The Chinese city of
The answer, it appeared, lay in extending the brick facades into the interior, “thereby using the architecture instead of replacing it,” says Vincent de Graaf, principal architect and co-founder with Saunders.
Related:
When you enter the hotel, there’s no mistaking its heritage. Everywhere you look,
“Each space explores and uses ceramic differently, putting up different colours and textures. The project seeks to unite rawness and refinement, turning ceramics into architecture, interiors and furniture,” says de Graaf.
Related:
The museum-esque display promises to dazzle even the most reluctant of museum-goers. The reason? Eye-popping attractions in each of the three volumes: Celadon glazing graces the lounge, while striking cobalt enlivens the restaurant and spa; in the meeting room and ballroom, transparent porcelain looks as light as air. “What is marble in a standard hotel is porcelain in this one,” says Saunders.
The three volumes are connected by an arterial street “inspired by the fire kilns that bake the porcelain”. Stop and look around and you’ll feel like you’re in a real-life atelier: Black tones evoke searing charcoal, whereas roof lights recall the powerful heat of the kilns.
The guest rooms are restrained yet rustic, with clay tones and canvas-like walls. “They allow guests to return, retreat and refresh amidst unglazed and more workshop-like textures,” says de Graaf.
Related:
| The article