Top Interior Designs: Hotels

Selina Denman , July 20th, 2010

SEE THE LISTS: Top Interior Designs: Offices | Top Interior Designs: Retail | Top Interior Designs: Leisure & Entertainment | Top Interior Designs: Leisure & Entertainment 2 | Top Interior Designs: Public Sector/Institutional

Location: Meydan Hotel
Design: Teo A Khing Design Consultants

Two unavoidable influences shaped the design of the Meydan Hotel.

The hotel’s unique location – towering over one of the world’s most prestigious racetracks – called for a design scheme infused with equine references. At the same time, Teo A. Khing Design Consultants, the firm responsible for the architecture and interior design of the project, wanted to ensure that the hotel stayed true to its cultural context.

As such, the design embraces local influences and traditions, as well as the region’s Bedouin heritage. “The eclectic combination of horse and local culture, with a touch of modernity, created several possibilities for a genuinely unique design which is most appropriate only for the Meydan,” explained Teo Ah Khing, managing director of the Dubai branch of Teo A Khing Design Consultants.

A flowing canopy at the ground level of the hotel, on the trackside, is a modern imitation of an Islamic tapestry wall hanging. In this instance, metal is used as a defining element to create a sleek, contemporary interpretation of a highly traditional concept.

In the hotel lobby, monumental arching pillars mimic the fronds of the ubiquitous palm tree – a fundamental and recurring motif in local Bedouin culture.

“Arabic geometry, which is a regular design feature in the region, was represented by the regular use of horseshoe patterns in the interiors – a contextual reference to the Arabians and to the Meydan racecourse,” Khing said.

CID's 50 Favourite Interior Designs	Click on a link (left) to view the results
Hotels Offices Retail Public sector and institutional Leisure and entertainment 1 Leisure and entertainment 2

Throughout the interior, a rich colour scheme was complemented by a palette of luxurious materials.

“The colour scheme focused on three main colours, gold, black and silver, which convey a strong sense of richness and modern sophistication. These elements were complemented by the warm tones of fabrics, leather and timber. The combination of textured and smoothed surfaces produced an eclectic design that is modern, timeless and elegant,” said Khing.

Next page: Banyan Tree Al Wadi and Architrave Design and Planning

When it came to selecting a location for their first ever resort, the founders of Banyan Tree Hotels & Resorts settled on a 600-acre site in Phuket, Thailand – vast swathes of picturesque coastal land punctuated by lagoons of the most intense cobalt blue.

It soon transpired, however, that the extreme intensity of the blue had little to do with the marvels of Mother Nature and was, in fact, the result of extensive pollution from the site’s previous tenant, a tin mine.

Rather than walking away, the founders dedicated themselves to cleansing the acid-laden soil and planted more than 7,000 trees, painstakingly transforming an ecological wasteland into the environmentally-sensitive site of the first ever Banyan Tree resort.

The company’s inherent respect for natural environments is reiterated in the Banyan Tree Al Wadi in Ras Al Khaimah, the brand’s debut property in the UAE. First and foremost, the Ras Al Khaimah resort was designed to blend unassumingly into its striking desert backdrop, noted David Barclay, assistant vice president of design, Architrave Design and Planning, the design arm of the Banyan Tree Group.

“At Banyan Tree Al Wadi, the interface between the desert and the resort is intended to be as seamless as possible, providing guests with the experience of staying ‘in’ the desert,” he said.

Consisting of 70 Al Rimal deluxe pool villas and 31 Al Khaimah and Al Sahari tented pool villas, the resort sits on 100 hectares of desert plains, 60% of which is dedicated to a nature reserve housing indigenous wildlife and flora.

“Designed to retain the natural feel, topography and vegetation of the desert, the pool villas are constructed on valley floors between existing dunes, thus maintaining a degree of privacy and consequently preserving the site naturally,” said Barclay.

Every Banyan Tree resort has its own distinct sense of character, and the Ras Al Khaimah property is no different. It is the first Banyan Tree with its own nature reserve, horse and camel stables, water home, bird hide and falconry mews. The emphasis is on creating a symbiotic relationship between the resort and its physical surroundings, while embracing local influences and the natural quirks of the selected site.

CID's 50 Favourite Interior Designs	Click on a link (left) to view the results
Hotels Offices Retail Public sector and institutional Leisure and entertainment 1 Leisure and entertainment 2

The resort, which has been dubbed ‘an oasis of indulgence’, has very consciously adopted Middle Eastern design influences. Customised geometric Arabesque motifs are reiterated in light fittings, fretwork, timber and glass-reinforced concrete panelling. “To enhance the sense of adventure, we used elements of typical regional architecture,” Barclay said.

But while the design ethos is predominantly Arabian, there are also subtle Asian undertones throughout, as the ultimate aim was to create a delicately balanced design that was respectful of the hotel’s distinctive, Middle Eastern setting, but also paid homage to the company’s Asian roots.

Next page: The Yas Hotel and Jestico + Whiles and Richardson Sadeki

Location: The Yas Hotel, Abu Dhabi
Design: Jestico + Whiles and Richardson Sadeki

Built in a mere 22 months, the iconic Yas Hotel is the brainchild of New York architects, Asymptote Architecture, and designers Jestico + Whiles and Richardson Sadeki.

The first hotel in the world to span a racetrack, The Yas Hotel’s extraordinary 5,000 LED panel gridshell drapes it in a vibrant shroud of lights. This 219m expanse of sweeping steel and 5,096 diamond-shaped glass panels creates a ‘veil’ that flows over the two hotel towers.

The hotel consists of 499 rooms and 14 entertainment and dining options, set in two separate buildings connected by a bridge overlooking the Yas Marina Circuit.

Inside the hotel, bespoke furniture, created to fit the buildings’ unique shape and character, makes for highly distinctive spaces. Bathrooms are housed in a frameless glass box, mounted with fine silk sheer panels. Public spaces flow together easily, with the filtered lights from the gridshell highlighting a contemporary design scheme. The lobby features a modern interpretation of the Arabian mashrabiya, where lightweight white latticed walls map out private zones.

The diamond patterns of the lattice cast intricate, decorative shadows on to their surroundings. In contrast, the upholstery is deep purple and indigo, created using pigmented colours and stains, rather than flat dye, to create a very natural feel.

CID's 50 Favourite Interior Designs	Click on a link (left) to view the results
Hotels Offices Retail Public sector and institutional Leisure and entertainment 1 Leisure and entertainment 2

The Yas Hotel features two concept bars by Georges V, the visionaries behind the internationally-recognised Buddha Bar brand. The bars boast prime locations: Skylite is perched on the rooftop of the main tower and Rush is set in the adrenaline-evoking bridge above the Grand Prix circuit.

Intimate dining can be found in the hotel’s eight restaurants, which serve everything from seafood to pan Arabic and contemporary Asian cuisine.

Next page: Armani Hotel and Giorgio Armani

From the A-shaped swimming pool to the capital ‘A’ carved into each and every sugar cube, Giorgio Armani made his mark on every inch of his debut hotel.

This relentless reiteration of the brand starts in the lobby of the Armani Hotel Dubai, where a series of bronze columns arch overhead, meeting at a point to create a towering collection of artful As. Beneath the arches, mirroring their shape, lie two oversized sofas. The combined result is a consciously contemporary, highly fashionable take on the traditional majlis.

The A-shaped arches are a recurring theme – they reappear on the hotel’s logo, and then again, as a creative alternative to run-of-the-mill table legs. The message is clear: this is an Armani hotel in more than just name.

The hotel exists as a larger-than-life showcase of Giorgio Armani’s creative breadth. The world-famous fashion designer is reported to have overseen every single element of the design, from soap bars to suites.

In fact, getting the shape and colour of the soap right took a rumoured 22 months, and was inspired by a pebble that Armani came across whilst on a beach in his native Italy. “I had not been involved with construction itself but I followed every single step in design and style,” said Armani during the grand opening of the hotel on April 27.

Fino International was enlisted to transform Armani’s vision into a workable reality. “Almost everything was doable – it just took a while and some real guts. Difficult decisions had to be made. We had to translate it into a constructible site that met the standards of the world’s tallest building,” said Talal Saeed, MD, Fino International.

Armani Hotel Dubai occupies floors concourse to eight, as well as levels 38 and 39 of Burj Khalifa.

The property consists of 160 rooms and suites, complemented by 144 private Armani residences, located on floors nine to 16.

When he was first approached by Emaar Properties to design a hotel, Armani questioned whether he was the right man for the job – given his minimalist sensibilities.

CID's 50 Favourite Interior Designs	Click on a link (left) to view the results
Hotels Offices Retail Public sector and institutional Leisure and entertainment 1 Leisure and entertainment 2

Armani recalled saying: “Are you sure you want me? I believe in minimalism, less is more. And when you looked at what was happening here [in Dubai five years ago] you would have thought exactly the opposite. It was a very different style”.

Next page: W Doha and United Designers

Location: W Doha
Design: United Designers

In the owners of the W Doha Hotel & Residences, United Designers found a client willing to take risks, push boundaries and, most importantly, invest in good design. A rarity indeed, noted Ian Bayliss, the company’s creative director.

Adding to the sense of responsibility that came with working for such a trusting, open-minded client was the pressure of introducing the innovative W brand in the Middle East. “It was a big responsibility. We were looking after a brand that we want to work for again, we were new in the region and we were looking after our client’s money. It did weigh heavily on us,” Bayliss said.

Inspiring, iconic, innovative and influential are the words thatStarwood Hotels & Resorts uses to describe its W brand. Or, more philosophically, ‘a storybook encounter of style and soul’.

United Designers’ job was to translate the brand’s inherent sense of whimsy, playfulness and cutting-edge style in a Doha setting – and the end result is bold, lively and infused with energy.

For a start, the design doesn’t shy away from colour. Taking a detour from the muted beiges and off-whites so often used in a hospitality setting, United Designers called upon a varied and rich palette. “We were determined to get some colour in there, and some vibrancy, especially in the restaurants. For the hotel, we have a palette of greys and blues and silvers, so it is understated where it needs to be calm. Where you need to have fun – which is what a W hotel is all about – we used reds and oranges and glossy surfaces to get some energy in,” Bayliss detailed.

Setting the tone for the rest of the hotel is the Living Room – ‘W speak’ for lobby. A three-storey space with mezzanine levels, the Living Room is important not only because it introduces the W brand, but also because it physically links a range of other areas.

The height of the space was initially quite daunting, Bayliss noted. As a solution, he drew inspiration from the most local of local sources. “I found this mosque where over the prayer area they had suspended these beautiful light fittings in a circle, just to create a bit more of a human scale and make the prayer area more comfortable. We studied those pendant light fittings and redesigned them for the W.”

This is one example of how traditional influences were incorporated into what seems, on the surface, to be an entirely contemporary design. “It was important to us not to just come and impose ourselves,” Bayliss said.

CID's 50 Favourite Interior Designs	Click on a link (left) to view the results
Hotels Offices Retail Public sector and institutional Leisure and entertainment 1 Leisure and entertainment 2

The aim was to understand the cultural heritage of Doha and make sure that the W slotted into the overall landscape, whilst simultaneously bringing something new to the city. “I think Doha is a very cutting-edge and contemporary city. It is very forward thinking and we wanted to tap into that,” Bayliss noted.

Next page: Park Hyatt Jeddah and Gilles Quiffet

Location: Park Hyatt Jeddah
Design: Gilles Quiffet

Set on reclaimed land on the shores of the Red Sea, Park Hyatt Jeddah is influenced both by its waterside location and by the old town of Jeddah.

“The multi-faceted resort is a remarkable feat of engineering that has reclaimed prime waterfront land from the Red Sea, while retaining the delicate surrounding marine life. The 34.5 acre complex offers sweeping views of the sea and the world-famous King Fahd fountain, with its over 1,000ft-high plume of water,” commented Rady M. Rady, general manager, Park Hyatt Jeddah.

The property is located minutes away from Jeddah’s central business district, but presents itself as a serene, self-enclosed haven. In contrast to the high-rise buildings that characterise Jeddah’s skyline, the 142-room resort is a low-lying, five-star retreat.

The main hotel is complemented by 10,000m² of spa, wellness, meeting and F&B facilities. The Lazurde Meetings & Events Centre features 2,500m² of meeting and banqueting facilities, and is accessible via a dedicated entrance.

According to Rady, the interiors of the hotel promote the Park Hyatt ethos of “understated elegance and personalised, luxurious style”. French interior designer Gilles Quiffet and architect Patrice Hart were responsible for translating this brand promise into a property that would appeal to affluent business and leisure guests visiting the rapidly growing city of Jeddah.

When it came to the design, Quiffet and Hart created a residential-style scheme that fuses European and Arab-Andalusian influences. An interplay between the modern and the traditional defines the Park Hyatt Jeddah.

CID's 50 Favourite Interior Designs	Click on a link (left) to view the results
Hotels Offices Retail Public sector and institutional Leisure and entertainment 1 Leisure and entertainment 2

“The beautiful gardens and striking interior design create a haven of understated elegance. Modern artwork and designs merge with traditional Arab-Andalusian features, setting a new standard for contemporary luxury,” Rady elaborated.

Next page: Al Bustan Palace InterContinental Muscat and Heitz Parsons Sadek

Location: Al Bustan Palace InterContinental Muscat
Design: Heitz Parsons Sadek

Completed at the beginning of 2009 and undertaken by Heitz Parsons Sadek (HPS), a complete renovation of Al Bustan Palace InterContinental Muscat demanded a design scheme that wouldn’t be dwarfed by the reputation, stature and dimensions of the property itself.

An Omani landmark set against a dramatic backdrop, the hotel called for truly striking design statements, and HPS responded accordingly. For a start, a 3.5m crystal fountain was introduced in the atrium – the last fountain of a comparable size having been built in the 1930s.

“Another exceptional design element is the completely authentic Preciosa Austrian crystal chandelier that glitters 13m in length in the atrium dome. The visual impact of this piece is unparalleled to anything that has ever been seen in a hotel property of any kind,” said Ayman Sadek, principal designer at HPS.

The designers recognised that guests would enter the property with high levels of expectation, and aimed to impress with contemporary reinterpretations of traditional forms and textures. “Classic lines and forms in furniture and lighting received contemporary restyling, and colour palettes are definitively vibrant yet palatial throughout,” Sadek said.

“The property is a destination and therefore guests have a certain level of expectation relating to the interiors. HPS redefined in many ways what it takes to successfully provide luxury and opulence,” Sadek continued.

“Traditional themes are more abstracted and recreated so that the guest remains connected but at the same time intrigued. The common thread throughout the project is the feeling of remarkable elegance,” he added.

Local influences presented a major source of inspiration. “There are strong undertones of traditional Middle Eastern flavours in the interiors but the applications and interpretations are all new, fresh and contemporary. HPS felt that it was very necessary to use the culture as a foundation from which to build a story for guests to immerse themselves in.

“The magnetism of Middle Eastern culture, shapes and feelings provided an invaluable tool from which ideas and concepts could be developed to a higher level.”

CID's 50 Favourite Interior Designs	Click on a link (left) to view the results
Hotels Offices Retail Public sector and institutional Leisure and entertainment 1 Leisure and entertainment 2

Custom-designed furniture, lighting, rugs and carpets, handmade wood carvings, mother of pearl inlay, gold leaf and unique crystal details all contribute to the overall grandeur. These were complemented by Crema Marfil marble, cappuccino onyx, gold alabaster and local Omani stones, as well as high-quality fabrics and silks from Europe and Asia.

Next page: The Address Downtown Dubai and WA International

Location: The Address Downtown Dubai
Design: WA International

As development giant Emaar’s first venture into hotel management, The Address Downtown Dubai had to act as a larger-than-life showcase of the company’s hospitality ethos and ambition.

Claire Craig and Helen Skea of WA International were responsible for the interiors, and developed a high-end contemporary scheme infused with subtle Arabian twists. “What we tried to do was create something that was not completely minimal and modern, because it would date.

“It is warm and sophisticated and quirky in many ways, but it is not over the top – and in ten year’s time it is still going to look like it fits into the building,” explained Helen Skea, associate at WA International.

The region’s rugged mountains, undulating sand dunes, stunning seascapes and striking sunsets acted as a basic inspiration point for the entire design. Golds and bronzes interplay with reds and oranges, and are infused with flashes of blue to create a palette that mimics natural landscapes from across the region.

“We used the desert landscape, wadis, dunes and mountains as inspiration. The whole concept was a contemporary take on the Arabian landscape. Everything is quite subdued. We’ve tried to keep that through the background colour palette. Where we’ve got more drama, like in the bars and restaurants, we’ve introduced silvers and blacks, in the form of Saint Laurent marble, chrome and glass,” Skea said.

The overall shape of the building had a fundamental impact on the interior design – and was the source of some major challenges. “Because of the shape of the building, there were 44 different guest room types. And they were not slightly different but majorly different, so drawing package-wise for the team, it was a real challenge,” Skea revealed.

The curvaceous configuration of the building, which was free of sharp lines and edges, warranted an interior where organic and undulating design elements dominated. Fluidity was key.

Public spaces are open and flowing, with separate areas blending seamlessly into one another. Even the boundaries between outside and inside were blurred, with the external landscaping seeming to flow into the building in a conch-like wave that almost ushers guests in.

Textures also play on the natural, organic theme to create depth, warmth and movement. “We were trying to emphasise the natural elements with the use of different materials – from the polished palasandro marble floors, backlit bronze metallic undulating wall features, rich fabrics and dark textured woods,” said Skea.

The number of wall hangings was kept to a minimum but the pieces that do feature are characterised by their three-dimensional nature. “Where there are works of art, large sculptural and textural statement pieces have been commissioned, made of natural elements such as wood and shells, which maintains the organic theme and adds extra depth to the space,” said Skea.

CID's 50 Favourite Interior Designs	Click on a link (left) to view the results
Hotels Offices Retail Public sector and institutional Leisure and entertainment 1 Leisure and entertainment 2

While wall art was kept to a minimum, bold, oversized sculptures and exotic lighting features were introduced throughout the property to add a healthy dose of additional drama. Glass sculptures by the British artist Amanda Brisbane complement bespoke pieces from the acclaimed Alan Mayburgh to inject splashes of colour and quirkiness.

Light fixtures were custom-made by Preciosa, the Czech manufacturer of genuine Bohemian-cut crystal products, and are one of the hotel project’s most striking features.

Next page: Six Senses Hideaway Zighi Bay and Six Senses Hotels & Resorts

Location: Six Senses Hideaway Zighi Bay
Design: Six Senses Hotels & Resorts

Nestled in a hidden fold of Oman’s rugged Musandam region, Six Senses Hideaway Zighi Bay is quietly challenging conventional perceptions of luxury.

The resort is a rare example of how high-end hospitality can seamlessly co-exist with social responsibility and environmental sensitivity. It is also an important example of how a design can embrace local influences and sustainable principles without sacrificing on quality and, more importantly, economic viability.

A key focus of the Six Senses Group is to create resorts that are in complete harmony with their environment and natural surroundings. Resort size, location, and topographic and thermal conditions are carefully considered before a resort is built, and the company is constantly exploring new ways to improve its carbon and water footprint.

“With this in mind, Six Senses Hideaway Zighi Bay was designed to blend in with the rugged natural surroundings of the Musandam region, combining the element of luxury to deliver a rustic chic decor. To do this, rather than using conventional materials, Six Senses opted for traditional ones such as date palms, limestone and timber, and used traditional building styles (wattle) to reflect the surrounding indigenous village style of the Omani peninsula,” said Tara Hammond, environment and social responsibilities officer, Six Senses Hideaway Zighi Bay.

“The entire property is built using masonry walls which are left unplastered, adding a rustic flavour. The interiors have stucco walls, mosaic floors created from pieces of local limestone, and the villas are all fitted with furniture constructed with wood, all made onsite by local craftsmen, and left unembellished to give a wholesome, organic and sustainable look,” she continued.

The resort consists of a series of low-rise buildings set on an unadulterated bay flanked on all sides by a dramatic, jagged mountain-scape. A restaurant snuggles into the mountain-side, some 293m above sea level.

“The signature restaurant has been designed and constructed to blend in with the mountains without damaging the mountain rock and ruining the aesthetics or interfering with the biodiversity of the local environment. This gives guests a unique opportunity to experience a dramatic dining experience, without causing disturbance to the surroundings.”

Unsurprisingly, the company was committed to sourcing materials locally. The limestone used for the floors was extracted from the surrounding Hajar mountains, while date palms, known locally as ‘jareed’ were sourced from local plantations in Dibba. Materials that could not be found locally were sourced from neighbouring countries such as India, from responsible, certified suppliers.

The end result is effortlessly Omani – ceilings are constructed in traditional flat-beamed style, and date palm lattices make up shutters, doors, partitions and roofs. These are entwined with ‘jareed’ to allow inside temperatures to drop slightly, offering welcome respite in the hotter months.

“Luxury is not necessarily material possessions such as gold-plated marble bathrooms, but what busy city business people often lack – space and time,” Hammond pointed out.

CID's 50 Favourite Interior Designs	Click on a link (left) to view the results
Hotels Offices Retail Public sector and institutional Leisure and entertainment 1 Leisure and entertainment 2

“So, by offering space in a natural environment and time to enjoy it, guests get their luxury. When our competition catch on and see the success of our resorts I think this approach won’t be so rare anymore; it’s just a matter of time,” she predicted.

Next page: Makkah Clock Royal Tower and Richmond International

Location: Makkah Clock Royal Tower
Design: Richmond International

With a 1,005-room hotel project, size and scale dominate the agenda. So when Richmond International was commissioned to design the Makkah Clock Royal Tower, a Fairmont Hotel, the scale of the project was a key driver in the design process – the significance of its location was another.

The holiest city in the Islamic world, Makkah’s primary industry is to support the annual Hajj pilgrimage, which alone attracts up to three million people per year.

The hotel forms part of the Abraj Al Bait complex, which incorporates seven towers and is adjacent to the Masjid al Haram mosque and the Kaaba.

The Makkah Clock Royal Tower complex includes over 500 shopping outlets and food courts, luxury apartments on levels 30 to 52, five ‘Royal’ floors, and the 1,005-room Fairmont Hotel, which covers a further 28 floors. There are a total of 76 elevators.

Facilitating the movement of throngs of people was one of the most important elements of the design, explained Terry McGillicuddy, designer, Richmond International. “A major challenge was to understand, integrate and accommodate the circulation of a very large number of guests and visitors who need to access and, more importantly, exit the building, particularly during the calls to prayer,” he said.

CID's 50 Favourite Interior Designs	Click on a link (left) to view the results
Hotels Offices Retail Public sector and institutional Leisure and entertainment 1 Leisure and entertainment 2

The spiritual significance of the site also fundamentally impacted the interior design. “The importance of this religious location was a key factor in the creative process; the balance and simplicity of the traditional and modern Arabic design of the interior reflects the spiritual nature of the location and the sense of humility surrounding the Haram,” McGillicuddy pointed out.

Next page: The Monarch Suite and Ròya International

Location: The Monarch Suite
Design: Roya International

Not only is The Monarch Suite at The Monarch Dubai the Middle East’s largest suite for sale at 1130m², it has also held the title of World’s Leading Suite, as awarded by the World Travel Awards, for two consecutive years.

But in spite of these accolades, the suite, which was designed by Ròya International, remains one of Dubai’s best kept secrets.

Located on the 32nd and 33rd floors of the hotel, and accessible only with a special key card, the suite is spread across two floors. This is a major asset, explained Bertrand Margerie, The Monarch Dubai’s executive assistant manager, because it means guests can keep one area private for their family and one area public for business and entertaining.

The suite is designed to promote a sense of immense space, calm, relaxation and luxury. Although there are vibrant fabrics and striking lighting, there is none of the gaudy opulence that one might expect of the region’s largest suite.

Margerie explained why. “It was designed as a private apartment for the owner, however, he considered the potential of money from that positioning and unique setting at Number One, Sheikh Zayed Road [and decided] to leave it for rent,” he revealed.

“Our typical guests are individuals with very high incomes, company CEOs, directors, owners and royalty,” Margerie continued.

While there are a lot of Arabian influences, the suite offers a very peaceful and understated design, in keeping with the ambience of the rest of the hotel.

“It’s a mix between outside and inside. It is very vast. I have always associated volume and space with luxury. Its not overpriced as well, in my opinion,” he said.

CID's 50 Favourite Interior Designs	Click on a link (left) to view the results
Hotels Offices Retail Public sector and institutional Leisure and entertainment 1 Leisure and entertainment 2

And of the fact that the suite seems to keep a very low profile? That is quite deliberate, said Margerie. The hotel has only used The Monarch Suite as a venue to hold a handful of events itself and it has only recently been opened for very high-profile product launches.

Next page: Radisson Blu Hotel Yas Island and Aukett Fitzroy Robinson

Location: Radisson Blu Hotel Yas Island
Design: Aukett Fitzroy Robinson

A multi-layered, multi-dimensional lighting sculpture hovers over the lobby of the Radisson Blu Hotel Abu Dhabi Yas Island.

Composed of linear, copper-coloured components suspended at varying heights, it is a contemporary take on the traditional chandelier, explained Anne Kuzyk, head of interiors at Aukett Fitzroy Robinson, the company responsible for the architecture and interiors of the Radisson Blu and its sister Park Inn property.

A smaller version of this ‘contemporary chandelier’ hangs above the check-in counter. Like its more sizeable counterpart, the underside of the structure is mirrored. “The idea is to reflect the views of the island back into the space,” Kuzyk pointed out.

This idea, of bringing the outside in, is a cornerstone of the overall design. Barriers between the indoors and outdoors have been systematically broken down, with an emphasis on inviting natural light and panoramic views deep into the interior.

With mangrove-covered sandbanks, the grassy expanse of the Links golf course, and the unending blue of the Arabian Gulf all to be found on the hotel’s doorstep, Kuzyk had a rich palette of natural influences to draw upon.

CID's 50 Favourite Interior Designs	Click on a link (left) to view the results
Hotels Offices Retail Public sector and institutional Leisure and entertainment 1 Leisure and entertainment 2

So, in Business Class rooms, a textured headboard made out of beige plaster mimics the motion of sand dunes. The room’s colour palette is inspired by the sunset, and by the continually-shifting colour of the sand. “We’ve used all very natural influences, but in a very contemporary way.”

Another striking feature of the interior is its refusal to shy from colour. From walls and floors to bed covers and accessories, spaces are infused with vibrant hues. “People look better in colour and so do designs,” Kuzyk maintained.

Top Interior Designs: Hotels

CID's 50 Favourite Interior Designs

CID's 50 Favourite Interior Designs

CID's 50 Favourite Interior Designs

CID's 50 Favourite Interior Designs

CID's 50 Favourite Interior Designs

CID's 50 Favourite Interior Designs

CID's 50 Favourite Interior Designs

CID's 50 Favourite Interior Designs

CID's 50 Favourite Interior Designs

CID's 50 Favourite Interior Designs

CID's 50 Favourite Interior Designs

CID's 50 Favourite Interior Designs

CID's 50 Favourite
Interior Designs

CID's 50 Favourite
Interior Designs

CID's 50 Favourite
Interior Designs

CID's 50 Favourite
Interior Designs

CID's 50 Favourite
Interior Designs

CID's 50 Favourite
Interior Designs

CID's 50 Favourite
Interior Designs

CID's 50 Favourite
Interior Designs

CID's 50 Favourite
Interior Designs

CID's 50 Favourite
Interior Designs

CID's 50 Favourite
Interior Designs

CID's 50 Favourite
Interior Designs