travel experience that skillfully fuses mobility with aspects of design, architecture and culture. [DM]

The trip and on-site research were carried out at the invitation of Turkish Airlines.

Adrère Amellal, Berber for »White Mountain«, is a hotel like no other. A luxurious eco-lodge that, despite or perhaps because of its exclusive location, is committed to sustainable tourism, deceleration and restraint instead of extravagant opulence. The core concept here is the connection with nature and the heritage of local tradition. From what is taken for granted in other contexts Amenities such as electricity, wifi, air conditioning or room service are deliberately dispensed with here. Instead, space is created for thought, peace and relaxation in harmony with nature and with yourself. Rough Luxe.

In contrast to other hotels with a similar reputation, the unique building and character of the exclusive eco-lodge is not the work of a famous architect or renowned hotelier. Even though the idea for this extraordinary facility in the middle of the North African desert was conceived by one of Egypt’s most famous ecologists—Dr. Mounir Neamatalla—is Adrère Amellal is a product of the co-creation of the local population, a team of collaborators interested in sustainability and comments from hotel guests.

Dr. Mounir Neamatalla, the founder and managing director of EQI—Environmental Quality International, is committed to eco-sensitive development in the Middle East and North Africa with his company, which was founded in 1981. Since the beginning of the project, the aim has been to involve the local Siwan community in the development of this initiative and thus preserve and promote the local culture.

Local craftspeople constructed the buildings using traditional building methods and thus under ideal conditions and in harmony with nature. For example, the roofs were covered with palm trees, which ensure optimal temperatures day and night. The walls were built from kershef —, a traditional mixture of sun-dried rock salt, clay and straw. The bathrooms are made of sandstone and the beds and bedside tables are made of salt stone. Even the water for the swimming pool, one of the most classic features of the resort, comes from one of the 1,000 local Siwa springs. Even with the limited number of 40 rooms, care is taken not to exhaust the natural capacities of the immediate environment.

While the color palette of the eco-lodge is dominated by the sand-colored buildings and landscapes, the white of the linen fabrics and the bright blue of the adjacent salt lake during the day, at night it is the black of the desert sky and the flickering red-gold of the candlelight that give this oasis within the oasis its very special charm.

When it comes to cuisine, extravagant menu requests make way for authentic dishes with locally and organically produced ingredients. And where you dine in the evening is also entirely in the hands of the wind. Guests only know when dinner will be served — but the menu and location change daily. The only thing guests can rely on in the evening is that a discreetly lit candlelit path will lead them to their table.

The Adrère Amellal is a refuge for culturally interested and ecologically sensitive travelers. It is a place where you can find peace and relaxation in its origins, a place that respects nature and brings you closer to it in a gentle and authentic way. [MS]

Named after the Maltese word for »water«, the Ilma will from now on offer all guests a unique travel experience, in which the recently presented design concept plays a particularly important role. This was designed using the highest quality materials and craftsmanship by renowned London-based architecture firm AD Associates and award-winning lighting design studio DPA, while Helsinki-based Studio Aivan is responsible for the exterior design.

The design of the Ilma should subtly tell stories inspired by the coasts, nature and mythology of Malta. Fresh, neutral shades are complemented by light and dark surfaces to create an exciting visual variety. The interiors of the 224 suites, which are equipped with floor-to-ceiling windows and private terraces, present themselves with a truly extraordinary elegance that is reminiscent of the exclusivity of private luxury yachts. Each suite is flexibly designed to meet the individual needs and preferences of guests. A collection of works of art that harmonize with the design and create an inspiring ambience is also part of the superyacht’s exclusive overall concept.

»With an aesthetic inspired by superyacht design, Ilma is characterized by a seamless integration of spaces that creates a deep connection to the sea,« describes Nicola Preece, Design Director at AD Associates. »A harmonious flow of geometry and texture between indoor and outdoor spaces creates a coherent and serene atmosphere.«

As with the other fleet members of the Ritz-CarltonYacht Collection, a particular highlight will be the marina, with its open, generously designed terrace including a hydraulic platform that connects guests directly to the sea. Several swimming pools, including an impressive infinity pool, the Ritz-Carlton Spa with a total of 11 rooms and State-of-the-art fitness areas provide the almost expected level of luxurious amenities.

The culinary center on board the Ilma, in addition to countless other options between casual and fine dining, will be the so-called Beach House, which was conceived by the Toronto-based studio Chapi Chapo Design. »Our guiding principle was to embrace the diverse flavors and colors that are not only part of Peruvian cuisine, but also deeply rooted in the culture and lifestyle there,« says Tatiana Sheveleva, partner at Chapi Chapo Design. »We were inspired by the bold use of pattern, unexpected color palettes and a vibrant spirit. We wanted to create a space that lives and breathes these foundations, that celebrates and reflects the culture both aesthetically and atmospherically.«

As an exclusive restaurant with indoor and outdoor areas, it offers guests not only a 180-degree view of the sea but also culinary creativity, with the kitchen concept focusing on Peruvian and pan-Latin cuisine.

As an impressive new addition to the fleet of superyachts, the Ilma underlines the Ritz-Carlton Yacht Collection ‘s focus on creating ultra-luxurious travel experiences at sea even before her first voyage. On September 2, 2024, the Ilma will finally embark on its maiden voyage from Monte Carlo to Rome and prove that it sets new standards, and not just in terms of design. [ED]

Located in the state of Quintana Roo in the eastern part of the Yucatán peninsula, the new wellness paradise SHA Mexico Costa Mujeres rises high into the sky, between the emerald green of the mangrove forests and the infinite blue tones of the Caribbean.
The Mexican destination of the SHA Wellness Clinic not only offers its visitors a relaxing stay, but also combines this with health-promoting measures. A concept that is becoming more and more popular – away from treading water in thermal springs towards all-encompassing prevention in health matters with the help of state-of-the-art medicine, highly effective and first-class therapies.

A modern architectural concept is used to generate the desired external experience and internal result on a holistic level. Designed by the renowned Mexican architecture firm Sordo Madaleno, the structure of the multi-storey façade, which nestles against the coast in an undulating shape, echoes the double-stranded human genome. To the unqualified eye, the open design and clean aesthetics certainly also point to the purpose of the building—a modern wellness paradise—but the actual, ambitious dimensions of the promise of relaxation are only revealed inside the spacious complex. The wellness resort not only offers its guests a comfortable and relaxing stay, but also a variety of medical practice rooms with different specializations, all of which offer a fascinating view of the sea or the mangrove forests.

A state-of-the-art gym, yoga and meditation rooms, spa and hydrotherapy area provide spaces for body and mind to increase energy, strength and longevity. The fitness facilities are also complemented by indoor and outdoor training areas, including four different gyms, high-tech fitness equipment with a virtual reality jogging track, guided meditation walks and tennis and padel tennis courts, to name but a few. Other amenities include a movie theater, art exhibitions, a library, conference rooms and a cooking studio where workshops on healthy living are offered.

In keeping with the holistic approach, interior designer Alejandro Escudero brings together the interior and exterior of the complex by using carefully selected natural materials such as Mexican ceramics, wickerwork, local textiles and marble. In addition, the project made extensive use of natural building materials and renewable energy sources in order to minimize the impact on the surrounding landscape.

The lush tropical gardens were designed and laid out by architecture studio Maat Handasa, taking into account the natural habitat of native species. With its own white sandy beach and a natural spring, a »cenote«, SHA Mexico Costa Mujeres is located directly opposite the largest coral reef in the northern hemisphere, a marine ecosystem under species protection.

Guests have the option of arriving privately by plane or boat. A discreet heliport and jetty take you directly to one of the 35 residences, 100 rooms and suites, all of which have private balconies with panoramic views. An infinity pool and a beach club make it possible to enjoy the simple pleasures of Mexico between consultations, treatments and experiences. [DM]

Winston Churchill once said: »First man shapes space, then space shapes man.« A statement that also made the city in the Mojave Desert the subject of research by American architects Robert Venturi, Denise Scott Brown and Steven Izenour. In their 1972 book »Learning from Las Vegas«—now a key text and classic of architectural theory—they interpret the desert city as the epitome of commercially oriented American urban planning and development. In doing so, Scott Brown, Venturi and Izenour also attempt to conclusively comprehend social issues—an undisputed fundamental component of the Las Vegas system.

City of Entertainment

One of the most famous buildings on the Las Vegas Strip—the Bellagio Las Vegas—is a good example of the impact this has on hotels in a city that is geared towards round-the-clock entertainment.
It is no surprise that the multifaceted social aspect plays a key role in modern hotel operations. In the context of a mega hotel like the Bellagio, however, it is an extremely complex construct that goes far beyond friendly, attentive staff. This must be able to move flexibly through the entire microcosm and, depending on requirements and design, be adapted to the most diverse needs, social backgrounds and expectations. This creates a very complicated interaction between the business and its visitors, between space and psyche, which calls for a regulated system, for example by means of exterior and interior design.

A stage for everyone

The Bellagio is an impressive building, with the main façade arranged in a semi-circle around a three-hectare lake—the Fountains of Bellagio—which at certain times throughout the day puts on spectacular water shows. Inside, visitors find themselves in what feels like a self-contained ecosystem that is seemingly capable of fulfilling all their needs. Such a complex, in which people with the most diverse requirements but similar concerns come together, requires not only a solid construction, but above all many well thought-out control mechanisms tailored to the physical and psychological aspects of the guests.

At the lowest level of the Bellagio in a casino area of 10,800 m² that operates around the clock, this includes not only the gigantic ventilation systems that filter the air in the room, the targeted use of light or the muffling of ambient noise by means of carpets, these are just some of the effective little tricks to turn time upside down.

ON EVERY LEVEL

Those who experience a lot also have to process a lot and so people’s needs are being channeled by letting them flow from the bottom to the top of the building. In this sense, the upper levels of the Bellagio microcosm offer a place of retreat, if used as such.

Light again plays a central role and influences activity vs. relaxation, promoting a day and night rhythm in an ambience where the boundaries are often fluid. In addition to large floor-to-ceiling windows, the monumental casino resort offers its visitors an impressive 3,950 elegantly furnished rooms, including luxurious marble bathrooms and many other modern amenities. The suites are located on the highest levels of the hotel, offer a private elevator, separate sleeping and living areas, a whirlpool bathtub and a butler service, all other wishes can certainly be fulfilled after a direct conversation. Of course, the service reflects the budget of the guests, although it should be noted that the Bellagio also offers people with average financial means more than initially expected because very customer’s satisfaction pays off and in the case of Las Vegas, this statement can be taken literally.

It seems almost unnecessary to mention the extensive gastronomic offering, which, in addition to bars geared towards entertainment and amazement, also includes stylish, international restaurants, cafés and what feels like countless other »lower-threshold« options for the city’s diverse clientele.

In an unorthodox desert metropolis like Las Vegas and the example of the Bellagio Las Vegas Hotel and Casino, much can be seen of the psychological power and effect of architecture as a starting point for further purpose- and profit-oriented design processes. What emerges is an adventurous form of so-called human-centered architecture, in which people are no longer the focus, but instead become part of a beautiful overall illusion that has always brought so many visitors to Las Vegas and the Bellagio. [DM]

Permanent innovation, finely tuned product perfection and constant design adaptations are essential for companies today in order to remain at the top of the industry league in a turboglobalized world. The tourism industry is no exception here, but rather a spearhead of this development due to its international nature. Particularly in the luxury category of the hotel, aviation and cruise industries, constant further development is therefore part of the everyday life of quality managers and product developers, with factors such as sustainability and diversity playing an increasingly important role in their considerations alongside ongoing product innovation.

INDIVIDUALIZATION AT 10,000 ALTITUDE METERS

Nostalgics like to wax lyrical about the »golden age of flying«. From the sixties and seventies of the last century, when the time high above the clouds was still glamorous and noble. While this is certainly true for the majority of transportation classes, it must be put into perspective, at least for the front rows of long-haul jets: Flying here has never been as comfortable and luxurious as it is today. At the beginning of the millennium, completely flat beds were only occasionally found in First Class on some airlines, but today they are already standard in Business Class. Accordingly, in order to continue to set themselves apart, passengers in First Class on leading airlines today enjoy a truly private jet ambience in the form of luxurious suites. Staying at the forefront of quality, service and convenience is therefore becoming increasingly challenging, and not just because the pace of innovation in the industry is constantly increasing.

Flying private room in First Class: a look at Lufthansa’s latest cabin concept Allegris.

The First– and Business Class in Lufthansa’s latest cabin concept, which is marketed under the name Allegris focuses accordingly on attention to detail and, among other things, on innovations that are not visible at first glance. A truly unique selling point of the new long-haul product Allegris. The impressive variety of seating options on offer should be one of the main reasons for this: »With the Lufthansa Allegris we have developed a completely new cabin concept comprising 14 different seats in four classes, including two different seat types in the First– and seven different seat types in the Business Class«, explains Kai Peters, Head of Experience Design at the Lufthansa Group, in an interview with Chapter. Heterogeneity in cabin design, in other words, with which Lufthansa aims to meet the individually differing needs of passengers traveling in the same class of carriage. After all, passengers may have different requirements, even if they buy the same ticket.

The options in Lufthansa Business Class at Allegris include extra-long beds, a double seat in which two adjacent seats can be combined to form a double bed by means of a retractable center console.

The options in the Business Class belong to Allegris extra-long beds, a double seat in which two adjacent seats can be combined to form a double bed by means of a retractable center console, and in the First Class the particularly generous and private Suite Plus with floor-to-ceiling walls and lockable door, 43-inch screens across the full width of the suite and its own minibar and wardrobe. »Our newly introduced seat heating and cooling in First and Business Class is also a unique innovation in the industry,« explains Peters, but emphasizes that »cabin design at Lufthansa follows a holistic approach, with the same development team responsible for all classes«. This approach should also benefit Economy Class passengers, as various innovations will also be found in the rear section of Lufthansa aircraft. »Our latest in-flight entertainment system with 4K monitors will be available throughout the aircraft, and a newly developed lighting system that will help prevent jet lag and arrive fresher will also be installed throughout the cabin, regardless of class.« From 2024, the Allegris long-haul product will then be introduced with the newly delivered Airbus A350. Among other things, Lufthansa wants to set new standards in comfort and luxury in the highest class with the aforementioned »flying private room«. And the focus on very specific, individual needs in the premium segment also appears to be an exciting new way to further strengthen customer loyalty.

Emirates—traditionally a very innovative airline—is also aware of the fact that constant further development of cabin concepts, especially for the most expensive travel class, is essential in order to remain attractive for the demanding luxury target group. »Emirates has always set the bar for others,« says Abdulla Shams, Vice President Engineering Projects at Emirates, confidently in an interview with Chapter. »We can look back on a number of innovations in our company history: in 2003, we introduced the world’s first private suites on board; in 2008, we were the first airline to introduce an in-flight lounge and spa showers for First Class passengers. In 2007, Emirates was the first airline in the fleet to allow in-flight cell phone use, and in 2011 we were the first in the industry to introduce in-flight Wi-Fi for passengers. Emirates was also the first airline in the world to order the iconic Airbus A380. This has now become the flagship of our fleet and offers exquisite luxury in the air with its on-board lounge and spa showers.«

Private jet ambience: The developers of the recently presented Emirates First Class Private Suite were inspired by the (interior-) design philosophy of Mercedes-Benz.

The development of new First Class products is a lengthy process that can take up to five years from conception to market launch and requires an intensive exchange from the top management level to various interest groups and departments, including a wide range of data analyses and customer feedback. The credo is therefore never to be satisfied with the status quo, but always to plan several steps and many years ahead to ensure that the company continues to succeed as one of the market leaders in the luxury segment.

The iconic Airbus A380 is now considered the flagship of the Emirates fleet:
On-board lounge and spa showers offer exquisite luxury in the air.

At the extraordinary on-board bar in the Emirates Airbus A380, First– and Business Class guests can relax with cocktails and snacks.

With this in mind, Emirates recently presented a new top-of-the-line product in the form of the new First Class Private Suite, for which the developers were also inspired by the (interior-) design philosophy of Mercedes-Benz. The exchange between automotive and aircraft designers makes perfect sense, as both industries face the same challenges when it comes to accommodating luxury and comfort in a limited space in the best possible way and at the same time having to take strict safety requirements into account. »The new Emirates First Class Private Suite was a game changer and has taken the passenger experience to the next level by offering a fully enclosed private space,« explains Abdulla Shams. »An industry first, the private suite features virtual windows for the suites in the middle of the aisle. Room service can be ordered at the seat via video call, and the temperature and mood lighting in the private suite can be individually adjusted.« According to the airline manager, the boundaries of the customer experience have been expanded time and again and Emirates intends to continue to do so in the future.

SUSTAINABLECLOSE TO NATURE

With a completely different focus on innovation, an international hotel group wants to continue to secure its place in the top league and set itself apart from its luxury hotel competitors. With currently only 21 hotels worldwide, Six Senses Hotels is one of the smaller players in the industry, but this is probably an advantage when it comes to giving the individual resorts their very specific character with a very strong connection to the location. This is particularly evident at the Six Senses Svart hotel, which is currently still under construction. The building will not only be the Group’s first climate-neutral, but also climate-autonomous project. In order to achieve this self-imposed standard, which is intended to satisfy the rapidly increasing demand for sustainable travel, the project has to break new ground in various areas. Attention was already paid to a low ecological footprint when selecting the materials. Organic products that guarantee low energy consumption after commissioning were at the forefront of the architectural concept.

The Six Senses Svart, which is due to open in 2024, will be built on stilts, along which mussels will also be grown for the hotel’s own restaurant.

To minimize the ecological footprint on site, the Six Senses Svart stands on stilts over the waters of the Holandsfjord, with the Svartisen glacier stretching out behind it, an impressive backdrop into which the hotel with its 94 rooms blends in as subtly as possible. The boundary between land and fjord seems to blur.

How seriously the Six Senses Group is pursuing the climate neutrality project is not only evident on site in the far north, but also at the company headquarters: »Sustainable hotels require extraordinary creativity and Six Senses Svart takes us to a whole new level when it comes to pushing boundaries. The concept is bigger than the project itself, as it will be a futuristic showcase of what can be achieved in terms of sustainability and energy solutions,« says Neil Jacobs, CEO of Six Senses, explaining the group’s ambitions.

A concept bigger than the project itself: The Six Senses Svart in the north of Norway is pursuing the ambitious goal of being not only climate-neutral, but climate-autonomous.

The north of Norway was not chosen at random, but rather the ideal location for an off-grid destination. During the long Arctic summer days, enough solar energy can be generated to compensate for the energy consumption during the dark Arctic winters. An energy storage system also ensures that every watt of wasted energy can be captured and reused. The hotel will work with sustainable fishing companies and farms in the immediate vicinity for its gastronomy. The idea of growing mussels for the hotel’s own restaurant along the stilts on which the Six Senses Svart stands shows just how innovative, holistic and detailed the concept is planned in this area too. In total, 80 percent of the food will come from within a 50-mile radius, which will already have a huge impact on its carbon footprint. It almost goes without saying that the hotel will be plastic-free and serve guests filtered water in glass bottles, among other things.

TRANSFORMATIVE CRUISE

Despite the Covid-related, brief slump in the cruise boom of past decades, the industry is now flourishing again as ever. New target groups are constantly being developed and even more colossal ships are being built. Bigger, faster, higher has been the credo of recent years—a new superlative boat has constantly been launched. However, the success of the recent past also seems to be partly the curse of the industry. It sounds elitist, but it is not only a marketing challenge to sell an experience as luxury whose name also stands for cheap and mass tourism. Accordingly, if you want to focus on true luxury rather than mass, a comprehensive product strategy of differentiation seems essential.

British designer Martin Francis is responsible for the exterior of the Explora I .

The Explora I, which just set off on its maiden voyage in August of this year, is not a mini boat at just under 250 meters long and 32 meters wide, but it is also far from being in the league of the largest ships. However, this was never the aim, because it is precisely the less enormous dimensions that allow maximum exclusivity on the ship. The sleek exterior of the Explora I, for which British designer Martin Francis was responsible, is more reminiscent of a private superyacht than a traditional cruise ship.

And the aura of the exclusive private ambience can also be experienced inside. Each suite measures at least 35 square meters, a considerable room size even on land; at sea, less exclusive competitors offer cabins that measure just a fifth of that. The slender silhouette of the Explora I not only gives it an elegant silhouette, but also makes it possible to completely dispense with the interior cabins, i.e. rooms without windows, that are otherwise common in the industry.

Thanks to the slender silhouette of the Explora I , it was possible to dispense with the usual inside cabins, i.e. rooms without windows.

The Owner’s Residence, by far the largest suite on board, also has an outdoor terrace that extends across the full width of the ship, including a private whirlpool with a panoramic view of the sea. The furniture here comes from Knoll and Molteni&C, among others—compared to other luxury cruise ships, the Explora I impresses with its sensual, purist modernity rather than its maritime, Art Deco style. From an ecological point of view, cruises are extremely controversial, even an exclusive approach cannot change this. But Explora Journeys is at least trying to find innovative solutions in the area of sustainability and minimize its impact on the marine environment. The Explora I is equipped with the latest environmental and marine technologies, including selective catalytic reduction technology, a shore power connection option, various underwater noise minimization systems to protect marine life, and a comprehensive range of energy-efficient on-board equipment to optimize engine operation and further reduce emissions.

Sensual, purist modernity: The interior fittings of the Explora I come from Knoll and Molteni&C, among others.

During the maiden voyage in August this year, the route also made it clear that Explora I does not want to pay homage to mass tourism, but rather go its own way and swim its own way. Instead of sailing through the Mediterranean in the summer like most of the competition and calling at overcrowded port cities, northern Europe was chosen to allow guests to experience the 500 million Euro ship for the first time. The starting port was Copenhagen, from where a seven-day voyage took the guests through the landscapes of Lerwick on the Shetland Islands and Kirkwall on the Orkney Islands, before heading for Reykjavik. Not only are the destinations of the Explora I special, the ship also deliberately cruises at a slower speed. Slowing down is a concept that allows the impressions gained to be intensified.

»Ocean State of Mind« is how Michael Ungerer, CEO of Explora Journeys, describes this approach quite poetically: »Our aim is to offer transformative journeys that provide an opportunity for inner and outer discovery, inspired by the ocean and with physical, intellectual and spiritual renewal.« A thoroughly ambitious, but also very appealing destination for luxury accommodation on the high seas.

The  Sunset Tower, at the address 8358 Sunset Boulevard, is truly an institution. Completed in 1931, the luxury hotel has been attracting international celebrities and Hollywood stars for almost a century, as well as anyone else who wants to spend a little time in the glamour of the moon.

Already in its initial phase, the  Sunset Tower was built with the clearly defined aim of accommodating primarily illustrious guests. In order to reach the target group, the house and its privacy were then also advertised, among other things, in the Screen Actors Guild Magazine. At the time of its construction, the Art Deco tower was the tallest residential building in the city, making it a direct landmark in West Hollywood. Even if 15 stories are no longer enough to break records in Los Angeles, the striking building continues to be an imposing monument on the otherwise architecturally rather limited but all the more vibrant
Sunset Boulevard.

This is especially ensured by the facade, which with its opulent ornamental frieze adorning Adam and Eve as well as various motifs from flora and fauna, is a prime example of the architecture of the late 1920s and early 1930s. Vertically arranged window strips reinforce the soaring appearance of the Sunset Tower.The striking upward lines are emphasized, especially at night, by the deliberate use of lighting. But the hotel embodies the golden era of Hollywood not only from the outside.

In 2018, the house was given a facelift, managing to preserve the soul of the listed building despite various modernizations. Inside, highly polished precious woods, leather in various shades of brown, and Art Deco-style furniture are ubiquitous. Glossy black wall stucco molding, along with heavy rugs and curtains, create a nostalgic, sophisticated ambiance in many of the hotel’s rooms. It was deliberately avoided that too much beige harmony leads to stylistic monotony in the interior design. Gold accents and shades of pink provide quite unexpected moments when walking through the house. At the pool, stylistic elements from the 1950s are also humorously integrated into the design; sunshades with sweeping lines and loungers with striped upholstery also exude a touch of Palm Springs atmosphere. Fittingly, the hotel’s Terrace Bar, furnished with potted palms and club chairs, is directly adjacent to the pool. After all, cocktails are the best way to meet Hollywood stars, whether at the bar or in the water. [AD]

In the hotel industry today, some celebrate a love of detail that goes far beyond the classic characteristics of brand identity building. It is not the large chains that are setting new standards in the perfection of tangible corporate identity. On the contrary, they are often individually run boutique establishments that create their very own, well-curated cosms with a subtly coordinated overall offering that encompasses diverse elements of the guest experience. Also, but not only, in the top luxury category.

DIVING AT THE ATLANTIC

On Portugal’s Atlantic coast, just north of Ericeira, perched on the hills overlooking the sea, accessible only by a small, winding road, is Hotel Immerso. As soon as you arrive, it becomes clear that the name Immerso -– »immersion« – refers both to the guest experience and directly to the architecture. Discreetly, the main and ancillary buildings not only blend into nature, but also seem to merge with it through their arrangement. The declared main goal of the hotel is that the guest then also becomes part of this experience. Immerse yourself in nature, become one with its tranquility, but also its wilderness, when in the evening, as so often in this area, fierce winds rise. No difficult feat in the rooms, which are all open to nature with large glass fronts and restrained inside with subtle earth tones and natural materials to let the view act as the main actor. The landscape in front of you is picturesquely beautiful, but by no means just lovely, which makes the experience of nature almost more real and approachable.

However, creating a unity with nature and the surrounding countryside is by far not only an architectural endeavor, but is celebrated on various levels. The shampoos, creams and soaps in the rooms are from a small, Portuguese organic cosmetics brand, 8950, which works exclusively with local ingredients, especially local essential oils. Conveniently, the sleek packaging of the skincare range is also perfectly in line with the hotel’s aesthetics. Products from the brand Vinoble are used in the spa, which are based on grape residues left overs as a waste product during the production of wine. It goes without saying that this cosmetics line is also certified as 100 percent organic. Closeness to nature without sustainability and without a commitment to regionality is inconceivable at Immerso, which is also reflected in the hotel’s small boutique. Here, various products were selected from different Portuguese manufactures. The result is a perfectly curated mini concept store that offers clothing and local delicacies as well as smaller living accessories. Represented are, among others, wooden sculptures by the local artist Paulo Reis.

It is obvious that with so much attention to detail, nothing is left to chance in terms of gastronomy. Every morning, the chef of the Emme restaurant goes to the fish market to select the local catch of the day on the spot for his guests. Strict attention is also paid to the regional origin of all other ingredients; a large part of the prepared vegetables comes from the in-house garden. The wine list is less rigorous, so that one or the other French vine can be spied, but the focus here is also clearly on Portugal. A special highlight to celebrate all the epicurean regionality not only on the plate, but to be especially close to the landscape that gave you all these ingredients while dining, will offer Emme on Fire starting this year. Here you then sit in nature, at a long table next to a campfire. Fire is then also the main element of preparation in this gastronomic outdoor dependence.

COMMUNITY SPIRIT AS A BUSINESS MODEL

In the heart of Umbria, about halfway between Florence and Rome, lies the small boutique hotel Vocabolo Moscatelli with which Catharina Lütjens and Frederik Kubierschky have fulfilled a lifelong dream. Previously, the two gained hotel industry expertise in various luxury hotels in Zurich, but at some point the desire arose to, as Kubierschky says, »set the rules of the game« themselves. The twelfth-century Umbrian monastery, lying dormant, provided the perfect playing field. There is this tension between form and content, the form was already definitely given in our project by the beautiful monastery, it was important for us to use this plus point and then also pack in quite a lot of content.« He continues by noting: »Especially because we are here in a small, rural local community, it was important to us not to appear as foreign investors who just put a foreign body in the pampas.« Rather, he says, from the beginning they were concerned with resurrecting what existed, which had perhaps fallen into a bit of oblivion. This approach became the guiding principle for the entire renovation and is now omnipresent in day-to-day operations.

»In the construction phase, which fell fully into the Corona pandemic, it helped us extremely in many respects that we worked almost exclusively with craftsmen and manufactures from Tuscany and Umbria, i.e. from the immediate surroundings, since closed borders and the material supply crisis passed us by in a big way«, explain the hoteliers. The schedule was quite tight, the monastery was purchased in November 2019, then had a year and a half for planning and the same period for the historical reconstruction.

Lütjens and Kubierschky emphasize that an important aspect of the overall design from the very beginning was also the idea of becoming a meeting place for the local population. »The idea of community and, above all, the desire to become part of the local community was essential for us«, they say. However, it was clear that this should not be done by pure ingratiation or adaptation. »Especially with the gastronomic concept, it was important to us to also go a bit different ways than those known locally so far. We are in Umbria in the meat chamber of Italy. There is nothing wrong with that in and of itself. But since there are already very good, often very simple restaurants that focus on meat, our idea was to create a place that complements what already exists. The idea of sustainability also plays a role for us.« The result is a menu that is not purely vegetarian, but does offer significantly more meat-free alternatives than is usual in Umbria.

The clear commitment to regionality is definitely a core element in terms of gastronomy but also in the overall concept, but it is not pursued dogmatically. »Umbria is a region of artists and craftsmen. This means that in terms of design and furnishings, we were really able to draw on the full range without going far afield,« says Catharina Lütjens, and you can clearly detect the enthusiasm in her voice. »For the artwork in the rooms, we worked with a curator who is originally from Umbria, and who developed a concept for us in which, although there are local artists, there are also one or two international painters. However, we are particularly proud and happy that we have also discovered artists who come from the immediate neighborhood and whose works are now integrated into our hotel.« Guests seem to sense the coherence of the location, because »for no other works of art do we receive so many compliments and so much encouragement.« The cooperation with the local community offers a great opportunity for the Vocabolo, explains Kubierschky: »Our main goal was always to create a place where you can meet interesting people. The fact that we already involved exciting craftsmen and artists from the area in the development phase led to them making the hotel one of their epicenters after the opening, bringing friends with them and recommending us to others. So this approach has also been extremely helpful in gaining acceptance from the local community.«

MUNICH ECLECTICISM

However, the renowned luxury hotel Bayerischer Hof  in Munich proves that the curated guest experience is not just something that small boutique hotels want to and can offer. With almost 350 rooms and a history rich in tradition, the hotel is a true grand hotel in every sense of the word. However, this does not mean that the institution does not focus on individuality in design. On the contrary, the size of the hotel, both in terms of public areas but also in terms of number of rooms, is used to make the most of it. If boutique hotels were the small, highly specialized niche galleries in the art world, then the Bayerischer Hof, as a counterpart, is the large, epoch-spanning museum that can afford to focus on the various styles without having to cut back on attention to detail, quality and selection. Although this strategy can be used to address various target groups, Philipp Herdeg, the hotel’s PR director, also notes in conversation that renewal and style expansion are always risky undertakings that can irritate or even scare away regular guests. The Bayerische Hof  has floral-opulent Laura Ashley rooms as well as noble-traditional suites and rooms in the style of Count Pilati, and in addition, truly contrasting, various rooms designed by Axel Vervoordt. While the Laura Ashley-loving guest may not care whether someone next door is enjoying Vervoordt’s wabi-sabi aesthetic behind a closed door, this was a real political issue when the Belgian redesigned the Garden Restaurant. Of course, the radical-looking redesign also meant that a certain clientele could not be retained, says Herdeg.

»In the overall context, however, it is important to consider not only Vervoordt’s simple aesthetics but also his approach to creating. As modern and purist as Axel Vervoordt’s designs may seem, his love of the history of materials, the need to create something new from historical elements, is something that is in absolute harmony with the values of Bayerischer Hof .« Overall, the new, purist elements have also been extremely well received. »We actually also have regular guests who enjoy precisely this heterogeneity of our rooms and switch between the different styles during their various stays.« It is also important for Herdeg to emphasize that the different room types at Bayerischer Hof are not categorized differently based on their style. This is done solely on the basis of size. So 50 square meters of Laura Ashley is not superior or inferior to another style, and thus also on a par with 50 square meters of Vervoordt in terms of price. Accordingly, there are also unifying elements that are identical in all rooms, such as towels, hangers and cosmetic products. In order to match a wide range of styles, more neutral elements were chosen here to blend in easily.

Perhaps the Bayerische Hof  not the perfect place for radical representatives of a single style, but to dine in the Wabi-Sabi ambience during a short stay in Munich, to drink another digestif in the Bavarian-baroque Spiegelsaal afterwards and finally to spend the night in the cozy Laura Ashley four-poster bed, all this without going outside the front door, is certainly not a bad selling point to a very large, demanding and yet heterogeneous target group.

In the early 2000s, Patrick McKillen, an Irish financial broker, acquired what once was an ordinary winery in Provence. He not only took over the winery itself, but also the existing team of the previous owner, the Bordonado family. Under McKillen’s leadership, a decisive turnaround was initiated – viticulture was converted to organic farming and shortly thereafter, in 2004, the plan to transform the estate into a center for contemporary art was born.

A short time later, a vision became reality: the renowned French architect Jean Nouvel was responsible for the design of the cellars and the Canadian-American architect and designer Frank Gehry created a breathtaking music pavilion. Each year, artists and architects have been invited to create site-specific works of art that blend seamlessly with the unique beauty of the Provençal landscape, with its characteristic cypresses, holm oaks, olive trees, and ancient oaks.

Since 2011, the site has welcomed guests as a luxury estate with an art center, bookstore, various restaurants, spa and, of course, the 200-acre winery, which not only has to tell a rich history dating back to Roman times, but also sells its products in its own boutique and offers regular tastings. An additional highlight was the opening of a new gourmet restaurant in April 2018 under the direction of Argentine chef Francis Mallmann.

The list of artists and architects who have created permanent works at Château La Coste is impressive: Frank O. Gehry, Hiroshi Sugimoto, Louise Bourgeois, Richard Rogers, Sophie Calle, Tracey Emin and many others have enriched the property with their creativity. The latest architectural masterpiece on the site is the Pavilion-Auditorium by Oscar Niemeyer, whose curved, glazed façade leads visitors into a 380 m² gallery.

This summer Château La Coste is hosting the exhibition »Anton Corbijn: Artists & More Artists«. It is the Dutch photographer’s largest collection in France, with 40 selected black-and-white photographs of celebrities from art, music and film, including Damien Hirst, Ai Weiwei, Bob Dylan and David Bowie.

Anton Corbijn’s exhibition: »Artists & More Artists«

Another spotlight is on the current exhibition of »Pierre Paulin Program:Des idées courbes, Des formes libres« – a presentation of the timeless designs of French interior and furniture designer Pierre Paulin in dialogue with the architecture of Brazilian architect Oscar Niemeyer. The exhibition highlights the use of curves in the works of these two important figures of the 20th century.

Insight into the exhibition »Pierre Paulin Program:Des idées courbes, Des formes libres«

In the future, visitors can look forward to unique art presentations by Irish artist and musician Guggi, Togolese painter Afi Nayo, and the exhibition »Stay Awhile« by artist Domino Whisker. Thus, Château La Coste remains a unique abode for art and nature lovers and all those who appreciate the mindfulness and attention to detail with which it is run. [SL]

The selection of design accommodations is based primarily on the stylistic characteristics typical of the design school: purist architecture, characterized by strict geometric shapes in which form follows purpose. Designed for a new, modern form of living together, whose specific structural implementation – in seemingly wise anticipation – seems tailor-made for the current steadily growing sharing economy. Airbnb hosts around the world invite travelers to experience this modern architecture, which is deeply rooted in our everyday lives, in an authentic way.

A VILLA BY WALTER GROPIUS

This Walter Gropius-designed villa near Boston is a true gem for Bauhaus lovers.
Location: Bedford, USA

MASTERPIECE BY HARRY SEIDLER

Built by Harry Seidler in the Southern Highlands, one of the first architects to apply Bauhaus principles in Australia. Location: Joadja, Australia

ARCHITECTURE AND CONSERVATION

Surrounded by a nature reserve near Poznań, the clean lines and minimalist approach are the perfect expression of the formal purity and functionality of the Bauhaus style. Location: Poznań, Poland

THE WOLFHOUSE BY PHILIP JOHNSON

Designed by architect Philip Johnson and featuring breathtaking views of the Hudson River.
Location: Newburgh, United States

A HIDDEN COUNTRY HOUSE

This Bauhaus gem is just an hour from Montreal and overlooks a lake with a private dock.
Location: Saint Jean de Matha, Canada

For those looking to discover even more design-rich accommodations, the »Design« category on Airbnb includes nearly 30,000 listings that allow guests to experience outstanding architecture, affordable luxury, and inspiring decor. [Red.]

Palazzo Venart, one of the most outstanding luxury hotels in Venice, has an extremely eventful history, which certainly determines the charm of this particular establishment. As Palazzo Bacchini delle Palme, the original name of the magnificent building, it served since the 15th century – first as the estate of the prestigious Venetian noble families Lion and Vernier and later as the residence of the famous mercenary captain Pandolfo Malatesta and the Count of Carmagnola. The original façade of the palazzo, which faced the Canal Grande, embodied the three-part architecture typical of 15th century Venice – with elegant arched windows, white marble and balustrades of Istrian stone. Over the centuries, the building has always been one of the most exclusive and spectacular in the city, so much that in 1819 it was even mentioned in the prestigious guidebook Forestiero Istruito nelle cose più pregevoli e curiose antiche e moderne della città di Venezia. As the center of social and cultural life in Venice, the palace was also always frequented by illustrious aristocratic elites.

In 1845, however, the palazzo fell victim to a devastating fire, which is why, among other things, the façade facing the Canal Grande was demolished and the area transformed into a »garden on the waterfront«. Today, arriving guests are still guided by a water cab to the entrance via this lovingly tended garden, which is adorned with historical statues. The successive reconstruction of the rest of the building and the extensive restoration work subsequently took many decades – the tempera paintings on the walls and ceilings of the corridor, which can still be admired today, date from the very period when the building was completely restored. In the style of Michelangelo Mortalier’s frescoes in Palazzo Grassi, it shows convivial scenes from Venetian society of the time, testifying to the liveliness of palace life.

However, it took until well into the 21st century for Palazzo Venart – now acquired by Taiwanese hotel group LDC Hotels Italy and renamed to Palazzo Venart – Luxury Hotel with its official opening in 2016 – to undergo a comprehensive and detailed complete restoration, with the preservation of the building’s historical integrity as a top priority. Besides the magnificent ceiling and wall decorations, frescoes, marble staircases and the Istrian stone building were finally restored to their former glory. Aspects of Venetian history and culture can also be found in many details of the total of 18 rooms and suites, most of which still reveal their original state. In addition to hand-picked antiques that underscore the palazzo’s noble past, there is no shortage of modern amenities – and in particular, the hotel’s own two-Michelin-starred, internationally renowned restaurant GLAM, under the direction of Michelin-starred chef Enrico Bartolini and executive chef Donato Ascani, adds another outstanding signature touch. [SL]

From exclusive hotels and passenger trains to river cruises and safari lodges, the Belmond brand (part of the LVMH Group) stands for exceptional travel experiences and luxury at the highest level. The Eastern & Oriental Express is considered a special highlight of the portfolio – a tribute to the golden era of luxury trains that reached its peak in the 1920s and 1930s. A time when rail travel was still a special ceremony and splendidly equipped carriages rolled through fascinating landscapes. Belmond’s Eastern & Oriental Express first entered service in 1993, allowing travelers to experience the fascinating beauty of Southeast Asia in a unique and exclusive way.

After a break of several years – also due to the pandemic – Belmond is adding two new seasonal routes of the legendary express train to its offer from 2024: 15 dark green carriages, including eight sleeping cars, two restaurant carriages, a piano bar car and the iconic »Open Air Observation Car« will roll out of the Woodland station in Singapore from then on and travel to destinations such as Penang, Langkawi and, for the first time, Taman Negara National Park before returning to the »Garden City«.

While the »Essence of Malaysia« route is a three-day trip where guests have the opportunity to experience Pulau Payar Marine Park or explore the port city and UNESCO World Heritage Site George Town, among other things, the »Wild of Malaysia« trip takes guests through untouched areas along the so-called »Jungle Railway« route to the east side of the peninsula, where they can take part in excursions in the Taman Negara National Park area and be inspired by Penang’s historical, cultural and culinary heritage.

Since the often-used motto »the journey is the reward« is especially true when traveling with the Eastern & Oriental Express, it is worth taking a look at the wide range of offers and amenities on board: guests are also offered the opportunity to experience the culture of Southeast Asia in all its facets directly on the train: From encounters with local artisans to the melodious tunes of Nanyang jazz and vintage Malay music as part of the evening events, a trip should be an unforgettable experience for all the senses. Culinary wise, the Eastern & Oriental Express aims to impress with a mix of contemporary dishes rooted in Peranakan culture and a modern interpretation of traditional recipes.

From the Pullman cabins inspired by the city of Kuala Lumpur, to the maritime atmosphere of the State cabins, to the opulent Presidential cabins (with extra space, gold accents and constant champagne service), the Eastern & Oriental Express naturally offers travelers a refined interior of carefully curated, high-end design elements and distinctive color schemes inspired by the multi-layered vibrant culture of Southeast Asia. Each air-conditioned cabin has been designed as a refined, comfortable retreat and features its own luxurious bathroom. The exclusive travel experience will also be perfected by a first-class on-board service team. Prices for the two new Eastern & Oriental Express itineraries each start at $3,410 per person, for 3 nights.(RED.)

Since its founding in 1954, Relais & Châteaux has been synonymous with a collection of »the world’s finest travel addresses«, an impressive index that now includes 580 outstanding hotels and restaurants worldwide. With Le Ponant, a sailing yacht has now been added to its catalog for the first time – an exclusive travel experience under the French flag. Today, the company is considered the world leader in luxury expedition cruises and stands for the highest level of comfort on board as well as the French way of life.

»Our two companies want to share their expertise and convey the inimitable French lifestyle to create meaningful journeys. On board of Le Ponant, the jewel of our fleet, every guest can enter into dialogue with nature and their own inspirations and live out their desires under the sails«, claims Hervé Gastinel, CEO of PONANT.

With only 16 elegantly furnished cabins and an own chef, Le Ponant offers its guests not only the privacy and personal atmosphere, but also the individual service of a private yacht. Thanks to the small size of the three-master, that is equipped with the latest environmental technologies, it is possible to sail to particularly exclusive ports and remote regions surrounded by wild nature and unspoiled landscapes. In doing so, a high degree of responsibility towards the existing ecosystems as well as the local communities is maintained. [Red.]