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SurprisingSanctuaryAd Lib Hotel Bangkok

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Text Pongboon Wongchalard Photos Ketsiree Wongwan

In the bustling heart of Bangkok, townhouses transformedinto a well-designed, pocket-friendly hotel recently emergedas a cozy new accommodation option for modern travelers.

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In the bustling heart of Bangkok, townhouses transformedinto a well-designed, pocket-friendly hotel recently emergedas a cozy new accommodation option for modern travelers.

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Traveling has become an essential element in the lives of modern-day citizens. The world’s expanding economy, the development of transportation and more convenient communi-cation systems are factors that allow people to travel more than they used to. Such tendency consequentially contributes to the diversity of hotels that emerge for travellers to indulge themselves in and the freedom and convenience to choose the hospitality they prefer. The restless, hectic vibe of people and vehicles bustling about the Sukhumvit neigh- borhood is characteristic of the central business district of Bangkok, the most prominent travel destination city of Southeast Asia. At the end of a small alley that separates itself from Soi Sukhumvit 1 sits a hotel, nicely tucked away behind the succulent leafy curtain of a large banyan tree. This small, cozy hotel comes with an interesting design and goes by the name of Ad Lib Hotel. “This area originally hosted a group of residential buildings, houses and townhouses to be exact. The project’s owner had the idea to turn the space into a small hotel with a friendly, relaxed atmosphere where the rates wouldn’t be too high but the quality of the service and convenience were equal to that of big luxury hotels,” described Pongthep Sagulku, the project’s interior architect from August Design Consultant in regards to how it all got started.

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It comes as a surprise in many ways. If you come through soi 1, and enter from the busy street,it is sort of like an oasis.

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1st floor plan

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1 Drop Off2 Entrance Terrace3 Reflection Pond4 Lobby5 Beverage Bar

6 Show Kitchen7 Guest Room8 Pool9 Fitness

2nd floor plan

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The project is the results of the collaboration between three companies with Tierra Design supervising the architecture, August Design Consulant being in charge of the interior and TROP: terrains +open space overseeing the landscape architecture. Ad Lib Hotel is comprised of three buildings allocated on a reverse U plan of land situated at the end of the alley. The architectural masses standing on both the left and right sides of the land were renovated from the original townhouse structures and now host the hotel’s rooms. At the very end of the alley is where a newly constructed social living building stands. It functions as a communal area that also links the hotel’s rooms of the two adjacent buildings into one continuous cluster. The area at the center of the land hosts the presence of a large banyan tree that adds a fresh, succulent vibe to the entire area of the hotel. The new social living building was designed to accommodate diverse functionalities ranging from a lobby and hangout spot to a restaurant, kitchen and bar. The massive green wall makes the outdoor space located to the back even more delightful. “With the limited amount of space, every area is linked together. The boundaries are rather blurry and you can’t really identify the exact spatial and functional transitions. This helps to optimize the func-tionality and creates a most relaxing vibe within the space.” Pongthep’s explanation clarifies why and how the design contributes to such manipulation of functional spaces and results in the social living building’s dynamic, lively energy. The interior decoration of the area highlights the use of simple materials to create a unique luxurious feel. The bright white mosaic tiles of the floor complement the natural pattern of the pinewood on the ceiling and the black marble counter bar reflects the sparkling elements of the glass lamp hanging above. Without a definite division of space, the types of furniture such as wooden tables and bar stools, a sofa with a nice bunch of throw pillows and patio furniture are used in different areas, automatically helping to identify the spatial functionality of the spaces they are placed in.

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Ad Lib Hotel āļ›āļĢāļ°āļāļ­āļšāļ”āļ§āļĒāļ­āļēāļ„āļēāļĢ 3 āļŦāļĨāļ‡ āļ§āļēāļ‡āđ€āļĢāļĒāļ‡āļāļ™āđ€āļ›āļ™āļœāļ‡āļ„āļĨāļēāļĒāļĢāļ›āļ•āļ§ U āļ„āļ§āļģāļē āļšāļĢāđ€āļ§āļ“āļ—āļēāļĒāļŠāļ”āļ‚āļ­āļ‡āļ‹āļ­āļĒ āļ­āļēāļ„āļēāļĢāļ—āļ•āļ‡āļ­āļĒāļšāļĢāđ€āļ§āļ“āļŠāļ­āļ‡ āļŸāļēāļāļ‹āļēāļĒ-āļ‚āļ§āļēāļ‚āļ­āļ‡āļ‹āļ­āļĒ āđ€āļ›āļ™ āļ­āļēāļ„āļēāļĢāļŦāļ­āļ‡āļžāļāļ—āļ›āļĢāļšāļ›āļĢāļ‡āļˆāļēāļāđ‚āļ„āļĢāļ‡āļŠāļĢāļēāļ‡āđ€āļ”āļĄāļ‚āļ­āļ‡āļ—āļēāļ§āļ™āđ€āļŪāļēāļŠ āļŠāļ§āļ™āļ›āļĨāļēāļĒāļŠāļ”āļ‚āļ­āļ‡āļ‹āļ­āļĒāđ€āļ›āļ™āļ—āļ•āļ‡āļ‚āļ­āļ‡āļŠāļ§āļ™ Social Living āļ—āļŠāļĢāļēāļ‡āļ‚āļ™āđƒāļŦāļĄ āđ‚āļ”āļĒāđ€āļ›āļ™āļžāļ™āļ—āļŠāļ§āļ™āļāļĨāļēāļ‡āļ—āļ—āļģāļēāļŦāļ™āļēāļ—āđ€āļŠāļ­āļĄ āļ­āļēāļ„āļēāļĢāļŦāļ­āļ‡āļžāļāļ—āļ‡ 2 āđ€āļ‚āļēāđ„āļ§āļ”āļ§āļĒāļāļ™ āļŠāļ§āļ™āļžāļ™āļ—āđ‚āļĨāļ‡āļ•āļĢāļ‡āļāļĨāļēāļ‡ āļ”āļēāļ™āļŦāļ™āļēāļ­āļēāļ„āļēāļĢāđ€āļ›āļ™āļ—āļ•āļ‡āļ‚āļ­āļ‡āļ•āļ™āđ„āļ—āļĢāļ‚āļ™āļēāļ”āđƒāļŦāļ āļ—āļŠāļ§āļĒ āļŠāļĢāļēāļ‡āļšāļĢāļĢāļĒāļēāļāļēāļĻāļ­āļ™āļĢāļĄāļĢāļ™āđāļĨāļ°āļĄāļŠāļ§āļ•āļŠāļ§āļēāđƒāļŦāļāļšāđ‚āļĢāļ‡āđāļĢāļĄāđāļŦāļ‡āļ™ āļŠāļ§āļ™ Social Living āļ—āļŠāļĢāļēāļ‡āļ‚āļ™āđƒāļŦāļĄ āđ„āļ”āļĢāļšāļāļēāļĢāļ­āļ­āļāđāļšāļš āđƒāļŦāļĄāļāļēāļĢāđƒāļŠāļ‡āļēāļ™āđ„āļ”āļŦāļĨāļēāļāļŦāļĨāļēāļĒāļŦāļ™āļēāļ— āļ—āļ‡āđ€āļ›āļ™āļĨāļ­āļšāļš āļžāļ™āļ— āļ™āļ‡āđ€āļĨāļ™ āļžāļ™āļ—āļĢāļšāļ›āļĢāļ°āļ—āļēāļ™āļ­āļēāļŦāļēāļĢ āļ„āļĢāļ§ āļšāļēāļĢāđ€āļ„āļĢāļ­āļ‡āļ”āļĄ āļ”āļēāļ™āļŦāļĨāļ‡āđ€āļ›āļ™āļŠāļ§āļ™āļ™āļ‡āļžāļāļœāļ­āļ™āļ āļēāļĒāļ™āļ­āļ āļ—āļŠāļĢāļēāļ‡āļ„āļ§āļēāļĄāļĢāļĄāļĢāļ™ āļ”āļ§āļĒāļāļģāļēāđāļžāļ‡āļŠāđ€āļ‚āļĒāļ§āļ‚āļ™āļēāļ”āđƒāļŦāļ āļ‹āļ‡āļžāļ‡āļĐāđ€āļ—āļžāđ„āļ”āļ­āļ˜āļšāļēāļĒāđāļ™āļ§āļ„āļ” āđƒāļ™āļāļēāļĢāļ­āļ­āļāđāļšāļšāļ­āļēāļ„āļēāļĢāļŦāļĨāļ‡āļ™āđ„āļ§āļ§āļē “āđ€āļ™āļ­āļ‡āļˆāļēāļāđ€āļĢāļēāļĄāļžāļ™āļ—āļˆāļģāļēāļāļ” āļœāļĄāļˆāļ‡āļ­āļ­āļāđāļšāļšāļŠāļ§āļ™āļ™āđƒāļŦāļĄāļ„āļ§āļēāļĄāđ€āļŠāļ­āļĄāđ‚āļĒāļ‡āđ€āļ›āļ™āļ­āļ™āļŦāļ™āļ‡ āļ­āļ™āđ€āļ”āļĒāļ§āļāļ™ āđ‚āļ”āļĒāđ„āļĄāđāļšāļ‡āļŠāļ”āļŠāļ§āļ™āļŠāļ”āđ€āļˆāļ™āļ§āļēāļžāļ™āļ—āļ™āļ„āļ­āļ­āļ°āđ„āļĢ āđ€āļžāļ­āļŠāļĢāļēāļ‡āļ›āļĢāļ°āđ‚āļĒāļŠāļ™āđƒāļŠāļŠāļ­āļĒāļŠāļ‡āļŠāļ” āđāļĨāļ°āļŠāļĢāļēāļ‡āļšāļĢāļĢāļĒāļēāļāļēāļĻāļœāļ­āļ™āļ„āļĨāļēāļĒāļ—āļŠāļ”” āļžāļ™āļ—āđƒāļŠāļ‡āļēāļ™āļ āļēāļĒāđƒāļ™āļ­āļēāļ„āļēāļĢāļŦāļĨāļ‡āļ™āļˆāļ‡ āđ„āļĄāđ„āļ”āđāļšāļ‡āđāļĒāļāļ›āļĢāļ°āđ€āļ āļ—āđƒāļ”āļ›āļĢāļ°āđ€āļ āļ—āļŦāļ™āļ‡āđāļĒāļāļ‚āļēāļ”āļ­āļ­āļāļˆāļēāļāļāļ™ āļ—āļģāļēāđƒāļŦāļžāļ™āļ—āđ‚āļĢāļ‡āđāļĢāļĄāļŠāļ§āļ™āļ—āđ€āļĢāļĒāļāļ§āļē Social Living āļ™ āļĄ āļšāļĢāļĢāļĒāļēāļāļēāļĻāļ—āļ„āļāļ„āļāđāļĨāļ°āļĄāļŠāļ§āļ•āļŠāļ§āļēāļ•āļĨāļ­āļ”āđ€āļ§āļĨāļēāđ€āļĨāļĒāļ—āđ€āļ”āļĒāļ§ āļāļēāļĢāļ•āļāđāļ•āļ‡āļ āļēāļĒāđƒāļ™āļ­āļēāļ„āļēāļĢ Social Living āđ€āļ™āļ™āļāļēāļĢāđƒāļŠ āļ§āļŠāļ”āļ—āđ€āļĢāļĒāļšāļ‡āļēāļĒ āđāļ•āđāļāļ‡āļāļĨāļ™āļ­āļēāļĒāļ—āļŦāļĢāļŦāļĢāļē āļ—āļ‡āļāļēāļĢāđ€āļĨāļ­āļāđƒāļŠāļāļĢāļ°āđ€āļšāļ­āļ‡āđ‚āļĄāđ€āļŠāļ„āļŠāļ‚āļēāļ§āļˆāļ”āđ€āļĢāļĒāļ‡āļ—āļžāļ™āđ€āļ›āļ™āļĨāļēāļĒāļ—āļēāļ‡ āļĢāļšāļāļš āļāļēāđ„āļĄāļŠāļ™āļ—āļāļĢāļžāļēāļ”āļĒāļēāļ§āļšāļ™āđ€āļžāļ”āļēāļ™ āļžāļĢāļ­āļĄāđ€āļ„āļēāļ™āđ€āļ•āļ­āļĢāļšāļēāļĢ āļŦāļ™āļ­āļ­āļ™āļŠāļ”āļģāļē āļŠāļ°āļ—āļ­āļ™āļāļšāđ‚āļ„āļĄāđ„āļŸāđāļāļ§āļ—āđāļ‚āļ§āļ™āļ­āļĒāđ€āļŦāļ™āļ­āđ€āļ„āļēāļ™āđ€āļ•āļ­āļĢ āđāļĨāļ°āļ–āļ‡āđāļĄāļˆāļ°āđ„āļĄāļĄāļāļēāļĢāļāļ™āļžāļ™āļ—āđ€āļ›āļ™āļŠāļ”āļŠāļ§āļ™āļŠāļ”āđ€āļˆāļ™ āđāļ•āļĢāļ›āđāļšāļšāļ‚āļ­āļ‡āđ€āļŸāļ­āļĢāļ™āđ€āļˆāļ­āļĢāļ—āđ€āļĨāļ­āļāļ™āļģāļēāļĄāļēāđƒāļŠāđƒāļ™āļŠāļ§āļ™āļ•āļēāļ‡āđ† āđ€āļŠāļ™ āļŠāļ”āđ‚āļ•āļ°āđ„āļĄāļāļšāđ€āļāļēāļ­āļ—āļĢāļ‡āļŠāļ‡ āļŠāļ”āđ‚āļ‹āļŸāļēāļāļšāļŦāļĄāļ­āļ™āļ­āļ‡āļŦāļ™āļēāļ™āļĄ āļŦāļĢāļ­āļŠāļ”āđ‚āļ•āļ°āđ€āļāļēāļ­āļ āļēāļĒāļ™āļ­āļ āļāļŠāļ§āļĒāļšāļ‡āļšāļ­āļ āļ–āļ‡āļŦāļ™āļēāļ—āđƒāļŠāļ‡āļēāļ™āđƒāļ™āļžāļ™āļ—āļ™āļ™āđ† āđ„āļ”āđ€āļ›āļ™āļ­āļĒāļēāļ‡āļ”

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8 an art4d supplement

The two buildings that accommodate the hotel’s rooms have been renovated from the original structures of the townhouses and the 48 rooms of the hotel are scattered across three stories, 12 rooms per one story. The two room types include a Plush Room, which offers two-single beds and an Extra Plush Room that comes with one double bed. Every room is meticulously designed and decorated to offer ultimate pleasure and convenience from newly constructed en suite bathrooms to the delightful details of the furniture such as a sliding bathroom door that can function as a closet, a bench with hidden compartments and a minibar that comes with the additional functionality of a cabinet. The interior decoration is distinctive for its use of natural materials with light color tones creating a warm and peaceful ambience and allowing for true relaxation and leisure. Another interesting thing about Ad Lib Hotel is how the elements of architecture, interior space and landscape are beautifully unified and complement each other at the very same time. One example of such unique spatial manipulation can be seen in the airy pavilion-like design of the social living building. The transparent glass walls enhance the visual flow and expose the green area located on the opposite side as the boundaries between outside and inside seemingly disappear while brilliantly reconciling issues concerning the limitations of space. The expanding crawling plants on the buildings’ walls help to lessen the stiffness of the architectural mass as the natural element makes the entire space, in-cluding each of the hotel rooms, even more relaxing and restful. The ambience, friendliness and distinctive design that fulfills both aesthetic and functional qualities are why Ad Lib Hotel is growing into a new sought after alternative and choice destination for modern-day travellers. If you’re one of those people who finds pleasure in new experiences, Ad Lib Hotel is that wonderful point on the map that will make your journey even more memorable.

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an art4d supplement 9

āļŠāļ§āļ™āļ‚āļ­āļ‡āļ­āļēāļ„āļēāļĢāļŦāļ­āļ‡āļžāļāļ—āļ‡ 2 āļŦāļĨāļ‡ āđ€āļ›āļ™āļŠāļ§āļ™āļ—āļ”āļ”āđāļ›āļĨāļ‡ āļˆāļēāļāđ‚āļ„āļĢāļ‡āļŠāļĢāļēāļ‡āļ‚āļ­āļ‡āļ—āļēāļ§āļ™āđ€āļŪāļēāļŠāļŦāļĨāļ‡āđ€āļ”āļĄ āļ›āļĢāļ°āļāļ­āļšāļ”āļ§āļĒ āļŦāļ­āļ‡āļžāļāļ—āļ‡āļŦāļĄāļ” 48 āļŦāļ­āļ‡ āļ‹āļ‡āļĄāļ—āļ‡āļŦāļĄāļ” 3 āļŠāļ™ āļŠāļ™āļĨāļ° 12 āļŦāļ­āļ‡ āđāļšāļ‡āļ›āļĢāļ°āđ€āļ āļ—āļ‚āļ­āļ‡āļŦāļ­āļ‡āļžāļāđ„āļ”āđ€āļ›āļ™ 2 āļ›āļĢāļ°āđ€āļ āļ— āđ„āļ”āđāļ Plush Room āļ‹āļ‡āđ€āļ›āļ™āļŦāļ­āļ‡āļžāļāđāļšāļšāđ€āļ•āļĒāļ‡āđ€āļ”āļĒāļ§ 2 āđ€āļ•āļĒāļ‡ āđāļĨāļ° Extra Plush Room āļ‹āļ‡āđ€āļ›āļ™āļŦāļ­āļ‡āļžāļāđāļšāļšāđ€āļ•āļĒāļ‡āļ„āļ‚āļ™āļēāļ”āđƒāļŦāļ 1 āđ€āļ•āļĒāļ‡ āđ‚āļ”āļĒāļ—āļāļŦāļ­āļ‡āđ„āļ”āļĢāļšāļāļēāļĢāļ­āļ­āļāđāļšāļšāđāļĨāļ°āļ•āļāđāļ•āļ‡āđ‚āļ”āļĒāđƒāļŦāļ„āļ§āļēāļĄāļŠāļģāļēāļ„āļāļāļšāļ—āļāļĢāļēāļĒāļĨāļ°āđ€āļ­āļĒāļ” āđ€āļžāļ­āļŠāļĢāļēāļ‡āļšāļĢāļĢāļĒāļēāļāļēāļĻāļœāļ­āļ™āļ„āļĨāļēāļĒāđāļĨāļ°āđ€āļ•āļĄāđ€āļ•āļĄāļ„āļ§āļēāļĄāļŠāļ°āļ”āļ§āļāļŠāļšāļēāļĒāđƒāļŦāđāļāļœāđ€āļ‚āļēāļžāļ āļĄāļāļēāļĢāļ•āļ­āđ€āļ•āļĄāļŦāļ­āļ‡āļ™āļģāļēāđ€āļžāļĄāđƒāļŦāļāļšāļŦāļ­āļ‡āļžāļāļ—āļāļŦāļ­āļ‡ āļ™āļ­āļāļˆāļēāļāļ™ āļĒāļ‡āļĄāļāļēāļĢāļ­āļ­āļāđāļšāļšāđ€āļŸāļ­āļĢāļ™āđ€āļˆāļ­āļĢāđāļĨāļ°āđ€āļ„āļĢāļ­āļ‡āđƒāļŠāļ•āļēāļ‡āđ† āđƒāļ™āļŦāļ­āļ‡āļžāļ āđƒāļŦāļĄāļāļēāļĢāđƒāļŠāļ‡āļēāļ™āļ—āļžāđ€āļĻāļĐ āļ­āļēāļ— āļ›āļĢāļ°āļ•āļŦāļ­āļ‡āļ™āļģāļēāļšāļēāļ™āđ€āļĨāļ­āļ™āļ— āļ—āļģāļēāļŦāļ™āļēāļ—āđ€āļ›āļ™āļ•āđ€āļŠāļ­āļœāļē āļĄāļēāļ™āļ‡āļ—āļ‹āļ­āļ™āļĨāļ™āļŠāļāđ€āļāļšāļ‚āļ­āļ‡āđ„āļ§āļ‚āļēāļ‡āđƒāļ• āļŦāļĢāļ­āļĄāļ™āļšāļēāļĢāļ—āļĄāļēāļžāļĢāļ­āļĄāļ•āđ€āļāļšāļ‚āļ­āļ‡ āļāļēāļĢāļ•āļāđāļ•āļ‡āļ āļēāļĒāđƒāļ™ āđ€āļ™āļ™āļāļēāļĢāđƒāļŠāļ§āļŠāļ”āļ˜āļĢāļĢāļĄāļŠāļēāļ•āđ‚āļ—āļ™āļŠāļŠāļ§āļēāļ‡ āđ€āļžāļ­āļŠāļĢāļēāļ‡āļšāļĢāļĢāļĒāļēāļāļēāļĻ āļ—āļŠāļ‡āļšāđāļĨāļ°āļ­āļšāļ­āļ™ āđ€āļŦāļĄāļēāļ°āļŠāļĄāđāļāļāļēāļĢāļžāļāļœāļ­āļ™ āļ„āļ§āļēāļĄāļ™āļēāļŠāļ™āđƒāļˆāļ›āļĢāļ°āļāļēāļĢāļŦāļ™āļ‡āļ‚āļ­āļ‡ Ad Lib Hotel āļ„āļ­ āđ„āļĄāļ§āļēāļˆāļ°āđƒāļ™āļžāļ™āļ—āļŠāļ§āļ™āļāļĨāļēāļ‡āļŦāļĢāļ­āļŦāļ­āļ‡āļžāļ āļĨāļ§āļ™āļĄāļāļēāļĢāļ­āļ­āļāđāļšāļš āļ—āļœāļŠāļĄāļœāļŠāļēāļ™āļĢāļ°āļŦāļ§āļēāļ‡āļ‡āļēāļ™āļŠāļ–āļēāļ›āļ•āļĒāļāļĢāļĢāļĄ āļ‡āļēāļ™āļ•āļāđāļ•āļ‡āļ āļēāļĒāđƒāļ™ āđāļĨāļ°āļ‡āļēāļ™āļ āļĄāļŠāļ–āļēāļ›āļ•āļĒāļāļĢāļĢāļĄāļ­āļĒāļēāļ‡āđ€āļ›āļ™āļ­āļ™āļŦāļ™āļ‡āļ­āļ™āđ€āļ”āļĒāļ§āļāļ™ āļ‹āļ‡āđāļ•āļĨāļ°āļŠāļ§āļ™āļĨāļ§āļ™āļŠāļ§āļĒāļŠāļ‡āđ€āļŠāļĢāļĄāļ‹āļ‡āļāļ™āđāļĨāļ°āļāļ™ āđ„āļĄāļ§āļēāļˆāļ°āđ€āļ›āļ™ āļšāļĢāđ€āļ§āļ“ Social Living āļ—āļŠāļ–āļēāļ›āļ™āļāļ­āļ­āļāđāļšāļš āđ‚āļ„āļĢāļ‡āļŠāļĢāļēāļ‡āļ­āļēāļ„āļēāļĢāđƒāļŦāļĄāļ„āļ§āļēāļĄāđ‚āļ›āļĢāļ‡āļ„āļĨāļēāļĒāļĻāļēāļĨāļē āļžāļĢāļ­āļĄāļāļĢāļœāļ™āļ‡āļ”āļ§āļĒāļāļĢāļ°āļˆāļāđƒāļŠāļ—āļ‡ 2 āļ”āļēāļ™ āđ€āļžāļ­āđ€āļ›āļ”āđ‚āļ­āļāļēāļŠāđƒāļŦāļœāļžāļšāđ€āļŦāļ™ āļŠāļēāļĄāļēāļĢāļ–āļĄāļ­āļ‡āļ—āļ°āļĨāļœāļēāļ™āļžāļ™āļ—āļ āļēāļĒāđƒāļ™āļ­āļ­āļāļŠāļāļģāļēāđāļžāļ‡āļ•āļ™āđ„āļĄ āļ—āļ­āļĒāļ­āļāļ”āļēāļ™āļŦāļ™āļ‡āļ‚āļ­āļ‡āļœāļ™āļ‡ āļ‹āļ‡āđ€āļ›āļ™āļāļēāļĢāļœāļŠāļēāļ™āļšāļĢāļĢāļĒāļēāļāļēāļĻ āļ‚āļ­āļ‡āļžāļ™āļ—āļ āļēāļĒāļ™āļ­āļāđāļĨāļ°āļ āļēāļĒāđƒāļ™āđ€āļžāļ­āđāļāļ›āļāļŦāļēāļ‚āļ­āļ‡āļžāļ™āļ— āļˆāļģāļēāļāļ”āđ„āļ”āļ­āļĒāļēāļ‡āļŠāļēāļāļ‰āļĨāļēāļ” āļŦāļĢāļ­āļāļēāļĢāđ€āļĨāļ­āļāđƒāļŠāđ„āļĄāđ€āļĨāļ­āļĒāđ€āļ›āļ™ āđ€āļŠāļĄāļ­āļ™āļŦāļ™āļ‡āļœāļ™āļ‡āļ‚āļ­āļ‡āļ­āļēāļ„āļēāļĢ āļ‹āļ‡āļ™āļ­āļāļˆāļēāļāļˆāļ°āļŠāļ§āļĒāļŠāļĢāļēāļ‡ āļ„āļ§āļēāļĄāļĢāļŠāļāļ™āļĄāļ™āļ§āļĨāđāļĨāļ°āļœāļ­āļ™āļ„āļĨāļēāļĒāđƒāļŦāļāļšāļ‡āļēāļ™āļŠāļ–āļēāļ›āļ•āļĒāļāļĢāļĢāļĄ āđ„āļ”āđ€āļ›āļ™āļ­āļĒāļēāļ‡āļ”āđāļĨāļ§āļĒāļ‡āđ€āļ›āļ™āļāļēāļĢāļ”āļ‡āļ˜āļĢāļĢāļĄāļŠāļēāļ•āđƒāļŦāđ€āļ‚āļēāļĄāļēāđƒāļāļĨāļŠāļ”āļāļšāļœāđ€āļ‚āļēāļžāļ āļ‹āļ‡āļ–āļ­āđ€āļ›āļ™āļŠāļ§āļ™āļŦāļ™āļ‡āļ‚āļ­āļ‡āļāļēāļĢāļŠāļĢāļēāļ‡āļšāļĢāļĢāļĒāļēāļāļēāļĻāļ āļēāļĒāđƒāļ™āļŦāļ­āļ‡āļžāļāđƒāļŦāļĢāļŠāļāļŠāļšāļēāļĒāļ”āļ§āļĒāđ€āļŠāļ™āļāļ™ āļ”āļ§āļĒāļšāļĢāļĢāļĒāļēāļāļēāļĻāļ—āļĄāđ€āļŠāļ™āļŦāđ€āļ‰āļžāļēāļ°āļ•āļ§ āļĄāļ„āļ§āļēāļĄāđ€āļ›āļ™āļĄāļ•āļĢ āļœāļŠāļēāļ™āļāļšāļāļēāļĢāļ­āļ­āļāđāļšāļšāļ—āļĄāđ€āļ­āļāļĨāļāļĐāļ“āđāļĨāļ°āļŠāļ­āļ”āļ„āļĨāļ­āļ‡āļāļĨāļĄāļāļĨāļ™āļāļ™āđƒāļ™āļ—āļāđ† āļ”āļēāļ™ āļˆāļ‡āļ—āļģāļēāđƒāļŦāđ‚āļĢāļ‡āđāļĢāļĄāđ€āļĨāļāđ† āļ­āļĒāļēāļ‡ Ad Lib Hotel āđāļŦāļ‡āļ™ āđ„āļ”āļāļĨāļēāļĒāđ€āļ›āļ™āļ—āļēāļ‡āđ€āļĨāļ­āļāđƒāļŦāļĄ āđāļĨāļ°āļāļĨāļēāļĒāđ€āļ›āļ™āļˆāļ”āļŦāļĄāļēāļĒāđāļŦāļ‡āđƒāļŦāļĄ āļŠāļģāļēāļŦāļĢāļšāļ™āļāđ€āļ”āļ™āļ—āļēāļ‡āđƒāļ™āļĒāļ„āļ›āļˆāļˆāļšāļ™ āļ—āļĄāļ‡āđāļŠāļ§āļ‡āļŦāļēāļ„āļ§āļēāļĄāđāļ›āļĨāļāđƒāļŦāļĄāđƒāļŦāļāļšāļŠāļ§āļ• āļ‹āļ‡āļšāļĢāļĢāļĒāļēāļāļēāļĻāļ—āļžāđ€āļĻāļĐāļ‚āļ­āļ‡āđ‚āļĢāļ‡āđāļĢāļĄāđāļŦāļ‡āļ™ āļ™āļēāļˆāļ°āļŠāļ§āļĒāđ€āļ•āļĄāđ€āļ•āļĄāļŠāļŠāļ™āđāļĨāļ°āļŠāļĢāļēāļ‡āļ›āļĢāļ°āļŠāļšāļāļēāļĢāļ“āđ€āļ”āļ™āļ—āļēāļ‡āļ­āļ™āļ™āļēāļ›āļĢāļ°āļ—āļšāđƒāļˆ āđƒāļŦāļāļšāļœāļ—āđ€āļ‚āļēāļžāļāđ„āļ”āđ€āļ›āļ™āļ­āļĒāļēāļ‡āļ”

08-11

āđāļĄāļˆāļ°āļĄāļžāļ™āļ—āđ„āļĄāđƒāļŦāļāļĄāļēāļāđāļ•āļ āļēāļĒāđƒāļ™āļŦāļ­āļ‡āļžāļāļ–āļāļ§āļēāļ‡āđāļ›āļĨāļ™āđƒāļŦāļĄāļŠāļ‡āļ­āļģāļēāļ™āļ§āļĒāļ„āļ§āļēāļĄāļŠāļ°āļ”āļ§āļāļ„āļĢāļšāļ–āļ§āļ™ āļšāļĢāļĢāļĒāļēāļāļēāļĻāļ āļēāļĒāđƒāļ™āļŦāļ­āļ‡āļžāļāļ­āļēāļ„āļēāļĢāļ—āļ–āļāļ•āļāđāļ•āļ‡āļ”āļ§āļĒāļ„āļ§āļēāļĄāđ€āļĢāļĒāļšāļ‡āļēāļĒāļ­āļšāļ­āļ™āđāļĨāļ° āļœāļ­āļ™āļ„āļĨāļēāļĒ āļžāļ–āļžāļ–āļ™āļ—āļ‡āđƒāļ™āļĢāļēāļĒāļĨāļ°āđ€āļ­āļĒāļ”āļ‚āļ­āļ‡āļāļēāļĢāļ­āļ­āļāđāļšāļšāđāļĨāļ°āļāļēāļĢāđƒāļŠāļ§āļŠāļ”āļ­āļ›āļāļĢāļ“āļ„āļ“āļ āļēāļžāļŠāļ‡ āđ€āļŠāļ™ āļŪāļēāđ€āļŸāđ€āļĨ āđ€āļ›āļ™āļ•āļ™

11

10 an art4d supplement

art4d: Can you please introduce the project? Tell us about Ad Lib, your vision and concept for the hotel?Gavin Vongkusolkit: Sure, well, as the name suggests, the name comes from the Latin term ad lib itum which means at one’s pleasure and it is used a lot in music and drama meaning to improvise, to solo, basically to be to your heart’s content. We want people to feel that when they are here they can be whomever they want and they can do whatever they want. They can come in in shorts and sandals and bring their dogs or they could be in business suits, they could be dating or they could come with their family – it is a space for everyone. That is the idea and we transformed that into how we designed the space, we try to keep it very casual by using a lot of natural materials and keep it very, very comfortable by using a lot of soft cushions and paying careful attention to heights, such as the height of where you are sitting at or heights of the tables. We have a mixture of different heights in different sections but you can see what is going on everywhere. It is kind of com-fortable but exciting at the same time to be able to see, what are those guys doing over there? Or who has just come in. Who is that sitting over there? It is very much a people’s space. And that is where we started.

art4d: It does feel that way, like there is room for conversation to happen in the space but it also feels like you could find your own corner.GV: Exactly, and that was the design brief, we want a space where people can really mingle but at the same time there has got to be a lot of corners here and there where you can go if you want to be by yourself, private or not wanting to disturb anyone, we have that also. We are in one such space, for example.

art4d: Can you talk about your clientele? How would you describe the majority of Ad Lib’s guests? Are they on business, are they families, travelers?GV: As we are right behind Bumrungrad Hospital, about 20% of our customers are visitors to the hospital. These are not sick people, they are relatives or they are just here for check-ups. So in the beginning people hear about us because we are very close to the hospital, but the other 80% are just regular hotel customers that found us through regular hotel channels and travel agencies. But now, we have started to gain more fame internationally so people are starting to seek us out and we are getting a lot of the types of people who choose their hotels based on the fact that they want a more authentic experience, they want to experience new things

and they want to be a part of the local scene. And what you can see here in our space is that we actually have a lot of locals. In addition to the guests at our hotel, many of the people that you see around here are the locals who are just here for dining. So when, say a guest from Hong Kong comes in and they see a lot of locals, they feel that they are here; you are here in Bangkok. Not somewhere where there are only foreigners staying at a hotel that is removed, people actually come here – for drinks, for food, for activities. When you are here you are part of Bangkok, this is what Bangkok people do.

art4d: Can you talk about the location, is it ideal? Exactly what you were hoping for? Turning our better than you expected?GV: Yes, to be honest, it has worked out better than I expected. I didn’t have a choice of location, as this was the family home. So this location where the lobby is was the family home and where the rooms are were townhomes that we renovated and converted into the guest rooms. So, I knew I was going to benefit from being next to Asia’s largest hospital, but I didn’t want all hospital clients because that would make for a very somber place and it actually turned out very well. We don't really have that many customers from the hospital, if anything we have a lot of doctors who come here for lunch, which is fantastic. We have a lot of business professionals and a lot of youngsters who are here just for photographs. For some reason this has become a new Instagram hotspot. If you want to sell things on Instagram, take a photo here. So it worked out very well and the fact that it is so exclusive in the sense that it is in its own little pocket and a little bit hidden away worked really well for this concept also.

art4d: Right, it is actually very easy to get here but you do feel like you are sort of hidden in a back alley away from everything. GV: Yes, you touched on something I forgot – for me it is just seven minutes walk to the BTS but at the same time it is removed from everything else and all these green walls help to sort of shield you away from the hustle and bustle.

art4d: Looking back at Ad Lib’s first year, are there any plans for future developments? Things you hope to do more or less of?GV: So many, I don’t even know where to start. Because of the space limitations we only had two types of rooms and they are pretty similar in size. So the first thing we would change, and for-tunately we have the opportunity to do so, is that we are going to be doing 12 more rooms this year and I would like to do them bigger than the ones we have, which are good, but we have a lot of Thais who – we did not expect to have a lot of high-end clients that we have right now, choosing to stay in our 25 sqm rooms. But everyone is telling me Gavin, if they were 50 sqm I would pay double. So, this new wing that we are designing will be a lot more exciting. It will have a lot of different kinds of rooms as well as different types of layouts. So that every time guests come in, if they stay in a different room, it will be very, very different and quite fun and it is something that we can do here because it is so small and so unique and in a very large hotel it would be very difficult to pull off, so the design of the room, making it bigger, would be one thing.

art4d: āļŠāļ§āļĒāđ€āļĨāļēāļ–āļ‡āļ—āļĄāļēāļ—āđ„āļ›āļ‚āļ­āļ‡ Ad Lib āļĢāļ§āļĄāđ„āļ›āļ–āļ‡āļ§āļŠāļĒāļ—āļĻāļ™āđāļĨāļ° āļ„āļ­āļ™āđ€āļ‹āļ›āļ•āļŠāļģāļēāļŦāļĢāļšāļ•āļ§āđ‚āļĢāļ‡āđāļĢāļĄāđāļŦāļ‡āļ™āđƒāļŦāđ€āļĢāļēāļŸāļ‡āļŦāļ™āļ­āļĒāđ„āļ”āđ„āļŦāļĄ?āļāļ§āļ™ āļ§āļ­āļ‡āļāļĻāļĨāļāļˆ : āđ„āļ”āļ„āļĢāļš āļŠāļ­āļ‚āļ­āļ‡ Ad Lib āļĄāļēāļˆāļēāļāļ āļēāļĐāļēāļĨāļ°āļ•āļ™ ad libitum āļŦāļĄāļēāļĒāļ–āļ‡āļāļēāļĢāļ—āļģāļēāļ­āļ°āđ„āļĢāļ•āļēāļĄāļ„āļ§āļēāļĄāļžāļ‡āļžāļ­āđƒāļˆāļ‚āļ­āļ‡āļ•āļ§āđ€āļ­āļ‡ āļĻāļžāļ—āļ„āļģāļēāļ™āļ–āļāļ™āļģāļēāđ„āļ›āđƒāļŠāļ­āļĒāļēāļ‡āđāļžāļĢāļŦāļĨāļēāļĒāđƒāļ™āļ”āļēāļ™āļ”āļ™āļ•āļĢāļŦāļĢāļ­āļāļēāļĢāđāļŠāļ”āļ‡ āļ‹āļ‡āļŦāļĄāļēāļĒāļ–āļ‡āļāļēāļĢāļ”āļ™āļŠāļ” āļāļēāļĢāđ‚āļ‹āđ‚āļĨ āļāļēāļĢāļ—āļģāļēāļ­āļ°āđ„āļĢāļ•āļēāļĄāļ­āļĒāļēāļ‡āđƒāļˆāļ•āļ­āļ‡āļāļēāļĢ āđ€āļĢāļēāļ•āļ­āļ‡āļāļēāļĢāđƒāļŦāļ„āļ™āļĢāļŠāļāļ­āļĒāļēāļ‡āļ™āļ™āđ€āļĄāļ­āļžāļ§āļāđ€āļ‚āļēāļĄāļēāļ—āļ™ āđāļĨāļ°āļŠāļēāļĄāļēāļĢāļ–āļ—āļģāļēāļ­āļ°āđ„āļĢāļāđ„āļ” āđ€āļ›āļ™āļ•āļ§āļ‚āļ­āļ‡āļ•āļ§āđ€āļ­āļ‡āđ„āļ”āļ­āļĒāļēāļ‡āđ€āļ•āļĄāļ— āđƒāļ„āļĢāļˆāļ°āđƒāļŠāļ‚āļēāļŠāļ™āļāļšāļĢāļ­āļ‡āđ€āļ—āļēāđāļ•āļ° āļĄāļēāđāļĨāļ°āļˆāļ°āļžāļēāļŠāļ•āļ§āđ€āļĨāļĒāļ‡āļĄāļēāļ”āļ§āļĒāļāđ„āļ” āļŦāļĢāļ­āļ„āļ“āļˆāļ°āļĄāļēāđƒāļ™āļŠāļ”āļŠāļ—āļ˜āļĢāļāļˆāļāđ„āļ”āđ€āļŠāļ™āļāļ™ āļˆāļ°āļĄāļēāļāļšāļ„āđ€āļ”āļ—āļŦāļĢāļ­āļˆāļ°āļĄāļēāļāļšāļ„āļĢāļ­āļšāļ„āļĢāļ§āļāđ„āļ” āđ€āļ›āļ™āļžāļ™āļ—āļŠāļģāļēāļŦāļĢāļšāļ„āļ™āļ—āļāļ„āļ™ āļ™āļ™āļ„āļ­āđ„āļ­āđ€āļ”āļĒāđāļĢāļāđ€āļĢāļĄāđ€āļĨāļĒāļ‚āļ­āļ‡āļœāļĄ āđāļĨāļ§āļāđ„āļ”āļ™āļģāļēāđāļ™āļ§āļ„āļ”āļ™āđ€āļ‚āļēāļĄāļēāđƒāļŠāđƒāļ™āļāļēāļĢāļ­āļ­āļāđāļšāļšāļžāļ™āļ— āđ€āļĢāļēāļžāļĒāļēāļĒāļēāļĄāļˆāļ°āļ—āļģāļēāđƒāļŦāļĄāļ™āļĄāļ„āļ§āļēāļĄāđ€āļ›āļ™āļāļ™āđ€āļ­āļ‡āļĄāļēāļāļ—āļŠāļ”āđ‚āļ”āļĒāļāļēāļĢāļ™āļģāļēāļ§āļŠāļ”āļ˜āļĢāļĢāļĄāļŠāļēāļ•āļĄāļēāđƒāļŠāđāļĨāļ°āļŠāļĢāļēāļ‡āļ„āļ§āļēāļĄāļŠāļšāļēāļĒāđƒāļŦāđ„āļ”āļĄāļēāļāļ—āļŠāļ” āļ­āļĒāļēāļ‡āļāļēāļĢāļ™āļģāļēāđ€āļšāļēāļ°āļ™āļĄāđ† āļĄāļēāđƒāļŠāđ€āļ›āļ™āļˆāļģāļēāļ™āļ§āļ™āļĄāļēāļ āđāļĨāļ°āļ•āļ­āļ‡āļ„āļģāļēāļ™āļ‡āļ–āļ‡āđ€āļĢāļ­āļ‡āļ„āļ§āļēāļĄāļŠāļ‡āļĄāļēāļāđ€āļ›āļ™āļžāđ€āļĻāļĐāļ”āļ§āļĒ āđ€āļŠāļ™ āļ„āļ§āļēāļĄāļŠāļ‡āļ‚āļ­āļ‡āļŠāļ–āļēāļ™āļ—āđ€āļ§āļĨāļēāļ„āļ“āļ™āļ‡āļĨāļ‡āļŦāļĢāļ­āļ„āļ§āļēāļĄāļŠāļ‡āļ‚āļ­āļ‡āđ‚āļ•āļ° āđ€āļĢāļēāđ€āļĨāļĒāļĄāļŠāļ§āļ™āļœāļŠāļĄāļ‚āļ­āļ‡āļžāļ™āļ—āļ—āļĄāļ„āļ§āļēāļĄāļŠāļ‡āļ•āļēāļ‡āļāļ™āđ„āļ›āđƒāļ™āđāļ•āļĨāļ°āļŠāļ§āļ™ āļ„āļ“āļˆāļ°āļŠāļēāļĄāļēāļĢāļ– āđ€āļŦāļ™āļŠāļ‡āļ—āđ€āļ›āļ™āđ„āļ›āļĢāļ­āļšāđ† āđ„āļ”āļˆāļēāļāļ—āļāļˆāļ” āļœāļĄāļ§āļēāļĄāļ™āļĄāļ„āļ§āļēāļĄāļ™āļēāļ•āļ™āđ€āļ•āļ™āļ—āļˆāļ°āļŠāļēāļĄāļēāļĢāļ–āđ€āļŦāļ™āđ„āļ”āļ§āļēāļ„āļ™āļ—āļēāļ‡āļāļĨāļĄāđ‚āļ™āļ™āđ€āļ‚āļēāļ—āļģāļēāļ­āļ°āđ„āļĢāļāļ™āļ­āļĒ āļŦāļĢāļ­āđƒāļ„āļĢāļ—āđ€āļžāļ‡āđ€āļ”āļ™āđ€āļ‚āļēāļĄāļē āđƒāļ„āļĢāļāļģāļēāļĨāļ‡āļ™āļ‡āļ­āļĒāļ•āļĢāļ‡āļ™āļ™ āļĄāļ™āđ€āļ›āļ™āļžāļ™āļ—āļŠāļģāļēāļŦāļĢāļšāļœāļ„āļ™āļ­āļĒāļēāļ‡āđ€āļ•āļĄāļ•āļ§ āđāļĨāļ°āļ™āļ™āļ„āļ­āļˆāļ”āđ€āļĢāļĄāļ•āļ™āļ‚āļ­āļ‡āđ€āļĢāļē

art4d: āļĄāļ™āļĢāļŠāļāļ­āļĒāļēāļ‡āļ™āļ™āļˆāļĢāļ‡āđ† āđ€āļŦāļĄāļ­āļ™āļĄāđ€āļ™āļ­āļ—āļ—āļŠāļēāļĄāļēāļĢāļ–āđ€āļāļ”āļāļēāļĢ āļŠāļ™āļ—āļ™āļēāđ„āļ”āļ­āļĒāļ•āļĨāļ­āļ” āđāļ•āđƒāļ™āļ‚āļ“āļ°āđ€āļ”āļĒāļ§āļāļ™āļ„āļ“āļāļĢāļŠāļāļ§āļēāļĄāļĄāļĄāļŠāļ§āļ™āļ•āļ§GV: āđāļ™āļ™āļ­āļ™ āļ‹āļ‡āļ™āļ™āļ„āļ­āđ‚āļˆāļ—āļĒāļ‚āļ­āļ‡āļāļēāļĢāļ­āļ­āļāđāļšāļš āđ€āļĢāļēāļ•āļ­āļ‡āļāļēāļĢāļžāļ™āļ—āļ—āļ„āļ™āļŠāļēāļĄāļēāļĢāļ–āļĄāļēāļŠāļ‡āļŠāļĢāļĢāļ„āđ„āļ” āđāļ•āđƒāļ™āļ‚āļ“āļ°āđ€āļ”āļĒāļ§āļāļ™āļāļ•āļ­āļ‡āļĄāļĄāļĄāļ•āļĢāļ‡āļ™āļ™āļ•āļĢāļ‡āļ™āļāļĢāļ°āļˆāļēāļĒāļ­āļ­āļāļĄāļē āđ€āļ›āļ™āļ—āļ—āļ„āļ“āļŠāļēāļĄāļēāļĢāļ–āļ­āļĒāļ­āļĒāļēāļ‡āļŠāļ§āļ™āļ•āļ§āđ„āļ”āđ‚āļ”āļĒ āļ—āđ„āļĄāļ•āļ­āļ‡āļĢāļšāļāļ§āļ™āđƒāļ„āļĢ

art4d: āļžāļ”āđ€āļĢāļ­āļ‡āļĨāļāļ„āļēāļ‚āļ­āļ‡āļ„āļ“āļŦāļ™āļ­āļĒāđ„āļ”āđ„āļŦāļĄ? āļ„āļ“āļˆāļ°āļ­āļ˜āļšāļēāļĒāđāļ‚āļāļŠāļ§āļ™āđƒāļŦāļāļ—āđ€āļ‚āļēāļĄāļē Ad Lib āļ§āļēāļ­āļĒāļēāļ‡āđ„āļĢ? āļžāļ§āļāđ€āļ‚āļēāđ€āļ›āļ™āļ™āļ- āļ˜āļĢāļāļˆ āļŦāļĢāļ­āļ§āļēāļĄāļēāđ€āļ›āļ™āļ„āļĢāļ­āļšāļ„āļĢāļ§ āđ€āļ›āļ™āļ™āļāđ€āļ”āļ™āļ—āļēāļ‡?GV: āđ€āļžāļĢāļēāļ°āļ§āļēāđ€āļĢāļēāļ­āļĒāļŦāļĨāļ‡āđ‚āļĢāļ‡āļžāļĒāļēāļšāļēāļĨāļšāļģāļēāļĢāļ‡āļĢāļēāļĐāļŽāļĢāļžāļ­āļ” āļ›āļĢāļ°āļĄāļēāļ“ 20% āļ‚āļ­āļ‡āļĨāļāļ„āļēāļ‚āļ­āļ‡āđ€āļĢāļēāļˆāļ°āđ€āļ›āļ™āļāļēāļ•āļ„āļ™āļ›āļ§āļĒ āļŦāļĢāļ­āđāļ„āļĄāļēāļ•āļĢāļ§āļˆāļŠāļ‚āļ āļēāļž āļ—āļ™āļ™ āļ”āļ‡āļ™āļ™āđƒāļ™āļ•āļ­āļ™āļ•āļ™ āļ„āļ™āļˆāļ°āđ„āļ”āļĒāļ™āđ€āļāļĒāļ§āļāļšāđ€āļĢāļēāđ€āļžāļĢāļēāļ°āļ§āļēāļ—āļ•āļ‡āļ‚āļ­āļ‡āđ€āļĢāļēāļ­āļĒāđƒāļāļĨāđ‚āļĢāļ‡āļžāļĒāļēāļšāļēāļĨāļĄāļēāļāđ† āļ­āļ 80% āļˆāļ°āđ€āļ›āļ™āļĨāļāļ„āļēāļ—āļ§āđ„āļ›āļ—āđ€āļ‚āļēāđ„āļ›āļ”āđ€āļ§āļšāđ„āļ‹āļ•āđāļ™āļ°āļ™āļģāļēāđ‚āļĢāļ‡āđāļĢāļĄāļŦāļĢāļ­āđ€āļ­āđ€āļˆāļ™āļ‹āļ—āļ­āļ‡āđ€āļ—āļĒāļ§ āđāļ•āļ•āļ­āļ™āļ™āđ€āļĢāļēāđ€āļĢāļĄāđ„āļ”āļĢāļšāļ„āļ§āļēāļĄāļŠāļ™āđƒāļˆāđƒāļ™āļĢāļ°āļ”āļšāļ™āļēāļ™āļēāļŠāļēāļ•āļĄāļēāļāļ‚āļ™āđāļĨāļ§ āļ”āļ‡āļ™āļ™āļŦāļĨāļēāļĒāđ† āļ„āļ™āļˆāļ°āđ€āļĢāļĄāđ€āļˆāļēāļ°āļˆāļ‡āđ‚āļĢāļ‡āđāļĢāļĄāđ€āļĢāļē āļ„āļ™āļ—āļŠāļ­āļšāđ€āļĨāļ­āļāđ‚āļĢāļ‡āđāļĢāļĄāđ€āļ­āļ‡ āļ„āļ™āļ—āļŠāļ­āļšāļŠāļĄāļœāļŠāļ­āļ°āđ„āļĢāđƒāļŦāļĄāđ† āđ€āļ›āļ™āļŠāļ§āļ™āļŦāļ™āļ‡āļāļšāļ„āļ§āļēāļĄāđ€āļ›āļ™āļ—āļ­āļ‡āļ–āļ™ āđāļĨāļ°āļŠāļ‡āļ—āļ„āļ“āđ€āļŦāļ™āđƒāļ™ āļžāļ™āļ—āļ™ āļˆāļ°āđ€āļŦāļ™āļ§āļēāđ€āļĢāļēāļĄāļ„āļ™āļ—āļ­āļ‡āļ–āļ™āļ­āļĒāļˆāļģāļēāļ™āļ§āļ™āļĄāļēāļāļ—āđ€āļžāļĄāđ€āļ•āļĄāļˆāļēāļāđāļ‚āļ āļ—āļĄāļēāļžāļāđ‚āļĢāļ‡āđāļĢāļĄ āđ€āļĢāļēāļˆāļ°āļĄāļ„āļ™āđ„āļ—āļĒāļ—āļĄāļēāđ€āļžāļ­āļ—āļēāļ™āļ‚āļēāļ§ āļ”āļ‡āļ™āļ™ āļŠāļĄāļĄāļ•āļ§āļēāļĄāđāļ‚āļāļˆāļēāļāļŪāļ­āļ‡āļāļ‡āđ€āļ‚āļēāļĄāļē āđāļĨāļ°āļžāļ§āļāđ€āļ‚āļēāđ€āļŦāļ™āļ„āļ™āļ—āļ­āļ‡āļ–āļ™āļ­āļĒāđ€āļ›āļ™āļˆāļģāļēāļ™āļ§āļ™āļĄāļēāļ āļ„āļ“āļˆāļ°āļĢāļŠāļāļ§āļēāļ„āļ“āļĄāļēāļ–āļ‡āļāļĢāļ‡āđ€āļ—āļžāļŊ āđāļĨāļ§ āđ„āļĄāđƒāļŠāļ—āļ—āļĄāđāļ•āđāļ‚āļāļ•āļēāļ‡āļŠāļēāļ•āļ­āļēāļĻāļĒāļ­āļĒ āļŦāļĨāļēāļĒāļ„āļ™āļĄāļēāļ—āļ™āđ€āļžāļ­āļ”āļĄ āļāļ™ āđāļĨāļ°āļāļˆāļāļĢāļĢāļĄāļ­āļ™āđ† āļ‹āļ‡āļ–āļēāļ„āļ“āļĄāļēāļ—āļ™āļ„āļ“āļāđ€āļŦāļĄāļ­āļ™āđ„āļ”āđ€āļ›āļ™āļŠāļ§āļ™āļŦāļ™āļ‡āļ‚āļ­āļ‡āļāļĢāļ‡āđ€āļ—āļžāļŊ āļ™āļ„āļ­āļŠāļ‡āļ— āļ„āļ™āļāļĢāļ‡āđ€āļ—āļžāļŊ āļ—āļģāļēāļāļ™

art4d: āļŠāļ§āļĒāđ€āļĨāļēāļ–āļ‡āļŠāļ–āļēāļ™āļ—āļ•āļ‡āļŦāļ™āļ­āļĒāđ„āļ”āđ„āļŦāļĄ? āļĄāļ™āđ€āļ›āļ™āļ—āđƒāļ™āļ­āļ”āļĄāļ„āļ• āļŦāļĢāļ­āđ€āļ›āļĨāļē? āļœāļĨāļ•āļ­āļšāļĢāļšāđ€āļ›āļ™āļ­āļĒāļēāļ‡āļ—āļŦāļ§āļ‡āđ„āļ§ āļŦāļĢāļ­āļ§āļēāļĄāļēāļāļāļ§āļēāļ—āļŦāļ§āļ‡āđ„āļ§āđ„āļŦāļĄ?GV: āļžāļ”āļāļ™āļ•āļĢāļ‡āđ† āļĄāļ™āđ„āļ”āļĢāļšāļœāļĨāļ•āļ­āļšāļĢāļšāļ”āļāļ§āļēāļ—āļ„āļēāļ” āļœāļĄāļˆāļģāļēāđ€āļ›āļ™āļ•āļ­āļ‡āđƒāļŠāļžāļ™āļ—āļ•āļĢāļ‡āļ™āđ€āļžāļĢāļēāļ°āļĄāļ™āđ€āļ›āļ™āļ—āļ•āļ‡āļ‚āļ­āļ‡āļšāļēāļ™āļ‚āļ­āļ‡āļ„āļĢāļ­āļšāļ„āļĢāļ§āļœāļĄ āļ•āļĢāļ‡āļˆāļ”āļ™āļ™ āļ—āļĨāļ­āļšāļšāļ•āļ‡āļ­āļĒāđ€āļ„āļĒāđ€āļ›āļ™āļšāļēāļ™āļ‚āļ­āļ‡āļ„āļĢāļ­āļšāļ„āļĢāļ§āļœāļĄ āđāļĨāļ°āļ•āļĢāļ‡āļ—āđ€āļ›āļ™āļŦāļ­āļ‡āļžāļ āđ€āļ„āļĒāđ€āļ›āļ™āļ—āļēāļ§āļ™āđ€āļŪāļēāļŠāļ—āđ€āļĢāļēāļĄāļēāļ›āļĢāļšāļ›āļĢāļ‡āđƒāļŦāļĄāđāļĨāļ°āđ€āļ›āļĨāļĒāļ™āļĄāļ™āđ€āļ›āļ™āļ—āļžāļ āļœāļĄāļĢāļ•āļ‡āđāļ•āđāļĢāļāļ§āļēāļˆāļ°āđ„āļ”āļĢāļšāļœāļĨāļ›āļĢāļ°āđ‚āļĒāļŠāļ™āļˆāļēāļāļāļēāļĢāļ•āļ‡āļ­āļĒāđƒāļāļĨāļāļšāđ‚āļĢāļ‡- āļžāļĒāļēāļšāļēāļĨāļ—āđƒāļŦāļāļ—āļŠāļ”āđƒāļ™āđ€āļ­āđ€āļŠāļĒ āđāļ•āļœāļĄāļāđ„āļĄāđ„āļ”āļ•āļ­āļ‡āļāļēāļĢāđƒāļŦāļĄāđāļ•āļĨāļāļ„āļēāļ— āļĄāļēāļˆāļēāļāđ‚āļĢāļ‡āļžāļĒāļēāļšāļēāļĨ āđ€āļžāļĢāļēāļ°āļ™āļ™āļ„āļ‡āļ—āļģāļēāđƒāļŦāļšāļĢāļĢāļĒāļēāļāļēāļĻāļ”āļ—āļĄāļĄāļēāļ āļŠāļ”āļ—āļēāļĒ āļœāļĄāļ§āļēāļĄāļ™āļ­āļ­āļāļĄāļēāļ”āļ—āđ€āļ”āļĒāļ§ āļ—āļˆāļĢāļ‡āđ€āļĢāļēāļāđ„āļĄāđ„āļ”āļĄāļĨāļāļ„āļēāļˆāļēāļāđ‚āļĢāļ‡āļžāļĒāļēāļšāļēāļĨ āļĄāļēāļāļ‚āļ™āļēāļ”āļ™āļ™ āļ–āļēāļĄāļāļˆāļ°āđ€āļ›āļ™āļ„āļ“āļŦāļĄāļ­āļ—āļĄāļēāļ—āļēāļ™āļ‚āļēāļ§āđ€āļ—āļĒāļ‡ āļ‹āļ‡āđ€āļ›āļ™āđ€āļĢāļ­āļ‡āļ”āļĄāļēāļ āđ€āļĢāļēāļĄāļ™āļāļ˜āļĢāļāļˆāļˆāļģāļēāļ™āļ§āļ™āļŦāļ™āļ‡ āđāļĨāļ°āļ§āļĒāļĢāļ™āļ—āļĄāļēāđ€āļžāļ­āļ–āļēāļĒāļĢāļ›āļ­āļāļˆāļģāļēāļ™āļ§āļ™āļŦāļ™āļ‡ āļ”āļ§āļĒāļŠāļēāđ€āļŦāļ•āļ­āļ°āđ„āļĢāļšāļēāļ‡āļ­āļĒāļēāļ‡ āļ—āļ™āļāļĨāļēāļĒāđ€āļ›āļ™āļˆāļ”āļ–āļēāļĒāļĢāļ› āļ‚āļ™āļ­āļ™āļŠāļ•āļēāđāļāļĢāļĄāļ‚āļ™āļŠāļ­ āļ–āļēāļ„āļ“āļ­āļĒāļēāļāļˆāļ°āļ‚āļēāļĒāļŠāļ™āļ„āļēāļ­āļ°āđ„āļĢāļĨāļ‡āļ­āļ™āļŠāļ•āļēāđāļāļĢāļĄ āļ•āļ­āļ‡āļĄāļēāļ–āļēāļĒāļĢāļ›āļ—āļ™ āļāļēāļĢāļ•āļ­āļšāļĢāļšāļ—āļ­āļ­āļāļĄāļēāļ™āļ™āđ€āļĢāļĒāļāļ§āļēāđ€āļāļ™āļ„āļēāļ”āļˆāļĢāļ‡āđ† āđāļĨāļ°āļāļēāļĢāļ—āļŠāļ–āļēāļ™āļ—āļ™āļ™āļ‹āļ­āļ™āļ•āļ§āļ­āļ­āļāļˆāļēāļāļ•āļ§āđ€āļĄāļ­āļ‡āļĄāļ™āļāļ—āļģāļēāļŦāļ™āļēāļ—āđ„āļ”āļ”āļāļšāļ„āļ­āļ™āđ€āļ‹āļ›āļ•āļ—āđ€āļĢāļēāļ•āļ­āļ‡āļāļēāļĢāļ”āļ§āļĒāđ€āļŠāļ™āļāļ™

VongkusolkitGavinThe owner

Managing DirectorHeritage Estates

12

āļĄāļĄāļšāļēāļĢāđ€āļ„āļĢāļ­āļ‡āļ”āļĄāđƒāļ™āļšāļĢāđ€āļ§āļ“āļĨāļ­āļšāļš āļ–āļāļ­āļ­āļāđāļšāļšāđƒāļŦāđ€āļ›āļ™āđ€āļŦāļĄāļ­āļ™āļ­āļ‡āļ„āļ›āļĢāļ°āļāļ­āļšāļŦāļ™āļ‡āļ‚āļ­āļ‡āļŠāđ€āļ›āļ‹āļ­āļĒāļēāļ‡āđ„āļĄāđāļ›āļĨāļāđāļĒāļ

an art4d supplement 11an art4d supplement 011an art4d supplement 00

Another thing is that I do want to have a lot more evening clients. At the moment we are in a residential zone so we have to try to keep the noise down, and a lot of people come and hang out here way past midnight but we can’t keep the music on outdoors. We want to try and work out some way of letting people still have their fun past midnight but really be able to contain the noise somehow. So those are the two main concerns. The third one might be that we didn't expect to have so many people coming here for F&B, so our kitchens are a bit too small and consequently the food comes out a bit too slowly. So we are redoing the kitchen now to be much larger and kind of moving everything around. So those I think would be the three key things. It is a lot of fun you know, the owners are having a lot of fun. The designers are certainly having a lot of fun.

art4d: Talking about the designers, it seems that everything from the structure, interior and even the function seems to be so well integrated - What is your project management style when it comes to helping the architecture team, interior team and management team to work so well together? Are you fairly involved with all of them?GV: Yes, extensively. The only reason why it works so well is because as an owner, we are involved to a great extent. Sometimes the architects will complain – it is a lot of work for them to have to adjust constantly but when you are working with three different architects, as an owner you really have to coordinate. And you really have to be clear about what you want. I was clear about what I wanted, but I was not able to articulate it well in the beginning. So to be honest with you I wasted a lot of the architects’ time, trying to come up with different solutions and we would go –let’s keep that, and let’s work on that – so I am thankful that we have the architects that we have, and that they are patient enough to work with us because it is not easy for them. But going forward, now with the new wing, it is so much easier because now we know what we want, our relationship has been established and we work together really well. We are still keeping the same set of architects and interior designers and they know our limitations and they know who to go to for different types of decisions, so working on the new wing is going to be a lot easier. So back to your question, definitely, without the owner being strong and clear about what the owner wants, things could not come together the way they have. It is very difficult to communicate new ideas to architects as they are kind of constantly suggesting materials and explaining why this doesn’t work, or why this works. So the owner does have to give a lot of ideas as well to be on the same page.

art4d: One thing that I saw that was interesting was that the room rental included a BTS pass and mobile phone complete with data plan – it seems that you are really interested in ensuring that the client can enjoy their time in the city once out exploring as well. Is this a focus that Ad Lib is trying to take? Providing comfort both at the hotel and while out and about? GV: Trying to take is the right word because I think we are 60% successful there, we still have 40% more to go; trying to implement something like this is challenging. And trying to keep costs down because most of the guests are not willing to pay so much more for it, but yes we try to make the experience integrated because when you are here you are in our care. Ideally, what I would like to have happen is that as you arrive you would just be given a local sim card and could use your Wi-Fi and we want the guests to use it naturally so that is how we designed the system. And as much as we can we want to make it easy for guests to use as well. So we are going to try to implement a lot more ideas. Similar ideas, as we develop.

art4d: In terms of the locals, you said that before the renovation this was a family home. How did they deal with the change? GV: Yes, yes. Well actually, if you were here before, these were just townhomes, old homes and a very small space, so it is very difficult to imagine a hotel of this caliber being here. So there was a lot of explaining to do. They would say, you know are you crazy? How are you going to find parking? How are you going to find enough space to build this many rooms to make it worthwhile for the investment? Who is going to come? It is so hidden, no one is going to know about it! There have been a lot of barriers where you have to think very differently and we have to thank everyone for believing that this could work.

art4d: What is your favorite space in the hotel? GV: I really can’t say any other space than the space right next to the bar; I really like that corner. You can choose to be outside or you can choose to be inside. The way that the sofas are arranged, it is private enough that when people are walking past you don’t feel like you are being intruded upon but at the same time it's a fun space. I like that space a lot and I really think that it could be better utilized, we are implementing a few new features to that area and hoping to make it even more intimate, we want to still keep the openness but how do we make it more intimate? We want people to be sitting at the bar rather than just walking past or just sitting on the sofas; we want them to engage with the bar a little bit more and that is something that I have not designed as well as I should have. So we are going to work on that.

art4d: āļāļēāļĢāđ€āļ”āļ™āļ—āļēāļ‡āļĄāļēāļ—āļ™āļŠāļ°āļ”āļ§āļāļŠāļšāļēāļĒāļĄāļēāļ āđāļ•āļ„āļ“āļāļĢāļŠāļāļ§āļēāļĄāļ™āļ‹āļ­āļ™āļ­āļĒāļ‚āļēāļ‡āļŦāļĨāļ‡ āļ›āļĨāļāļ•āļ§āļ­āļ­āļāļˆāļēāļāļ—āļāļ­āļĒāļēāļ‡āļ”āļ§āļĒāđƒāļŠāđ„āļŦāļĄ?GV: āđƒāļŠāļ„āļĢāļš āļ„āļ“āļžāļ”āļ–āļ‡āđ€āļĢāļ­āļ‡āļŦāļ™āļ‡āļ—āļœāļĄāļĨāļĄāļ™āļāļ–āļ‡āđ„āļ› āļŠāļģāļēāļŦāļĢāļšāļœāļĄāļĄāļ™āđ€āļ›āļ™āđāļ„āļāļēāļĢāđ€āļ”āļ™āļĢāļēāļ§ 7 āļ™āļēāļ— āļˆāļēāļ BTS āđāļ•āđƒāļ™āļ‚āļ“āļ°āđ€āļ”āļĒāļ§āļāļ™āļŠāļ–āļēāļ™āļ—āļāļ›āļĨāļāļ•āļ§āļ­āļ­āļāļˆāļēāļāļ—āļāļ­āļĒāļēāļ‡ āđāļĨāļ°āļžāļ§āļāļāļģāļēāđāļžāļ‡āļŠāđ€āļ‚āļĒāļ§āļ™āļāļŠāļ§āļĒāļāļ™āđ€āļĢāļēāļ­āļ­āļāļˆāļēāļāļ„āļ§āļēāļĄāļ§āļ™āļ§āļēāļĒāļ‚āļēāļ‡āļ™āļ­āļāđ„āļ”āļ”āļ§āļĒ

art4d: āļĄāļ­āļ‡āļāļĨāļšāđ„āļ›āđƒāļ™āļ›āđāļĢāļāļ‚āļ­āļ‡ Ad Lib āļ„āļ“āļĄāđāļœāļ™āļāļēāļĢāļžāļ’āļ™āļēāļ­āļ°āđ„āļĢāđ€āļžāļĄāđ€āļ•āļĄāđ„āļŦāļĄ? āļŠāļ‡āļ—āļ„āļ“āļ„āļ”āļˆāļ°āļ—āļģāļēāđƒāļŦāļĄāļēāļāļ‚āļ™āļŦāļĢāļ­āļ™āļ­āļĒāļĨāļ‡?GV: āļĄāđ€āļĒāļ­āļ°āļĄāļēāļ āļœāļĄāđ„āļĄāļĢāļˆāļ°āđ€āļĢāļĄāļ•āļĢāļ‡āđ„āļŦāļ™āļ” āļ­āļĒāļēāļ‡āđāļĢāļ āđ€āļžāļĢāļēāļ°āđ€āļĢāļēāļĄāļžāļ™āļ— āļˆāļģāļēāļāļ” āđ€āļĢāļēāđ€āļĨāļĒāļĄāļŦāļ­āļ‡āđ„āļ”āđāļ„ 2 āļĢāļ›āđāļšāļšāđāļĨāļ°āļĄāļ™āļāļĄāļ‚āļ™āļēāļ”āļžāļ­āđ† āļāļ™āļ”āļ§āļĒ āļŠāļ‡āđāļĢāļāļ—āđ€āļĢāļēāļ•āļ­āļ‡āđ€āļ›āļĨāļĒāļ™ āđāļĨāļ°āđ€āļĢāļēāļāļĄāđ‚āļ­āļāļēāļŠāļžāļ­āļ”āļ—āļˆāļ°āļ—āļģāļēāļ­āļĒāļēāļ‡āļ™āļ™āļ„āļ­āļāļēāļĢāđ€āļžāļĄāļŦāļ­āļ‡āļ­āļ 12 āļŦāļ­āļ‡ āđƒāļ™āļ›āļ™ āđāļĨāļ°āļœāļĄāļāļ­āļĒāļēāļāļ—āļģāļēāđƒāļŦāļĄāļ™āđƒāļŦāļāļ‚āļ™āļāļ§āļē āļŦāļ­āļ‡āļ—āđ€āļĢāļēāļĄāļ­āļĒ āļ‹āļ‡āđ€āļ›āļ™āļŠāļ‡āļ—āļ” āļ•āļ­āļ™āđāļĢāļāđ€āļĢāļēāđ„āļĄāđ„āļ”āļŦāļ§āļ‡āļ§āļēāļˆāļ°āļĄāļĨāļāļ„āļēāļĢāļ°āļ”āļš āđ„āļŪāđ€āļ­āļ™āļ”āđ€āļĒāļ­āļ°āļ‚āļ™āļēāļ”āļ™āļ—āđ€āļĨāļ­āļāļˆāļ°āļĄāļēāļ­āļĒāđƒāļ™āļŦāļ­āļ‡ 25 āļ•āļēāļĢāļēāļ‡āđ€āļĄāļ•āļĢ āļ‚āļ­āļ‡āđ€āļĢāļē āļ—āļāļ„āļ™āļšāļ­āļāļœāļĄāļ§āļē āļāļ§āļ™āļ–āļēāļŦāļ­āļ‡āļĄāļ™āđ€āļ›āļ™āļŦāļ­āļ‡ 50 āļ•āļēāļĢāļēāļ‡āđ€āļĄāļ•āļĢ āļ‰āļ™āļĒāļ­āļĄ āļˆāļēāļĒ 2 āđ€āļ—āļēāđ€āļĨāļĒ āđ€āļžāļĢāļēāļ°āļ‰āļ°āļ™āļ™āļŠāļ§āļ™āđ€āļŠāļĢāļĄāļ™āļ—āđ€āļĢāļēāļāļģāļēāļĨāļ‡āļ­āļ­āļāđāļšāļšāļ­āļĒāļˆāļ° āļĄāļ„āļ§āļēāļĄāļ™āļēāļ•āļ™āđ€āļ•āļ™āļāļ§āļēāļĄāļēāļ āļĄāļ™āļˆāļ°āļĄāļŦāļ­āļ‡āļŦāļĨāļēāļāļŦāļĨāļēāļĒāđāļšāļšāđāļĨāļ°āļœāļ‡āļŦāļ­āļ‡āļ—āļ•āļēāļ‡āļāļ™āđ„āļ› āļ”āļ‡āļ™āļ™āđ€āļ§āļĨāļēāļ—āđāļ‚āļāđ€āļ‚āļēāļĄāļē āđāļĨāļ§āđ„āļ”āļžāļāđƒāļ™āļŦāļ­āļ‡āļ­āļāļŦāļ­āļ‡ āļĄāļ™āļˆāļ°āđāļ•āļāļ•āļēāļ‡āļāļ™āļĄāļēāļāđ† āđāļĨāļ°āļĄāļ™āļ™āļēāļˆāļ°āļŠāļ™āļāļĄāļēāļ āļ™āļ™āļ„āļ­āļŠāļ‡āļ—āđ€āļĢāļēāļŠāļēāļĄāļēāļĢāļ– āļ—āļģāļēāđ„āļ”āļ—āļ™ āđ€āļžāļĢāļēāļ°āđ€āļĢāļēāļĄāđ€āļ™āļ­āļ—āđ€āļĨāļāļĄāļēāļāđāļ•āļāļĄāļ„āļ§āļēāļĄāļžāđ€āļĻāļĐāļĄāļēāļāđ€āļŠāļ™āļāļ™ āđāļĨāļ°āļĄāļ™āļ„āļ‡āđ€āļ›āļ™āđ€āļĢāļ­āļ‡āļĒāļēāļāļ—āļˆāļ°āļ—āļģāļēāļ­āļ°āđ„āļĢāđāļšāļšāļ™āđƒāļ™āđ‚āļĢāļ‡āđāļĢāļĄāđƒāļŦāļāđ† āļŠāļĢāļ›āļ„āļ­āļāļēāļĢāļ­āļ­āļāđāļšāļšāļŦāļ­āļ‡āđƒāļŦāļĄ āļ—āļģāļēāđƒāļŦāļŦāļ­āļ‡āđƒāļŦāļāļ‚āļ™ āđ€āļ›āļ™āļ­āļĒāļēāļ‡āļŦāļ™āļ‡āļ—āļāļģāļēāļĨāļ‡āļˆāļ°āđ€āļāļ”āļ‚āļ™ āļ­āļāļ­āļĒāļēāļ‡āļŦāļ™āļ‡āļ„āļ­āļœāļĄāļ­āļĒāļēāļāļĄāļĨāļāļ„āļēāđƒāļ™āļŠāļ§āļ‡āđ€āļĒāļ™āļĄāļēāļāļ‚āļ™ āļ•āļ­āļ™āļ™āđ€āļĢāļēāļ­āļĒāđƒāļ™āļĒāļēāļ™āļŠāļĄāļŠāļ™ āļ”āļ‡āļ™āļ™āđ€āļĢāļēāļ•āļ­āļ‡āđ„āļĄāļ—āļģāļēāđƒāļŦāđ€āļŠāļĒāļ‡āļ”āļ‡āļˆāļ™āđ€āļāļ™āđ„āļ› āļŦāļĨāļēāļĒāļ„āļ™āļĄāļēāļ—āļ™āļ•āļ­āļ™āļ—āđ€āļĨāļĒāđ€āļ—āļĒāļ‡āļ„āļ™āđ„āļ›āđāļĨāļ§ āđāļ•āđ€āļĢāļēāđ€āļ›āļ”āđ€āļŠāļĒāļ‡āđ€āļžāļĨāļ‡āđ„āļ›āļ‚āļēāļ‡āļ™āļ­āļāđ„āļĄāđ„āļ” āđ€āļĢāļēāđ€āļĨāļĒāļžāļĒāļēāļĒāļēāļĄāļŦāļēāļ—āļēāļ‡āļ—āļˆāļ°āđƒāļŦāļ„āļ™āļĒāļ‡āļŠāļ™āļāļāļ™āđ„āļ”āđāļĄāļˆāļ°āđ€āļĨāļĒāđ€āļ—āļĒāļ‡āļ„āļ™ āđ„āļ›āđāļĨāļ§ āđāļ•āļāļ•āļ­āļ‡āļ„āļ§āļšāļ„āļĄāđ€āļŠāļĒāļ‡āđƒāļŦāđ„āļ”āļ”āļ§āļĒāļ§āļ˜āđƒāļ”āļ§āļ˜āļŦāļ™āļ‡ āļ—āļ‡āļŠāļ­āļ‡āđ€āļĢāļ­āļ‡āļ™ āđ€āļ›āļ™āđ€āļĢāļ­āļ‡āļŦāļĨāļāđ† āļ—āđ€āļĢāļēāļ­āļĒāļēāļāļˆāļ°āļˆāļ”āļāļēāļĢ āđ€āļĢāļ­āļ‡āļ—āļŠāļēāļĄāļ­āļēāļˆāļˆāļ°āđ€āļ›āļ™āđ€āļĢāļ­āļ‡āļ—āđ€āļĢāļēāđ„āļĄāđ„āļ”āļ„āļ”āļ§āļēāļˆāļ°āļĄāļ„āļ™āļĄāļēāļŠāļģāļēāļŦāļĢāļš F&B āļĄāļēāļāļ‚āļ™āļēāļ”āļ™ āļ„āļĢāļ§āļ‚āļ­āļ‡āđ€āļĢāļēāđ€āļĨāļāđ„āļ›āļ™āļ”āļ™āļ‡āđāļĨāļ°āļ”āļ§āļĒāđ€āļŦāļ•āļ™āļ­āļēāļŦāļēāļĢāđ€āļĨāļĒāļ­āļ­āļāļĄāļēāļŠāļēāđ€āļāļ™āđ„āļ› āđ€āļĢāļēāđ€āļĨāļĒāļžāļĒāļēāļĒāļēāļĄāļ—āļģāļēāļ„āļĢāļ§āđƒāļŦāļĄāđƒāļŦāđƒāļŦāļāļ‚āļ™ āļœāļĄāļ§āļē āļ™āļ„āļ­āđ€āļĢāļ­āļ‡āļŠāļēāļĄāļ­āļĒāļēāļ‡āļŦāļĨāļ āļœāļĄāļ§āļēāļĄāļ™āļŠāļ™āļāļĄāļēāļ āđ€āļˆāļēāļ‚āļ­āļ‡āđ€āļ­āļ‡āļāļāļģāļēāļĨāļ‡āļŠāļ™āļāļĄāļēāļ āļ—āļēāļ‡āļ™āļāļ­āļ­āļāđāļšāļšāđ€āļ­āļ‡āļāļŠāļ™āļāļĄāļēāļāđ€āļŠāļ™āļāļ™

If you were here before, these were just old homes and a very small space, so it is very difficult to imagine a hotel of this caliber being here.

12

12 an art4d supplement

art4d: āļžāļ”āļ–āļ‡āļ™āļāļ­āļ­āļāđāļšāļšāļāļ™āļšāļēāļ‡ āļ”āđ€āļŦāļĄāļ­āļ™āļ§āļēāļ—āļāļ­āļĒāļēāļ‡āļ•āļ‡āđāļ•āđ‚āļ„āļĢāļ‡āļŠāļĢāļēāļ‡ āļāļēāļĢāļ•āļāđāļ•āļ‡āļ āļēāļĒāđƒāļ™ āļŦāļĢāļ­āđāļĄāđāļ•āļāļēāļĢāđƒāļŠāļ‡āļēāļ™āļ”āļˆāļ°āđ„āļ›āļ”āļ§āļĒāļāļ™āļ­āļĒāļēāļ‡āļ” āļ„āļ“āļšāļĢāļŦāļēāļĢāđ‚āļ›āļĢāđ€āļˆāļ„āļ•āļ­āļĒāļēāļ‡āđ„āļĢāđ€āļĄāļ­āđ€āļ‚āļēāļĄāļēāļĄāļŠāļ§āļ™āļĢāļ§āļĄāļāļšāļ—āļĄāļŠāļ–āļēāļ›āļ™āļ āļ—āļĄāļ™āļāļ­āļ­āļāđāļšāļšāļ āļēāļĒāđƒāļ™ āđāļĨāļ°āļ—āļĄāļšāļĢāļŦāļēāļĢāđƒāļŦāļ—āļģāļēāļ‡āļēāļ™āļ”āļ§āļĒāļāļ™āļ­āļĒāļēāļ‡āļ” āļ„āļ“āļ•āļ­āļ‡āđ€āļ‚āļēāđ„āļ›āđ€āļāļĒāļ§āļ‚āļ­āļ‡āļāļšāļ—āļāļāļēāļĒāđ€āļĨāļĒāļŦāļĢāļ­āđ€āļ›āļĨāļē?GV: āđāļ™āļ™āļ­āļ™āļ„āļĢāļš āđ€āļŦāļ•āļœāļĨāđ€āļ”āļĒāļ§āļ—āļ—āļāļ­āļĒāļēāļ‡āļ—āļģāļēāļ‡āļēāļ™āđ„āļ›āļ”āļ§āļĒāļāļ™āđ„āļ”āļ”āļāđ€āļžāļĢāļēāļ°āđƒāļ™āļāļēāļ™āļ°āđ€āļˆāļēāļ‚āļ­āļ‡ āđ€āļĢāļēāļ•āļ­āļ‡āļĄāļŠāļ§āļ™āļĢāļ§āļĄāļāļšāļ—āļāđ† āļ­āļĒāļēāļ‡ āļšāļēāļ‡āļ—āļ—āļēāļ‡āļāļ‡āļŠāļ–āļēāļ›āļ™āļāļāļĄāļ„āļ§āļēāļĄāđ„āļĄāļžāļ­āđƒāļˆāļ­āļ°āđ„āļĢāļšāļēāļ‡āļ­āļĒāļēāļ‡ āļĄāļ™āđ€āļ›āļ™āļ‡āļēāļ™āļŦāļ™āļāļĄāļēāļāļ—āļžāļ§āļāđ€āļ‚āļēāļˆāļ°āļ•āļ­āļ‡āļ›āļĢāļšāļ­āļ°āđ„āļĢāļ•āļĨāļ­āļ”āđ€āļ§āļĨāļē āđāļ•āđ€āļĄāļ­āļ„āļ“āļ•āļ­āļ‡āļ—āļģāļēāļ‡āļēāļ™āļāļšāļŠāļ–āļēāļ›āļ™āļ 3 āļ„āļ™ āđƒāļ™āļāļēāļ™āļ°āđ€āļˆāļēāļ‚āļ­āļ‡ āļ„āļ“āļ•āļ­āļ‡āđ€āļ‚āļēāđ„āļ›āļĄāļŠāļ§āļ™āļĢāļ§āļĄāļ”āļ§āļĒ āđāļĨāļ°āļ„āļ“āļāļ•āļ­āļ‡āļŠāļ”āđ€āļˆāļ™āđ€āļāļĒāļ§āļāļšāļ„āļ§āļēāļĄāļ•āļ­āļ‡āļāļēāļĢāļ‚āļ­āļ‡āļ„āļ“ āļœāļĄāļĢāļ”āļ§āļēāļœāļĄāļ•āļ­āļ‡āļāļēāļĢ āļ­āļ°āđ„āļĢāđāļ•āļœāļĄāđ„āļĄāļŠāļēāļĄāļēāļĢāļ–āļŠāļ­āļŠāļēāļĢāļœāļēāļ™āđ„āļ›āđ„āļ”āđƒāļ™āļ•āļ­āļ™āđāļĢāļ āļ§āļēāļāļ™āļ•āļĢāļ‡āđ† āļœāļĄāļ—āļģāļēāđƒāļŦāļžāļ§āļāļ—āļĄāļŠāļ–āļēāļ›āļ™āļāđ€āļŠāļĒāđ€āļ§āļĨāļēāđ„āļ›āļĄāļēāļ āđ‚āļ”āļĒāļāļēāļĢāļŦāļēāļ—āļēāļ‡āļ­āļ­āļāđƒāļ™āļāļēāļĢāļ­āļ­āļāđāļšāļšāļŦāļĨāļēāļĒāđāļšāļš āđāļĨāļ§āļ„āļ­āļĒāļĄāļēāļšāļ­āļāļ§āļēāđ€āļ­āļēāļ›āļĢāļ°āļĄāļēāļ“āļ™āļ™āļ° āđ€āļāļšāļ•āļĢāļ‡āļŠāļ§āļ™āļ™āđ„āļ§ āļĄāļēāļ—āļģāļēāđ€āļžāļĄāļ•āļĢāļ‡āļŠāļ§āļ™āļ™ āļœāļĄāļĢāļŠāļāđ‚āļŠāļ„āļ”āļĄāļēāļāļ—āđ„āļ”āļ—āļģāļēāļ‡āļēāļ™āļāļš āļŠāļ–āļēāļ›āļ™āļāļ—āļĄāļ™ āļžāļ§āļāđ€āļ‚āļēāđƒāļˆāđ€āļĒāļ™āļžāļ­āļ—āļˆāļ°āļ—āļģāļēāļ‡āļēāļ™āļāļšāđ€āļĢāļēāđ€āļžāļĢāļēāļ°āļĄāļ™āđ„āļĄāļ‡āļēāļĒ āđ€āļĨāļĒāļŠāļģāļēāļŦāļĢāļšāļžāļ§āļāđ€āļ‚āļē āđ€āļĢāļ­āļ‡āđāļœāļ™āļāļēāļĢāđƒāļ™āļ­āļ™āļēāļ„āļ• āļ•āļ­āļ™āļ™āđ€āļĢāļēāļĄāđ€āļĢāļ­āļ‡āļāļēāļĢāļ‚āļĒāļēāļĒāļŠāļ”āļŠāļ§āļ™ āļĄāļ™āļ‡āļēāļĒāļĄāļēāļāđāļĨāļ§āļ•āļ­āļ™āļ™āđ€āļžāļĢāļēāļ°āđ€āļĢāļēāļĢāđāļ™āļ™āļ­āļ™āđ€āļĨāļĒāļ§āļēāļ•āļ­āļ‡āļāļēāļĢāļ­āļ°āđ„āļĢ āļ„āļ§āļēāļĄāļŠāļĄāļžāļ™āļ˜āļ‚āļ­āļ‡āļžāļ§āļāđ€āļĢāļēāļ–āļāļŠāļĢāļēāļ‡āļ‚āļ™ āđāļĨāļ°āļ•āļ­āļ™āļ™āđ€āļĢāļēāļāļ—āļģāļēāļ‡āļēāļ™āđ„āļ›āļ”āļ§āļĒāļāļ™āđ„āļ”āļ­āļĒāļēāļ‡āļ” āđ€āļĢāļēāļĒāļ‡āļ—āļģāļēāļ‡āļēāļ™āļāļšāļāļĨāļĄāļŠāļ–āļēāļ›āļ™āļāđāļĨāļ° āļ™āļāļ­āļ­āļāđāļšāļšāļŠāļ”āđ€āļ”āļĄāļ­āļĒ āļžāļ§āļāđ€āļ‚āļēāļĢāļ‚āļ­āļˆāļģāļēāļāļ”āļ‚āļ­āļ‡āđ€āļĢāļē āđāļĨāļ°āļĢāļ§āļēāļ„āļ§āļĢāļˆāļ°āđ„āļ›āļ›āļĢāļāļĐāļēāđƒāļ„āļĢāļŠāļģāļēāļŦāļĢāļšāļāļēāļĢāļ•āļ”āļŠāļ™āđƒāļˆāđāļšāļšāđ„āļŦāļ™ āļāļēāļĢāļ—āļģāļēāļ‡āļēāļ™āļāļšāļŠāļ§āļ™āđƒāļŦāļĄ āļ—āđ€āļĢāļēāļāļģāļēāļĨāļ‡āļˆāļ°āļ—āļģāļēāļ™āļēāļˆāļ°āđ€āļ›āļ™āđ€āļĢāļ­āļ‡āļ‡āļēāļĒāļĄāļēāļ āļāļĨāļšāđ„āļ›āļ—āļ„āļģāļēāļ–āļēāļĄāļ‚āļ­āļ‡āļ„āļ“ āļ–āļēāđ„āļĄāļĄāđ€āļˆāļēāļ‚āļ­āļ‡āļ—āļĒāļ™āļŦāļĒāļ”āđƒāļ™āļŠāļ‡āļ—āļ•āļ­āļ‡āļāļēāļĢ āļ—āļāļ­āļĒāļēāļ‡āļ„āļ‡āđ„āļĄāļĢāļ§āļĄāļāļ™āđ€āļ›āļ™āļŦāļ™āļ‡āđ€āļ”āļĒāļ§āđāļšāļšāļ™ āļĄāļ™āđ€āļ›āļ™āđ€āļĢāļ­āļ‡āļĒāļēāļāļ—āļˆāļ°āļŠāļ­āļŠāļēāļĢāđ„āļ­āđ€āļ”āļĒāđƒāļŦāļĄāđƒāļŦāļāļšāļŠāļ–āļēāļ›āļ™āļ āļ‚āļ“āļ°āļ—āļžāļ§āļāđ€āļ‚āļēāļžāļĒāļēāļĒāļēāļĄāļˆāļ°āđƒāļŦāļ§āļŠāļ”āđƒāļŦāļĄāđ† āļĄāļēāđāļĨāļ°āļ­āļ˜āļšāļēāļĒāļ§āļēāļ—āļģāļēāđ„āļĄāļ­āļ™āļ™āđ€āļ§āļĢāļ āļ­āļ™āļ™āđ„āļĄāđ€āļ§āļĢāļ āļŠāļ§āļ™āļ—āļēāļ‡āđ€āļˆāļēāļ‚āļ­āļ‡āļāļ•āļ­āļ‡āđƒāļŦāđ„āļ­āđ€āļ”āļĒāļĄāļēāļāđ† āļ”āļ§āļĒ

art4d: āļŠāļ‡āļŦāļ™āļ‡āļ—āļ™āļēāļŠāļ™āđƒāļˆāļĄāļēāļāļ„āļ­āļāļēāļĢāđ€āļ‚āļēāļĄāļēāļžāļāļ—āļŦāļ­āļ‡āļˆāļ°āđ„āļ”āļĢāļšāļšāļ•āļĢ BTS āđāļĨāļ°āđ‚āļ—āļĢāļĻāļžāļ—āļĄāļ­āļ–āļ­āļāļšāđāļœāļ™āļāļēāļĢāđ‚āļ—āļĢ āļ”āđ€āļŦāļĄāļ­āļ™āļ§āļēāļ„āļ“āļ•āļ­āļ‡āļāļēāļĢāļĄāļ™āđƒāļˆāļ§āļēāļĨāļāļ„āļēāļ—āļĄāļēāļžāļāļĄāļ›āļĢāļ°āļŠāļšāļāļēāļĢāļ“āđƒāļ™āļāļēāļĢāļĄāļēāļ—āļ­āļ‡- āđ€āļ—āļĒāļ§āļ—āļ™āļēāļžāļ­āđƒāļˆ āļ­āļ™āļ™āđ€āļ›āļ™āļ­āļāļˆāļ”āļ— Ad Lib āļžāļĒāļēāļĒāļēāļĄāđƒāļŦāļ„āļ§āļēāļĄāļŠāļ™āđƒāļˆāļŦāļĢāļ­āđ€āļ›āļĨāļē? āļāļēāļĢāđƒāļŦāļ„āļ§āļēāļĄāļŠāļ°āļ”āļ§āļāļŠāļšāļēāļĒāļ—āļ‡āđƒāļ™āđ‚āļĢāļ‡āđāļĢāļĄāđāļĨāļ°āļ‚āļēāļ‡āļ™āļ­āļāđ‚āļĢāļ‡āđāļĢāļĄ?GV: āļžāļĒāļēāļĒāļēāļĄāđƒāļŦāļ„āļ§āļēāļĄāļŠāļ™āđƒāļˆāđ€āļ›āļ™āļ„āļģāļēāļ—āļ–āļāļ•āļ­āļ‡āđāļĨāļ§ āđ€āļžāļĢāļēāļ°āļœāļĄāļ„āļ”āļ§āļēāđ€āļĢāļēāļ›āļĢāļ°āļŠāļšāļ„āļ§āļēāļĄāļŠāļģāļēāđ€āļĢāļˆāļāļšāļ•āļĢāļ‡āļˆāļ”āļ™āļ™āđāļ„ 60% āđ€āļĢāļēāļĒāļ‡āļĄāļ­āļ 40% āļ—āļ•āļ­āļ‡āđ„āļ›āđƒāļŦāļ–āļ‡ āļāļēāļĢāđƒāļŦāļ­āļ āļ™āļ™āļ—āļ™āļēāļāļēāļĢāđāļšāļšāļ™āđ€āļ›āļ™āđ€āļĢāļ­āļ‡āļ—āļēāļ—āļēāļĒ āđāļĨāļ°āđ€āļĢāļēāļ•āļ­āļ‡āļžāļĒāļēāļĒāļēāļĄāļĢāļāļĐāļēāļ‡āļšāļ›āļĢāļ°āļĄāļēāļ“āđ€āļžāļĢāļēāļ°āđāļ‚āļāļŠāļ§āļ™āđƒāļŦāļāļ‚āļ­āļ‡āđ‚āļĢāļ‡āđāļĢāļĄāđ„āļĄāļ•āļ­āļ‡āļāļēāļĢāļˆāļēāļĒāļĄāļēāļāļ‚āļ™āļēāļ”āļ™āļ™āđ€āļžāļ­āļŠāļ‡āļ™ āđāļ•āđƒāļŠ āđ€āļĢāļēāļžāļĒāļēāļĒāļēāļĄāļ—āļˆāļ°āļŠāļĢāļēāļ‡āļ›āļĢāļ°āļŠāļšāļāļēāļĢāļ“āļ—āļ”āļ—āļŠāļ”āļŠāļģāļēāļŦāļĢāļšāļĨāļāļ„āļē āđ€āļžāļĢāļēāļ°āđ€āļĄāļ­āļ„āļ“āļĄāļēāļžāļāļ—āļ™ āļ„āļ“āļˆāļ°āļ­āļĒāđƒāļ™āļāļēāļĢāļ”āđāļĨāļ‚āļ­āļ‡āđ€āļĢāļē āļ„āļ§āļēāļĄāļˆāļĢāļ‡āđāļĨāļ§ āļŠāļ‡āļ—āļœāļĄāļ­āļĒāļēāļāļˆāļ°āđƒāļŦāđ€āļ›āļ™āļ„āļ­āđ€āļĄāļ­āļ„āļ“āđ€āļ‚āļēāļĄāļēāļ„āļ“āļāļˆāļ°āđ„āļ” SIM card āđ€āļĨāļĒāđ‚āļ”āļĒāđ„āļĄāļ•āļ­āļ‡āļ‚āļ­ āļ„āļ“āļŠāļēāļĄāļēāļĢāļ– āđƒāļŠ wifi āđ„āļ” āđāļĨāļ°āđ€āļĢāļēāļ•āļ­āļ‡āļāļēāļĢāđƒāļŦāđāļ‚āļāļ—āļĄāļēāļžāļāđƒāļŠāļ­āļĒāļēāļ‡āđ€āļ›āļ™āļ˜āļĢāļĢāļĄāļŠāļēāļ•āļ”āļ§āļĒ āļĢāļ°āļšāļšāļ—āđ€āļĢāļēāļ­āļ­āļāđāļšāļšāđ„āļ§ āļŠāļĢāļ›āđāļĨāļ§āđ€āļĢāļēāļāļāļģāļēāļĨāļ‡āļžāļ’āļ™āļēāđƒāļŦāļĄāļ™āļŠāļĄāļšāļĢāļ“āļĄāļēāļāļ‚āļ™āļ­āļĒ

art4d: āđƒāļ™āđ€āļĢāļ­āļ‡āļ„āļ§āļēāļĄāđ€āļ›āļ™āļ—āļ­āļ‡āļ–āļ™ āļ„āļ“āļšāļ­āļāļ§āļēāļāļ­āļ™āļˆāļ°āļĄāļāļēāļĢāļ›āļĢāļšāļ›āļĢāļ‡ āļžāļ™āļ— āļ—āļ™āđ€āļ„āļĒāđ€āļ›āļ™āļšāļēāļ™āļ‚āļ­āļ‡āļ„āļĢāļ­āļšāļ„āļĢāļ§āļ„āļ“āļĄāļēāļāļ­āļ™ āļžāļ§āļāđ€āļ‚āļēāļĢāļšāļāļš āļāļēāļĢāđ€āļ›āļĨāļĒāļ™āđāļ›āļĨāļ‡āļ™āļ­āļĒāļēāļ‡āđ„āļĢāļšāļēāļ‡?GV: āđƒāļŠāļ„āļĢāļš āļ­āļ™āļ—āļˆāļĢāļ‡āđāļĨāļ§ āļ–āļēāļ„āļ“āđ€āļ„āļĒāļĄāļēāļ­āļĒāļ—āļ•āļĢāļ‡āļ™āđ€āļĄāļ­āļāļ­āļ™ āļ„āļ“āļˆāļ°āļĢāļ§āļēāļĄāļ™āļĄāđāļ„āļ—āļēāļ§āļ™āđ€āļŪāļēāļŠ āļšāļēāļ™āđ€āļāļēāđ† āđāļĨāļ°āļžāļ™āļ—āļ—āđ€āļĨāļāļĄāļēāļ āļĄāļ™āļĒāļēāļāļ—āļˆāļ°āļˆāļ™āļ•āļ™āļēāļāļēāļĢāļ§āļēāļˆāļ°āđ€āļ›āļĨāļĒāļ™āļ—āļ•āļĢāļ‡āļ™āđ€āļ›āļ™āđ‚āļĢāļ‡āđāļĢāļĄ āļ•āļ­āļ‡āļ­āļ˜āļšāļēāļĒāļāļ™āļ­āļĒāļ™āļēāļ™ āļžāļ§āļāđ€āļ‚āļēāļšāļ­āļāļ§āļēāļœāļĄāļšāļēāđ„āļ›āđāļĨāļ§āđ€āļŦāļĢāļ­ āđāļĨāļ§āļ—āļˆāļ­āļ”āļĢāļ–āļˆāļ°āđ„āļ›āļŦāļēāļˆāļēāļāđ„āļŦāļ™? āļˆāļ°āđ„āļ›āļŦāļēāļžāļ™āļ—āđ€āļžāļĒāļ‡āļžāļ­āļŠāļģāļēāļŦāļĢāļšāļāļēāļĢāļŠāļĢāļēāļ‡āļŦāļ­āļ‡āļĄāļēāļāļ‚āļ™āļēāļ”āļ™āđƒāļŦāļ„āļĄāļ„āļēāļāļšāļāļēāļĢāļĨāļ‡āļ—āļ™āđ„āļ”āļ­āļĒāļēāļ‡āđ„āļĢ? āđƒāļ„āļĢāļˆāļ°āļĄāļēāđƒāļŠ? āļĄāļ™āļ­āļĒāđƒāļ™āļ‹āļ­āļāļŦāļĨāļšāļĄāļēāļ āļ„āļ‡āđ„āļĄāļĄāđƒāļ„āļĢāļĢāļ§āļēāļĄāđ‚āļĢāļ‡āđāļĢāļĄāļ­āļĒāļ—āļ™ āđāļĨāļ°āļĄāļ­āļ›āļŠāļĢāļĢāļ„āļ­āļāļŦāļĨāļēāļĒāļ­āļĒāļēāļ‡āļ—āļ—āļģāļēāđƒāļŦāļ•āļ­āļ‡āļ„āļ”āļ•āļēāļ‡āļĄāļēāļāđ† āļœāļĄāļ•āļ­āļ‡āļ‚āļ­āļšāļ„āļ“āļŦāļ™āļŠāļ§āļ™āļŦāļĨāļēāļĒāđ† āļ„āļ™ āļ—āđ€āļŠāļ­āļĄāļ™āļ§āļēāļĄāļ™āļˆāļ°āļ›āļĢāļ°āļŠāļšāļ„āļ§āļēāļĄāļŠāļģāļēāđ€āļĢāļˆ

art4d: āļ—āđ„āļŦāļ™āļ„āļ­āļžāļ™āļ—āđ‚āļ›āļĢāļ”āļ‚āļ­āļ‡āļ„āļ“āđƒāļ™āđ‚āļĢāļ‡āđāļĢāļĄ?GV: āļœāļĄāļ„āļ‡āđ„āļĄāļĄāļĄāļĄāđ„āļŦāļ™āļ™āļ­āļāđ€āļŦāļ™āļ­āđ„āļ›āļˆāļēāļāļžāļ™āļ—āļ•āļĢāļ‡āļ™āļ™āļ‚āļēāļ‡āđ† āļšāļēāļĢ āļœāļĄāļŠāļ­āļšāļĄāļĄāļ•āļĢāļ‡āļ™āļ™āļĄāļēāļāļˆāļĢāļ‡āđ† āļ„āļ“āļŠāļēāļĄāļēāļĢāļ–āđ€āļĨāļ­āļāđ„āļ”āļ§āļēāļˆāļ°āļ­āļĒāļ‚āļēāļ‡āļ™āļ­āļāļŦāļĢāļ­āļ‚āļēāļ‡āđƒāļ™ āļ§āļ˜āļ—āđ‚āļ‹āļŸāļēāļ–āļāļˆāļ”āļ§āļēāļ‡ āļĄāļ™āđ€āļ›āļ™āļŠāļ§āļ™āļ•āļ§āļžāļ­āļ—āļ„āļ™āļŠāļēāļĄāļēāļĢāļ–āđ€āļ”āļ™āļœāļēāļ™āđ„āļ” āđāļ•āļ„āļ“āđ„āļĄāļĢāļŠāļāļ§āļēāļ–āļāļĨāļāļĨāļģāļē āđƒāļ™āļ‚āļ“āļ°āđ€āļ”āļĒāļ§āļāļ™ āļĄāļ™āļāđ€āļ›āļ™āļ—āļ—āļĄāļ„āļ§āļēāļĄāļŠāļ™āļāļ­āļĒ āļœāļĄāļŠāļ­āļšāļžāļ™āļ—āļĄāļēāļāļ—āđ€āļ”āļĒāļ§ āļœāļĄāļ„āļ”āļ§āļēāļĄāļ™ āļŠāļēāļĄāļēāļĢāļ–āļ™āļģāļēāđ„āļ›āđƒāļŠāļ­āļ°āđ„āļĢāđ„āļ”āļĄāļēāļāļāļ§āļēāļ™ āđ€āļĢāļēāļāļģāļēāļĨāļ‡āđ€āļžāļĄāļāļēāļĢāđƒāļŠāļ‡āļēāļ™āđƒāļŦāļĄāđ† āđ€āļ‚āļēāđ„āļ›āđƒāļ™āļžāļ™āļ—āļ™āļ™ āđāļĨāļ°āļŦāļ§āļ‡āļ—āļˆāļ°āļ—āļģāļēāđƒāļŦāļĄāļ™āļĄāļ„āļ§āļēāļĄāļĢāļŠāļāđ€āļ›āļ™āļāļ™āđ€āļ­āļ‡ āđƒāļāļĨāļŠāļ”āļĄāļēāļāļ‚āļ™ āđ€āļĢāļēāļ­āļĒāļēāļāļˆāļ°āđ€āļāļšāļ„āļ§āļēāļĄāđ‚āļ›āļĢāļ‡āđ„āļ§āđāļ•āđ€āļĢāļēāļˆāļ°āļ—āļģāļēāļ­āļĒāļēāļ‡āđ„āļĢāđƒāļŦāļĄāļ™āļĄāļ„āļ§āļēāļĄāđƒāļāļĨāļŠāļ”āļĄāļēāļāļ‚āļ™ āđ€āļĢāļēāļ•āļ­āļ‡āļāļēāļĢāđƒāļŦāļ„āļ™āļĄāļēāļ™āļ‡āļ—āļšāļēāļĢāđāļ—āļ™āļ—āļˆāļ°āđāļ„āđ€āļ”āļ™āļœāļēāļ™ āļŦāļĢāļ­āđ„āļ›āļ™āļ‡āļ•āļĢāļ‡āđ‚āļ‹āļŸāļē āđ€āļĢāļēāļ­āļĒāļēāļāđƒāļŦāļžāļ§āļāđ€āļ‚āļēāļĄāļ›āļāļŠāļĄāļžāļ™āļ˜āļāļšāļšāļēāļĢāļĄāļēāļāļ‚āļ™āđāļĨāļ°āļ™āļ™āļ„āļ­āļŠāļ‡āļ—āļœāļĄāđ„āļĄāđ„āļ”āļ­āļ­āļāđāļšāļšāđ„āļ§ āđ€āļĢāļēāļˆāļ°āđ€āļĢāļĄāļ—āļģāļēāļŠāļ§āļ™āļ™āđƒāļŦāļ”āļ‚āļ™

art4d: āļ„āļģāļēāļ–āļēāļĄāļŠāļ”āļ—āļēāļĒ āđƒāļ™āđāļ‡āļ‚āļ­āļ‡āļ˜āļĢāļāļˆāđ‚āļĢāļ‡āđāļĢāļĄāđƒāļ™āļ­āļ™āļēāļ„āļ• āļ„āļ“āļĄāļ­āļ‡āđ€āļŦāļ™āļ­āļ°āđ„āļĢāđƒāļ™āđ€āļĢāļ­āļ‡āļ‚āļ­āļ‡āđ€āļ—āļĢāļ™āļ”āļŦāļĢāļ­āļāļēāļĢāđ€āļ›āļĨāļĒāļ™āđāļ›āļĨāļ‡āļ—āļāļģāļēāļĨāļ‡āļˆāļ°āļĄāļēāļ–āļ‡āļšāļēāļ‡?GV: āļ—āļˆāļĢāļ‡āļ„āļ™āļāļžāļ”āļāļ™āđ€āļĢāļ­āļ‡āļ™āļĄāļēāļ™āļēāļ™āļĄāļēāļāđāļĨāļ§ āđāļ•āļ™āļāļ—āļ­āļ‡āđ€āļ—āļĒāļ§āļĄāļēāļāļ‚āļ™āđ€āļĢāļ­āļĒāđ† āļāļģāļēāļĨāļ‡āļĄāļ­āļ‡āļŦāļēāļ›āļĢāļ°āļŠāļšāļāļēāļĢāļ“āđƒāļŦāļĄāđ† āļ›āļĢāļ°āļŠāļšāļāļēāļĢāļ“āļ—āđāļ•āļāļ•āļēāļ‡āļˆāļēāļāđ€āļ”āļĄ āđ‚āļ”āļĒāđ€āļ‰āļžāļēāļ°āļ„āļ™āļŦāļ™āļĄāļŠāļēāļ§āļŠāļēāļ§āđ€āļ­āđ€āļŠāļĒ āđ€āļžāļĢāļēāļ°āļ›āļĢāļ°āđ€āļ—āļĻ āļāļģāļēāļĨāļ‡āđ€āļŸāļ­āļ‡āļŸāļ—āļēāļ‡āđ€āļĻāļĢāļĐāļāļāļˆāđāļĨāļ°āļ™āļāļ—āļ­āļ‡āđ€āļ—āļĒāļ§āļ—āļĄāļēāđ€āļĒāļĒāļĄāđ€āļĒāļĒāļ™āđ€āļ­āđ€āļŠāļĒāļ•āļ°āļ§āļ™āļ­āļ­āļāđ€āļ‰āļĒāļ‡āđƒāļ•āļ„āļ­āļ„āļ™āļˆāļ™āļ—āļžāļĢāļ­āļĄāļˆāļ°āļ‹āļĄāļ‹āļšāļŠāļ‡āđƒāļŦāļĄāđ† āđāļĨāļ°āļŠāļģāļēāļŦāļĢāļš āļĨāļāļ„āļēāļāļĨāļĄāļ™ āļ›āļĢāļ°āļŠāļšāļāļēāļĢāļ“āļ„āļ­āļŠāļ‡āļ—āļŠāļģāļēāļ„āļāļ—āļŠāļ”āđƒāļ™āļāļēāļĢāļ—āļ­āļ‡āđ€āļ—āļĒāļ§āļ‚āļ­āļ‡āļžāļ§āļāđ€āļ‚āļē āļžāļ§āļāđ€āļ‚āļēāļ­āļēāļˆāļˆāļ°āđ€āļĢāļĄāļ„āļ”āļ–āļ‡ Marriot āļŦāļĢāļ­ Westin āļāļ­āļ™āđ€āļžāļĢāļēāļ°āđ€āļ›āļ™āļ—āļ—āđ€āļ‚āļēāļ„āļ™āđ€āļ„āļĒ āđāļĨāļ°āļŦāļĨāļ‡āļˆāļēāļāļ™āļ™āļāļˆāļ°āļ„āļ”āļ§āļē āđ‚āļĢāļ‡āđāļĢāļĄāļ”āđ„āļ‹āļ™āļĢāļ°āļ”āļšāļ•āļ™āđ† āļ—āđ„āļŦāļ™āļ—āļˆāļ°āļĄāļ„āļ§āļēāļĄāļžāđ€āļĻāļĐ āļ—āļģāļēāđƒāļŦāđ€āļ‚āļēāļŦāļĨāļ‡āđƒāļŦāļĨāđƒāļ™āļŠāđ€āļ™āļŦāđƒāļŦāļĄāđ† āļ—āļ—āļˆāļ°āļˆāļ”āļ›āļĢāļ°āļāļēāļĒāļ„āļ§āļēāļĄāļŦāļĨāļ‡āđƒāļŦāļĨāđƒāļ™āļāļēāļĢāļ­āļ­āļāđ€āļ”āļ™āļ—āļēāļ‡āļ‚āļ­āļ‡āļžāļ§āļāđ€āļ‚āļē āļŠāļģāļēāļŦāļĢāļšāļœāļĄāđ€āļ§āļĨāļēāļœāļĄāđ€āļ”āļ™āļ—āļēāļ‡āđ„āļ›āļ•āļēāļ‡āļ›āļĢāļ°āđ€āļ—āļĻāļ­āļĒāļēāļ‡āļŪāļ­āļ‡āļāļ‡āļŦāļĢāļ­āļāļ›āļ™ āļœāļĄāļĄāļāļˆāļ°āļĄāļ­āļ‡āļŦāļēāļŠāļ‡āļ—āļœāļĄāļŠāļēāļĄāļēāļĢāļ–āļŦāļēāđ„āļ”āđƒāļ™āļ›āļĢāļ°āđ€āļ—āļĻāļ™āļ™āđ€āļ—āļēāļ™āļ™ āļˆāļ”āļ™āļˆāļ‡āđ€āļ›āļ™āļŠāļ‡āļ—āļ”āļ‡āļ”āļ”āļ™āļāļ—āļ­āļ‡āđ€āļ—āļĒāļ§āļāļĨāļĄāļ™āļĄāļēāļ āļ™āļāļ—āļ­āļ‡āđ€āļ—āļĒāļ§ āļ—āļ•āļēāļĄāļŦāļēāļ›āļĢāļ°āļŠāļšāļāļēāļĢāļ“āđƒāļŦāļĄāđ† āļĄāļ™āļˆāļ°āļ—āļģāļēāđƒāļŦāđ€āļ‚āļēāļĄāđ€āļĢāļ­āļ‡āļ—āļŠāļēāļĄāļēāļĢāļ–āļāļĨāļšāđ„āļ›āļžāļ”āļ–āļ‡āđ„āļ” āļĄāļŠāļ‡āļ—āļŠāļēāļĄāļēāļĢāļ–āļ—āļģāļēāļšāļ™āļ­āļ™āļŠāļ•āļēāđāļāļĢāļĄāđ„āļ” āđāļĨāļ°āļĄāļ™āļāļĄāļ„āļ§āļēāļĄāđ€āļ‰āļžāļēāļ°āļ•āļ§āļĄāļēāļāļāļ§āļēāļĢāļ°āļšāļšāļšāļĢāļŦāļēāļĢāļ—āļ”āđ€āļ›āļ™āļ—āļēāļ‡āļāļēāļĢāļĄāļēāļ 80% āļ‚āļ­āļ‡āđ‚āļĢāļ‡āđāļĢāļĄ āđ‚āļ”āļĒāđ€āļ‰āļžāļēāļ°āđ‚āļĢāļ‡āđāļĢāļĄ 5 āļ”āļēāļ§āļŦāļĨāļēāļĒāđ† āļ— āļ„āļ“āļ„āļ‡āļšāļ­āļāđ„āļĄāđ„āļ”āļ§āļēāļ—āļ™āļ„āļ­ St. Regis āļŦāļĢāļ­āļ§āļē Marriot āļŦāļĢāļ­āļ§āļēāļ™āļ„āļ­ Sheraton āļ”āļ‡āļ™āļ™āļĄāļ™āļˆāļ°āļ•āļ­āļ‡āļĄāļĢāļēāļĒāļĨāļ°āđ€āļ­āļĒāļ”āļāļēāļĢāļ”āđ„āļ‹āļ™āļ—āđāļ•āļāļ•āļēāļ‡āđāļĨāļ°āļšāļ­āļāđ„āļ”āļ§āļēāļ—āļ™āļ„āļ­āļ—āđ„āļŦāļ™ āļ•āļ­āļ™āļ™āđ€āļĢāļēāļāļģāļēāļĨāļ‡āļ‚āļĒāļēāļĒāļŠāļēāļ‚āļēāļ—āļŠāļ­āļ‡ āļ—āļŠāļēāļĄāļ‚āļ™āļĄāļēāđāļĨāļ§ āđāļĨāļ°āļœāļĄāļ­āļĒāļēāļāđƒāļŦāļ„āļ™āļ—āđ€āļ‚āļēāļĄāļēāļŠāļēāļĄāļēāļĢāļ–āļšāļ­āļāđ„āļ”āļ§āļēāļ—āļ™āļ„āļ­ Ad Lib āđ‚āļ”āļĒāļ—āđ„āļĄāđ„āļ”āļ”āļ§āļēāļĄāļ™āļ„āļ­ Ad Lib āļ„āļ“āļˆāļ°āļ•āļ­āļ‡āļŠāļĄāļœāļŠāđ„āļ”āļ–āļ‡āļāļĨāļ™āļ­āļēāļĒāļ‚āļ­āļ‡āļĄāļ™

art4d: For the future of hotel businesses, what do you foresee in terms of trends or changes?GV: Well, people have been saying this for a long time now, but more and more travelers are looking for an experience and a different experi-ence, something new. Especially young, Asian travelers, as their countries grow in wealth a lot of travelers coming to SE Asia now are Chinese travelers who are very new and quick to absorb new things. For these customers, the experience is the most important thing about their travels. So they might forego, say, a Marriot or a Westin that they are used to and they might ask what are the top ten design hotels? Or what would be so unique that I would find it charming? What would ignite my passion for travels? For me, especially when I go overseas to Hong Kong or Japan, I tend to look for something that I can only find in that country, and so this appeals to that type of traveler very much, an experiential traveler looking for new things, it will give them something to talk about, something to do on Instagram and it feels a lot more personal than a management structure that is very professional but could be very much removed from ownership of the property. 80% of hotels, especially 5 star hotels, if you cover up their signs you can’t tell whether it is a St. Regis, or a Marriot, or a Sheraton, so there has got to be a particular way that we design that tells. And hopefully, we are doing that with the second and third ones now, we want people to come in and say, oh this has got to be Ad Lib without even knowing that it is Ad Lib. It has got to accent certain key elements.

Ad Lib Hoteladlibbangkok.com

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āļžāļ™āļ—āļ—āļēāļ™āļ­āļēāļŦāļēāļĢāļ āļēāļĒāļ™āļ­āļāļ­āļēāļ„āļēāļĢ āđƒāļ™āļšāļĢāđ€āļ§āļ“āļ—āđ€āļŠāļ­āļĄāļ•āļ­āļāļšāļĨāļ­āļšāļš āđ‚āļ­āļšāļĢāļšāļ”āļ§āļĒāđāļ™āļ§ āļœāļ™āļ‡āļĢāļ§āļ•āļ™āđ„āļĄ

14 āļšāļ™āđ„āļ”āļ—āļēāļ‡āđ€āļ‚āļēāļŦāļĨāļāļŠāļŠāļ§āļ™ Social Living āļ‚āļ­āļ‡āđ‚āļĢāļ‡āđāļĢāļĄ

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14 an art4d supplement

SagulkuPongthepThe interior designer

PrincipalAugust Design Consultant

an art4d supplement 15

art4d : As this is partly a renovation project, were there any features of the existing site that you utilized or reinterpreted into the interior?Pongthep Sagulku : I think it has a very abstract feeling, this interior, and a peaceful feeling of the site, which was originally a private residence. You see the big trees at the entrance; I think that has a real impact on the site and we wanted to draw the feel after you pass by the trees into this ho-tel. You get the feeling that you are coming into an oasis, it is relaxing, very easy going, casual, this kind of thing. We want to achieve that kind of feeling through the employment of the materi-als, very simple materials and real materials. Because otherwise, in terms of the look of the building itself and the townhouses which you can see before you enter into the site, those are the original townhouses and this has nothing to do with the style, nothing at all. And is nothing quite interesting at all. So we wanted to achieve a kind of feeling of calmness, a peaceful feeling.

art4d :So, was the ordinary character of the townhouses one of the challenges that you had to address? PS : Yes, yes. We have both sides of the lane, there are four townhouses all together and we have to put the guest rooms into these existing townhouses. We had to achieve quite a number of rooms because, let’s say if you were to divide it normally, you would get only about 20 rooms altogether but the owner wanted to have more rooms so we have to re-divide it, the spaces of the townhouses. That is why we end up in this room where we have the column in the center; we have never done that before in a hotel butâ€Ķit’s not that bad. And actually, with this column and the beam, my original intention was to leave it as it was before, not plaster it at all but make sure that the old version of the townhouse was exposed and let this piece of structure be a part of the history of the existing building in contrast with the new decorative elements like the ceil-ing, floor and walls. But unfortunately, the work-ers felt that this looked very unfinished, so they put the plaster over it for us. Because originally you could see the brickwork and it looked very untidy but it was very attractive in my opinion, even the beam itself. But now it is very tidy in all the rooms. So it is a little bit totally new.

art4d : In terms of the lobby, restaurant and bar, it is not actually that big of a space, but there is so much going on in there and I wonder if you could talk about how you ap-proached this, how to fit all of that within that space?PS : Actually, you have to give the credit to Martin; he is the one who visualized the whole space. He saw the space like a pavilion where you walk in and looking through to the back you see the backdrop of the plants. This kind of ele-ment was foreseen from day one and then we worked together and we tried to make sure that the exterior and the landscape worked together as one whole space, not an indoor/outdoor, not a lobby/restaurant, this kind of thing. So the layout of the interior just follows through and before deciding on this layout we tried so many layouts to organize the functional spaces and try to mix it smoothly. And that is what you see, the results of that kind of thinking. We worked together with Martin and also Gavin. We would discuss over the table and in my original vision for this project I was thinking of it like a bed and breakfast hotel, not a typical hotel. Actually it is like the ones in the Khaosan area, you know? In the tourist area. But we just twist it to make it more convenient and make it have more of an international look. But in terms of function, the easy going, casual nature, it is that kind of feel-ing that we tried to achieve, not like a four star, five star, branded hotel.

art4d: āļ”āļ§āļĒāđ‚āļ„āļĢāļ‡āļāļēāļĢāļ™āđ€āļ›āļ™āļāļēāļĢāļ›āļĢāļšāļ›āļĢāļ‡āļ­āļēāļ„āļēāļĢāđ€āļāļē āđ€āļžāļĢāļēāļ°āļ‰āļ°āļ™āļ™ āđāļĨāļ§ āļĄāļ™āļĄāļĨāļāļĐāļ“āļ°āļ‚āļ­āļ‡āļŠāļ–āļēāļ™āļ—āļ­āļ°āđ„āļĢāļšāļēāļ‡āļ—āļ„āļ“āļ™āļģāļēāļĄāļēāđƒāļŠāļ›āļĢāļ°āđ‚āļĒāļŠāļ™āļŦāļĢāļ­āļ§āļēāļ•āļ„āļ§āļēāļĄāļ­āļ­āļāļĄāļēāđ€āļ›āļ™āļ‡āļēāļ™āļ­āļ­āļāđāļšāļšāļ āļēāļĒāđƒāļ™?āļžāļ‡āļĐāđ€āļ—āļž āļŠāļāļĨāļ„ : āļœāļĄāļ„āļ”āļ§āļēāļ‡āļēāļ™āļ•āļāđāļ•āļ‡āļ āļēāļĒāđƒāļ™āļ–āļāļ–āļēāļĒāļ—āļ­āļ”āļ­āļ­āļāļĄāļēāļ”āļ§āļĒāļ­āļēāļĢāļĄāļ“āļ—āļ„āļ­āļ™āļ‚āļēāļ‡āđ€āļ›āļ™āļ™āļēāļĄāļ˜āļĢāļĢāļĄ āļ–āļēāļĒāļ—āļ­āļ”āļ„āļ§āļēāļĄāļĢāļŠāļāļŠāļ‡āļšāļ™āļ‡āļ‚āļ­āļ‡āļŠāļ–āļēāļ™āļ— āļ‹āļ‡āđāļ•āđ€āļ”āļĄāđ€āļ›āļ™āļšāļēāļ™āļžāļāļŠāļ§āļ™āļ•āļ§āļĄāļēāļāļ­āļ™ āļ„āļ“āļˆāļ°āđ€āļŦāļ™āļ•āļ™āđ„āļĄāđƒāļŦāļāļ•āļĢāļ‡āļ—āļēāļ‡āđ€āļ‚āļē āļœāļĄāļ§āļēāļ™āļ™āđ€āļ›āļ™āļˆāļ”āļ—āļŠāļĢāļēāļ‡āļ­āļĄāđāļžāļ„āļˆāļĢāļ‡āđ† āļ‚āļ­āļ‡āļ—āļ™ āđ€āļĢāļēāļ•āļ­āļ‡āļāļēāļĢāļŠāļĢāļēāļ‡āļ„āļ§āļēāļĄāļĢāļŠāļāļŦāļĨāļ‡āļˆāļēāļāļ—āļ„āļ“āđ€āļ”āļ™āļœāļēāļ™āļ•āļ™āđ„āļĄāļĄāļēāļŠāļ‚āļēāļ‡āđƒāļ™āđ‚āļĢāļ‡āđāļĢāļĄ āđƒāļŦāļ„āļ“āļĄāļ„āļ§āļēāļĄāļĢāļŠāļāđ€āļŦāļĄāļ­āļ™āđ€āļ‚āļēāđ„āļ›āļŠāđ‚āļ­āđ€āļ­āļ‹āļŠ āļĄāļ™āļĄāļ„āļ§āļēāļĄāļœāļ­āļ™- āļ„āļĨāļēāļĒ āļ‡āļēāļĒāđ† āļŠāļšāļēāļĒāđ† āđ€āļ›āļ™āļāļ™āđ€āļ­āļ‡ āđ€āļĢāļēāļ•āļ­āļ‡āļāļēāļĢāļŠāļĢāļēāļ‡āļ­āļēāļĢāļĄāļ“āļ™āļ™āļœāļēāļ™āļāļēāļĢāđƒāļŠāļ§āļŠāļ”āļ•āļēāļ‡āđ† āļ§āļŠāļ”āļ‡āļēāļĒāđ† āļ§āļŠāļ”āļ—āđ€āļ›āļ™āļ‚āļ­āļ‡āļˆāļĢāļ‡ āđ€āļžāļĢāļēāļ°āļ–āļēāđ„āļĄāļ­āļĒāļēāļ‡āļ™āļ™ āđƒāļ™āļ”āļēāļ™āļ‚āļ­āļ‡āļ āļēāļžāļĨāļāļĐāļ“āļ‚āļ­āļ‡āļ­āļēāļ„āļēāļĢāļ—āđ€āļ„āļĒāđ€āļ›āļ™āļ—āļēāļ§āļ™āđ€āļŪāļēāļŠāļĄāļēāļāļ­āļ™ āļ„āļ“āļˆāļ°āđ€āļŦāļ™āļ„āļ§āļēāļĄāđ€āļ›āļ™āļ—āļēāļ§āļ™āđ€āļŪāļēāļŠāđ€āļ”āļĄāļāļ­āļ™āđ€āļ”āļ™āđ€āļ‚āļēāļĄāļē āļ‹āļ‡āļĄāļ™āđ„āļĄāļŠāļĄāļžāļ™āļ˜āļāļš āļĢāļ›āđāļšāļšāļ—āđ€āļĢāļēāļ•āļ­āļ‡āļāļēāļĢāđ€āļĨāļĒ āđāļĨāļ°āļĄāļ™āļāļ”āđ„āļĄāļ™āļēāļŠāļ™āđƒāļˆāļ”āļ§āļĒ āđ€āļĢāļēāļ­āļĒāļēāļāđƒāļŦ āļĄāļ™āļĄāļ„āļ§āļēāļĄāđ€āļ‡āļĒāļšāļŠāļ‡āļšāļĄāļēāļāļāļ§āļē

art4d: āļ–āļēāļ­āļĒāļēāļ‡āļ™āļ™ āļ„āļ§āļēāļĄ ‘āđ€āļ›āļ™â€™ āļ—āļēāļ§āļ™āđ€āļŪāļēāļŠāļ™āļ­āļēāļˆāđ€āļĢāļĒāļāđ„āļ”āļ§āļēāđ€āļ›āļ™āđ‚āļˆāļ—āļĒāļ—āļ—āļēāļ—āļēāļĒāļŠāļģāļēāļŦāļĢāļšāļ„āļ“?PS: āđƒāļŠāđāļĨāļ§āļ„āļĢāļš āđ€āļĢāļēāđ„āļ”āļžāļ™āļ—āļ—āļ‡āļŠāļ­āļ‡āļ”āļēāļ™āļ‚āļ­āļ‡āđ€āļĨāļ™āļ–āļ™āļ™ āđ€āļžāļĢāļēāļ°āļ‰āļ°āļ™āļ™ āļĄāļ—āļēāļ§āļ™āđ€āļŪāļēāļŠ 4 āļŦāļĨāļ‡ āļ”āļ§āļĒāļāļ™āļ—āļ‡āļŦāļĄāļ”āđāļĨāļ°āđ€āļĢāļēāļ•āļ­āļ‡āļ—āļģāļēāļŦāļ­āļ‡āļžāļāļŠāļģāļēāļŦāļĢāļš āđāļ‚āļāđ€āļ‚āļēāđ„āļ›āđƒāļ™āļ—āļēāļ§āļ™āđ€āļŪāļēāļŠāļžāļ§āļāļ™ āļ‹āļ‡āđ€āļĢāļēāļāļ•āļ­āļ‡āļ—āļģāļēāļŦāļ­āļ‡āļ‚āļ™āļĄāļēāđ€āļĒāļ­āļ°āļĄāļēāļāļ— āđ€āļ”āļĒāļ§ āļ–āļēāđāļšāļ‡āđāļšāļšāļ—āļ§āđ„āļ›āļ„āļ“āļ­āļēāļˆāļˆāļ°āđ„āļ”āđāļ„ 20 āļŦāļ­āļ‡ āđāļ•āđ€āļžāļĢāļēāļ°āļ§āļēāđ€āļˆāļēāļ‚āļ­āļ‡ āļ•āļ­āļ‡āļāļēāļĢāđƒāļŦāļĄāļŦāļ­āļ‡āļĄāļēāļāļ‚āļ™ āđ€āļĢāļēāđ€āļĨāļĒāļ•āļ­āļ‡āļĄāļēāđāļšāļ‡āļžāļ™āļ—āđƒāļ™āļ—āļēāļ§āļ™āđ€āļŪāļēāļŠāđƒāļŦāļĄ āļ™āļ™āļ„āļ­āđ€āļŦāļ•āļœāļĨāļ—āļŦāļ­āļ‡āļ—āđ€āļĢāļēāļ­āļĒāļ™āļĄāđ€āļŠāļēāļ­āļĒāļ•āļĢāļ‡āļāļĨāļēāļ‡ āļ‹āļ‡āđ€āļĢāļēāļāđ„āļĄāđ€āļ„āļĒāļ—āļģāļēāļ­āļ°āđ„āļĢāđāļšāļšāļ™āļĄāļēāļāļ­āļ™āļŠāļģāļēāļŦāļĢāļšāđ‚āļ„āļĢāļ‡āļāļēāļĢāđ‚āļĢāļ‡āđāļĢāļĄ āđāļ•āļĄāļ™āļāđ„āļĄāđ„āļ”āđāļĒāļ‚āļ™āļēāļ”āļ™āļ™ āļ­āļ™āļ—āļˆāļĢāļ‡āđāļĨāļ§āđ€āļŠāļēāļ•āļ™āļ™āļāļšāļ„āļēāļ™āļ—āļ„āļ“āđ€āļŦāļ™ āļ„āļ§āļēāļĄāļ•āļ‡āđƒāļˆāđ€āļ”āļĄāļ‚āļ­āļ‡āļœāļĄāļ„āļ­āļ•āļ­āļ‡āļāļēāļĢāļ›āļĨāļ­āļĒāđƒāļŦāļĄāļ™āđ€āļ›āļ™āļ­āļĒāļēāļ‡āļ—āļĄāļ™āđ€āļ›āļ™āļĄāļēāļāļ­āļ™āļŦāļ™āļēāļ™ āđ€āļĢāļēāļ„āļ”āļ§āļēāļˆāļ°āđ„āļĄāđ€āļ‚āļēāđ„āļ›āļ›āļžāļĨāļēāļŠāđ€āļ•āļ­āļĢāļ—āļšāļĄāļ™āđ€āļžāļ­āđƒāļŦāļ„āļ§āļēāļĄāđ€āļ›āļ™āļ—āļēāļ§āļ™āđ€āļŪāļēāļŠāļŦāļĨāļ‡āđ€āļāļēāļĄāļēāļŠāļĢāļēāļ‡āļ„āļ§āļēāļĄāđāļ•āļāļ•āļēāļ‡āļāļšāļ­āļ‡āļ„āļ›āļĢāļ°āļāļ­āļšāļ•āļāđāļ•āļ‡āđƒāļŦāļĄāđ† āļ­āļĒāļēāļ‡ āđ€āļžāļ”āļēāļ™ āļžāļ™ āļāļģāļēāđāļžāļ‡ āđāļ•āļ™āļēāđ€āļŠāļĒāļ”āļēāļĒāļ—āļ„āļ™āļ‡āļēāļ™āļāļ­āļŠāļĢāļēāļ‡āļĄāļ­āļ‡āļ§āļēāļĄāļ™āļ”āđ€āļŦāļĄāļ­āļ™āļĒāļ‡āđ„āļĄāđ€āļŠāļĢāļˆ āđ€āļĨāļĒāļ—āļēāļžāļĨāļēāļŠāđ€āļ•āļ­āļĢāļ—āļšāļĨāļ‡āđ„āļ›āđāļ—āļ™ āđ€āļžāļĢāļēāļ°āļāļ­āļ™āļŦāļ™āļēāļ™āļ„āļ“āļˆāļ°āļĄāļ­āļ‡āđ€āļ‚āļēāđ„āļ›āđ€āļŦāļ™āļ‡āļēāļ™āļ­āļāđ€āļĨāļĒ āļ‹āļ‡āļĄāļ™āļ”āđ€āļĨāļ­āļ°āđ€āļ—āļ­āļ° āđāļ•āļœāļĄāļ§āļēāļĄāļ™āļ”āļŠāļ§āļĒāļ” āđāļĄāđāļ•āļ„āļēāļ™āđ€āļ­āļ‡ āđāļ•āļ•āļ­āļ™āļ™āļĄāļ™āļ”āđ€āļ›āļ™āļĢāļ°āđ€āļšāļĒāļšāļĄāļēāļāđƒāļ™āļ—āļāđ† āļŦāļ­āļ‡ āļĄāļ™āđ€āļĨāļĒāļ”āđƒāļŦāļĄāļ­āļĒāļēāļ‡āļ—āđ€āļŦāļ™

art4d: āđƒāļ™āļŠāļ§āļ™āļ‚āļ­āļ‡āļĨāļ­āļšāļš āļĢāļēāļ™āļ­āļēāļŦāļēāļĢ āđāļĨāļ°āļšāļēāļĢ āļ­āļĒāļēāļ‡āļ—āđ€āļŦāļ™ āļĄāļ™āđ„āļĄāđ„āļ”āļĄāļžāļ™āļ—āđƒāļŦāļāļĄāļēāļāļ™āļ āđāļ•āļĄāļāļēāļĢāđƒāļŠāļ‡āļēāļ™āļ•āļēāļ‡āđ† āļ•āļĢāļ‡āļ™āļ™āļ•āļĢāļ‡āļ™āđ€āļĒāļ­āļ°āļĄāļēāļ āļ„āļ“āļŠāļ§āļĒāđ€āļĨāļēāđ€āļĢāļ­āļ‡āļāļēāļĢāļˆāļ”āļāļēāļĢāļŠāļ§āļ™āļ—āļ§āļēāļŦāļ™āļ­āļĒāđ„āļ”āđ„āļŦāļĄ āļ„āļ“āđ€āļ­āļēāļ—āļāļ­āļĒāļēāļ‡āđƒāļŠāļĨāļ‡āđ„āļ›āđƒāļ™āļžāļ™āļ—āđāļ„āļ™āļ™āđ„āļ”āļ­āļĒāļēāļ‡āđ„āļĢ?PS: āļ—āļˆāļĢāļ‡ āļœāļĄāļ•āļ­āļ‡āļĒāļāđ€āļ„āļĢāļ”āļ•āđƒāļŦāļāļš Martin āđ€āļ‚āļēāđ€āļ›āļ™āļ„āļ™āļ—āļ§āļēāļ”āļ āļēāļžāļžāļ™āļ—āļ—āļ‡āļŦāļĄāļ”āļ‚āļ™āļĄāļē āđ€āļ‚āļēāļĄāļ­āļ‡āđ€āļŦāļ™āļžāļ™āļ—āļ™āđ€āļ›āļ™āđ€āļŦāļĄāļ­āļ™āļžāļēāļ§āļĨāđ€āļĨāļĒāļ™ āđ€āļĄāļ­āļ„āļ“āđ€āļ”āļ™āđ€āļ‚āļēāļĄāļēāđāļĨāļ°āļĄāļ­āļ‡āļœāļēāļ™āđ„āļ›āļ‚āļēāļ‡āļŦāļĨāļ‡āļˆāļ°āļĄāļ‰āļēāļāđ€āļ›āļ™āļ•āļ™āđ„āļĄ āļ­āļ‡āļ„āļ›āļĢāļ°āļāļ­āļš āļ™āđ„āļ”āļ–āļāļ§āļēāļ”āđ„āļ§āļ•āļ‡āđāļ•āļ§āļ™āđāļĢāļāđāļĨāļ§ āđ€āļĢāļēāđāļ„āļĄāļēāļ—āļģāļēāļ‡āļēāļ™āļĢāļ§āļĄāļāļ™āđāļĨāļ°āļ—āļģāļēāđƒāļŦāđāļ™āđƒāļˆāļ§āļēāļžāļ™āļ—āļ”āļēāļ™āļ™āļ­āļāļāļšāļ‡āļēāļ™āļ āļĄāļŠāļ–āļēāļ›āļ•āļĒāļāļĢāļĢāļĄāđ„āļ›āļ”āļ§āļĒāļāļ™āđ„āļ”āļ”āđ€āļ›āļ™āļŦāļ™āļ‡āđ€āļ”āļĒāļ§āļāļ™ āđ„āļĄāđƒāļŠāļ§āļēāđ€āļ›āļ™āļ­āļ™āļ”āļ­āļĢ/āđ€āļ­āļēāļ—āļ”āļ­āļĢ āđ„āļĄāđāļšāļ‡āđ€āļ‚āļ•āļĨāļ­āļšāļš/āļĢāļēāļ™āļ­āļēāļŦāļēāļĢ āļ­āļ°āđ„āļĢāđāļšāļšāļ™āļ™ āđ€āļžāļĢāļēāļ°āļ‰āļ°āļ™āļ™āļāļēāļĢāļˆāļ”āļ§āļēāļ‡āļžāļ™āļ—āļ āļēāļĒāđƒāļ™āļ–āļāļāļģāļēāļŦāļ™āļ”āđ„āļ§āļ­āļĒāđāļĨāļ§ āđāļĨāļ°āļāļ­āļ™āļŦāļ™āļēāļ—āļˆāļ°āļŠāļĢāļ›āļāļšāļāļēāļĢāļˆāļ”āļ§āļēāļ‡āđāļšāļšāļ™ āđ€āļĢāļēāđ„āļ”āļĨāļ­āļ‡āļˆāļ”āļĄāļēāļŦāļĨāļēāļĒāđāļšāļšāļĄāļēāļāđ€āļžāļ­āļŠāļĢāļēāļ‡āļžāļ™āļ—āļ—āđƒāļŠāļ‡āļēāļ™āđ„āļ”āļˆāļĢāļ‡ āđ‚āļ”āļĒāļžāļĒāļēāļĒāļēāļĄāļˆāļ°āļœāļŠāļĄāļ—āļāļ­āļĒāļēāļ‡āđ€āļ‚āļēāļĄāļēāđƒāļŦāļ”āļĨāļ™āđ„āļŦāļĨāļ—āļŠāļ” āļœāļĨāļĨāļžāļ˜āļ—āļ„āļ“āđ€āļŦāļ™āļ­āļĒāļ™āļĄāļēāļˆāļēāļāļ„āļ§āļēāļĄāļ„āļ”āļ™ āđ€āļĢāļēāļ—āļģāļēāļ‡āļēāļ™āļ”āļ§āļĒāļāļ™ āļ—āļ‡āļāļš Martin āđāļĨāļ°āļ„āļ“āļāļ§āļ™āđ€āļ­āļ‡ āđ€āļĢāļēāļˆāļ°āļ›āļĢāļāļĐāļēāļāļ™ āļ„āļ§āļēāļĄāļ„āļ”āđ€āļ”āļĄāļ‚āļ­āļ‡āļœāļĄāļŠāļģāļēāļŦāļĢāļšāđ‚āļ„āļĢāļ‡āļāļēāļĢ āļ™ āļœāļĄāļ­āļĒāļēāļāđƒāļŦāļĄāļ™āđ€āļ›āļ™āđ‚āļĢāļ‡āđāļĢāļĄāđāļšāļš B&B (bed and breakfast)

art4d : How do you keep a space feeling casual and comfortable without compromising style or a sense of refinement? PS : That is very difficult I would say. We are trying to make this hotel like a home and trying to avoid the kind of formal nature of a branded hotel. But of course, as an interior designer, I worked together with the architect and we found that we have one thing in common in terms of our favorite materials and that is that we both like real materials like wood, local stones, and plants. And Martin is a very functional architect; actually, his design is very simple. So since Martin is very strong in terms of the simplicity of concept, and we really agree in terms of a common theme, color scheme and the materials that we like to use, it is very easy and it is a fun process to work together. Gavin also, I would say that he gave us quite a bit of freedom to work together. He only gave us input in terms of the operational level and marketing concept. It is a very sort of painstaking process I would say. For example, the marble mosaic that you see in the flooring area, we were working with many samples in terms of the scale. It is not that easy! Firstly we were thinking of using the bigger size, but then we felt that it might give us another feeling and look a little bit too formal. We want to show the workmanship to make sure that each material can display its aesthetic so we are trying to work with the scale of this mosaic and asking whether it is too small, or too big, until we agree that this is the right size to put into this pavilion. The space itself is not that big, so we have to make sure that the scale is proportionate to the whole space; it is very essential I would say.

art4d : What do you think about the location? PS : There are pros and cons. At first, when I came to see the site, I was just curious whether it could turn into a good hotel or not. But then, after we got Martin in, we had a discussion and exchanged ideas and so on and we became quite confident that we could come up with something that would be unique by itself and that could make use of the location to make it right. We tried to utilize the good points of the location. For example, the swimming pool upstairs on the deck, this came to be during the design process. It was not formerly in the plan. We were building the pavilion and saw that if we can go up there and make use of the space, it should be very nice. So we thought, why not make a pool? A lap pool, a small one, but a nice one. And then we managed to get quite a long and good-sized pool there and a small fitness relaxation area. If we hadn’t done the swimming pool it would have been a shame, because the view is very nice there.

art4d : Just backing up a little bit, when you said that when you first saw the site and you weren’t sure that this could be a good hotel, was it because of the location or the size? PS : Because of the location, firstly you come from the big soi and then you have to turn into a small soi, and then turn into another one, and pass through the townhouses before you can enter into the site which, to me, is quite a chal-lenge. How can we achieve to draw the guests in? We decided to try to do the best that we could and achieve what we can from the site to make it the most attractive.

15

āļ āļēāļžāļŠāđ€āļāļ•āļ‹āļāļ­āļ™āļˆāļ°āđ€āļ›āļ™āđ‚āļĢāļ‡āđāļĢāļĄ Ad Lib āđ‚āļ”āļĒ āļžāļ‡āļĐāđ€āļ—āļž āļŠāļāļĨāļ„

16 an art4d supplement

āđ„āļĄāđƒāļŠāđ‚āļĢāļ‡āđāļĢāļĄāļ—āļ§āđ„āļ› āļ—āļˆāļĢāļ‡āļĄāļ™āđ€āļŦāļĄāļ­āļ™āļžāļ§āļāđ‚āļĢāļ‡āđāļĢāļĄāđāļ–āļ§āļ‚āļēāļ§āļŠāļēāļĢ āļ„āļ“āļ™āļāļ­āļ­āļāđ„āļŦāļĄ āđ€āļ‚āļ•āļ‚āļ­āļ‡āļ™āļāļ—āļ­āļ‡āđ€āļ—āļĒāļ§ āđāļ•āđ€āļĢāļēāđāļ„āļĄāļēāļ”āļ”āđāļ›āļĨāļ‡ āđƒāļŠāļ­āļ°āđ„āļĢāļ— āļ”āđ€āļ›āļ™āļŠāļēāļāļĨāļĄāļēāļāļ‚āļ™ āļ—āļģāļēāđƒāļŦāļĄāļ™āļŠāļ°āļ”āļ§āļāļŠāļšāļēāļĒāļĄāļēāļāļ‚āļ™ āđāļ•āđƒāļ™āđāļ‡āļ‚āļ­āļ‡ āļŸāļ‡āļāļŠāļ™āļĄāļ™āļˆāļ°āļĄāļ„āļ§āļēāļĄāļ‡āļēāļĒāđ† āļŠāļšāļēāļĒāđ† āļ‹āļ‡āļ™āļ™āļ„āļ­āļŠāļ‡āļ—āđ€āļĢāļēāļžāļĒāļēāļĒāļēāļĄāļ—āļģāļē āđ„āļĄāđ€āļŦāļĄāļ­āļ™āđ€āļ„āļĢāļ­āđ‚āļĢāļ‡āđāļĢāļĄ 4 āļ”āļēāļ§ 5 āļ”āļēāļ§ āļ—āļ§āđ„āļ› āđ€āļĢāļēāļžāļĒāļēāļĒāļēāļĄāļ­āļĒāļēāļ‡āļĄāļēāļ āđƒāļŦāđ„āļ”āļ„āļ§āļēāļĄāļĢāļŠāļāđāļšāļšāļ™āļ™āļĄāļē

art4d: āļ„āļ“āļ—āļģāļēāđƒāļŦāļžāļ™āļ—āļĄāļ„āļ§āļēāļĄāđ€āļ›āļ™āļāļ™āđ€āļ­āļ‡āđāļĨāļ°āļŠāļšāļēāļĒāđ‚āļ”āļĒāļ—āđ„āļĄāļ•āļ­āļ‡ āļŠāļāđ€āļŠāļĒāļ„āļ§āļēāļĄāļĄāļŠāđ„āļ•āļĨāļŦāļĢāļ­āļ„āļ§āļēāļĄāļĨāļ°āđ€āļ­āļĒāļ”āļ›āļĢāļ°āļ“āļ•āđƒāļ™āļ‡āļēāļ™āđ„āļ”āļ­āļĒāļēāļ‡āđ„āļĢ? PS: āļœāļĄāļ•āļ­āļ‡āļšāļ­āļāđ€āļĨāļĒāļ™āļ™āđ€āļ›āļ™āđ€āļĢāļ­āļ‡āļ—āļĒāļēāļāļĄāļēāļ āđ€āļĢāļēāļžāļĒāļēāļĒāļēāļĄāļ—āļģāļēāđ‚āļĢāļ‡āđāļĢāļĄ āļ—āļĢāļŠāļāđ€āļŦāļĄāļ­āļ™āļ­āļĒāļšāļēāļ™ āđāļĨāļ°āļžāļĒāļēāļĒāļēāļĄāđ€āļĨāļĒāļ‡āļ­āļ°āđ„āļĢāļ—āļ”āđ€āļ›āļ™āļ—āļēāļ‡āļāļēāļĢāļĄāļēāļāđ€āļāļ™āđ„āļ›āđāļšāļšāļ—āđ‚āļĢāļ‡āđāļĢāļĄāļ—āļ§āđ„āļ›āđ€āļ‚āļēāļ—āļģāļēāļāļ™ āđāļ•āđāļ™āļ™āļ­āļ™āļ§āļēāđƒāļ™āļāļēāļ™āļ°āļ™āļāļ­āļ­āļāđāļšāļš āļ āļēāļĒāđƒāļ™ āđāļĨāļ°āļĒāļ‡āļĄāļŠāļ–āļēāļ›āļ™āļāļ”āļ§āļĒāđāļĨāļ§ āđ€āļĢāļēāļ—āļģāļēāļ‡āļēāļ™āļ”āļ§āļĒāļāļ™ āđ€āļĢāļēāļĄāļ„āļ§āļēāļĄāļ„āļ”āđ€āļŦāļ™āļ•āļĢāļ‡āļāļ™āļ­āļĒāļēāļ‡āļŦāļ™āļ‡āđƒāļ™āļ”āļēāļ™āļ§āļŠāļ”āđ‚āļ›āļĢāļ”āļ—āđ€āļĢāļēāļŠāļ­āļšāđƒāļŠ āđ€āļĢāļēāļŠāļ­āļšāļ§āļŠāļ”āļˆāļēāļāļ˜āļĢāļĢāļĄāļŠāļēāļ•āļˆāļĢāļ‡āđ† āļ„āļ­ āđ„āļĄ āļŦāļ™āļ—āļ­āļ‡āļ–āļ™ āđāļĨāļ°āļžāļŠāļžāļ™āļ˜ āđāļĨāļ° Martin āđ€āļ­āļ‡āļāđ€āļ›āļ™āļŠāļ–āļēāļ›āļ™āļāļ—āļ„āļģāļēāļ™āļ‡āđ€āļĢāļ­āļ‡āļāļēāļĢāđƒāļŠāļ‡āļēāļ™āļĄāļēāļ āļ—āļˆāļĢāļ‡āļ‡āļēāļ™āļ­āļ­āļāđāļšāļšāļ‚āļ­āļ‡āđ€āļ‚āļēāļ™āļ™āđ€āļĢāļĒāļšāļ‡āļēāļĒāļĄāļēāļ āļ”āļ§āļĒāļ„āļ§āļēāļĄāļ— Martin āđ€āļŠāļĒāļ§āļŠāļēāļāđƒāļ™āļ”āļēāļ™āļ„āļ­āļ™āđ€āļ‹āļ›āļ•āļ—āđ€āļ™āļ™āļ„āļ§āļēāļĄāđ€āļĢāļĒāļšāļ‡āļēāļĒ āđāļĨāļ°āđ€āļĢāļēāļāđ€āļŦāļ™āļ”āļ§āļĒāđƒāļ™āđ€āļĢāļ­āļ‡āļ‚āļ­āļ‡āđāļ™āļ§āļ„āļ” āļŦāļĨāļ āđāļĨāļ°āļ§āļŠāļ”āļ—āđ€āļĢāļēāļ­āļĒāļēāļāļˆāļ°āđƒāļŠ āđ‚āļ—āļ™āļŠ āļ­āļ°āđ„āļĢāļžāļ§āļāļ™āļ™ āļāļēāļĢāļ—āļģāļēāļ‡āļēāļ™āļĢāļ§āļĄāļāļ™āļˆāļ‡āļ‡āļēāļĒāđāļĨāļ°āļŠāļ™āļāļĄāļēāļ āļāļ§āļ™āđ€āļ­āļ‡āļāđƒāļŦāļ­āļŠāļĢāļ°āđƒāļ™āļāļēāļĢāļ—āļģāļēāļ‡āļēāļ™āļ‚āļ­āļ‡āļžāļ§āļāđ€āļĢāļēāļ”āļ§āļĒ āđ€āļ‚āļēāđāļ„āđƒāļŦāļāļĢāļ­āļšāđƒāļ™āđ€āļĢāļ­āļ‡āļāļēāļĢāļˆāļ”āļāļēāļĢāđāļĨāļ°āđāļœāļ™āļāļēāļĢāļ•āļĨāļēāļ” āļāļĢāļ°āļšāļ§āļ™āļāļēāļĢāļ—āļ‡āļŦāļĄāļ”āļ•āļ­āļ‡āđƒāļŠāļ„āļ§āļēāļĄāļ­āļ•āļŠāļēāļŦāļ°āļĄāļēāļ āđāļĄāđāļ•āđāļœāļ™āđ‚āļĄāđ€āļŠāļ„ āļŦāļ™āļ­āļ­āļ™āļ—āļ„āļ“āđ€āļŦāļ™āļ•āļĢāļ‡āļšāļĢāđ€āļ§āļ“āļžāļ™āļ™ āđ€āļĢāļēāļ•āļ­āļ‡āļ—āļ”āļĨāļ­āļ‡āļāļēāļĢāđƒāļŠāļ‡āļēāļ™āļĄāļēāļāļšāļ•āļ§āļ­āļĒāļēāļ‡āļ­āļāļŦāļĨāļēāļĒāļĢāļ›āđāļšāļšāđƒāļ™āļ”āļēāļ™āļ‚āļ­āļ‡āļŠāđ€āļāļĨ āļĄāļ™āđ„āļĄāđ„āļ”āļ‡āļēāļĒāļ‚āļ™āļēāļ”āļ™āļ™ āđƒāļ™āļ•āļ­āļ™āđāļĢāļāđ€āļĢāļēāļ„āļ”āļ§āļēāļ­āļĒāļēāļāļˆāļ°āđƒāļŠāļ‚āļ™āļēāļ”āļ—āđƒāļŦāļāļāļ§āļēāļ™ āđāļ•āđ€āļĢāļēāļāļĄāļēāļ„āļ”āļ§āļēāļĄāļ™āļˆāļ°āļ”āđ€āļ›āļ™āļ—āļēāļ‡āļāļēāļĢāļĄāļēāļāđ€āļāļ™āđ„āļ› āļ­āļāļ­āļĒāļēāļ‡āđ€āļĢāļēāļ­āļĒāļēāļāļˆāļ°āđāļŠāļ”āļ‡āļ„āļ“āļ āļēāļžāļ‚āļ­āļ‡āļ‡āļēāļ™āđ€āļžāļ­āđƒāļŦāđāļ™āđƒāļˆāļ§āļēāļ§āļŠāļ”āļ—āļāļŠāļ™āđāļŠāļ”āļ‡āļ„āļ§āļēāļĄāļŠāļ§āļĒāļ‡āļēāļĄāļ‚āļ­āļ‡āļĄāļ™āļ­āļ­āļāļĄāļē āđ€āļĢāļēāđ€āļĨāļĒāļ•āļ­āļ‡āļĄāļēāļ•āļ‡āļ„āļģāļēāļ–āļēāļĄāļ§āļēāļ‚āļ™āļēāļ”āļ‚āļ­āļ‡āđ‚āļĄāđ€āļŠāļ„āđāļœāļ™āļ™ āđ€āļĨāļāđ„āļ›āļŦāļĢāļ­āđƒāļŦāļāđ„āļ›āļŦāļĢāļ­āđ€āļ›āļĨāļē āļˆāļ™āđ€āļĢāļēāļŠāļĢāļ›āđ„āļ”āļ§āļēāđ€āļĢāļēāļ•āļ­āļ‡āļāļēāļĢāļ‚āļ™āļēāļ”āđ€āļ—āļēāļ™āđ€āļžāļ­āļ™āļģāļēāđ„āļ›āđƒāļŠāđƒāļ™āļžāļēāļ§āļĨāđ€āļĨāļĒāļ™ āļ•āļ§āļžāļ™āļ—āđ€āļ­āļ‡āļāđ„āļĄāđ„āļ”āđƒāļŦāļāļĄāļēāļ āđ€āļĢāļēāļˆāļ‡āļ•āļ­āļ‡āļ—āļģāļēāđƒāļŦāđāļ™āđƒāļˆāļ§āļēāļ‚āļ™āļēāļ”āļ—āđƒāļŠāļ™āļ™āļŠāļĄāļŠāļ§āļ™āļāļšāļ āļēāļžāļĢāļ§āļĄ āļœāļĄāļ§āļēāļĄāļ™āđ€āļ›āļ™āđ€āļĢāļ­āļ‡āļŠāļģāļēāļ„āļāļĄāļēāļāđ†

art4d: āļ„āļ“āļ„āļ”āļ­āļĒāļēāļ‡āđ„āļĢāļāļšāļ—āļ•āļ‡?PS: āļ—āļˆāļĢāļ‡āļĄāļ™āļāļĄāļ—āļ‡āļ‚āļ­āļ”āđāļĨāļ°āļ‚āļ­āđ€āļŠāļĒ āļ•āļ­āļ™āđāļĢāļāļ—āļœāļĄāđ„āļ”āļĄāļēāđ€āļŦāļ™āļžāļ™āļ— āļœāļĄāļĄāļ„āļ§āļēāļĄāđ€āļ„āļĨāļ­āļšāđāļ„āļĨāļ‡āļ§āļēāļĄāļ™āļˆāļ°āļ­āļ­āļāđ€āļ›āļ™āđ‚āļĢāļ‡āđāļĢāļĄāļ—āļ”āđ„āļ”āļŦāļĢāļ­āđ„āļĄ āđāļ•āļŦāļĨāļ‡āļˆāļēāļāļ—āđ€āļĢāļēāđ„āļ” Martin āļĄāļēāļĢāļ§āļĄāļ—āļĄ āđāļĨāļ°āđ„āļ”āļĄāļāļēāļĢāđāļĨāļāđ€āļ›āļĨāļĒāļ™āļ„āļ§āļēāļĄāļ„āļ” āļĄāļāļēāļĢāļ›āļĢāļāļĐāļēāļŦāļēāļĢāļ­āļāļ™ āđ€āļĢāļēāļāļ„āļ­āļ™āļ‚āļēāļ‡āļĄāļ™āđƒāļˆāļ§āļēāđ€āļĢāļēāļŠāļēāļĄāļēāļĢāļ–āļŦāļēāļ§āļ˜āļ—āļˆāļ°āļ—āļģāļēāđƒāļŦāļŠāļ–āļēāļ™āļ—āļĄāļ„āļ§āļēāļĄāļžāđ€āļĻāļĐāđ„āļ” āđ€āļĢāļēāļŠāļēāļĄāļēāļĢāļ–āđƒāļŠāļŠāļ–āļēāļ™āļ—āđƒāļŦāđ€āļāļ”āļ›āļĢāļ°āđ‚āļĒāļŠāļ™āļŠāļ‡āļŠāļ” āļ­āļĒāļēāļ‡āļŠāļĢāļ°āļ§āļēāļĒāļ™āļģāļēāđƒāļ™āļŠāļ™āļšāļ™ āļ™āļ™āļ­āļ­āļāļĄāļēāļĢāļ°āļŦāļ§āļēāļ‡āļ‚āļ™- āļ•āļ­āļ™āļ­āļ­āļāđāļšāļš āđ€āļĢāļēāđ„āļĄāđ„āļ”āļ§āļēāļ‡āđāļœāļ™āļˆāļ°āļĄāļĄāļ™āļāļ­āļ™āļŦāļ™āļēāļ™ āđ€āļĢāļēāļāļģāļēāļĨāļ‡āļŠāļĢāļēāļ‡āļžāļēāļ§āļĨāđ€āļĨāļĒāļ™āđāļĨāļ°āļ„āļ”āļ§āļēāļ–āļēāđ€āļĢāļēāļ‚āļ™āđ„āļ›āļ‚āļēāļ‡āļšāļ™āđāļĨāļ§āļŠāļēāļĄāļēāļĢāļ–āđƒāļŠāļžāļ™āļ—āđ„āļ” āļĄāļ™āļ„āļ‡āļˆāļ°āļ”āļ—āđ€āļ”āļĒāļ§ āđ€āļĢāļēāđ€āļĨāļĒāļ„āļ”āļ§āļēāļ–āļēāļ­āļĒāļēāļ‡āļ™āļ™āļ—āļģāļēāđ„āļĄāđ„āļĄāļ—āļģāļēāļŠāļĢāļ°āļ™āļģāļēāđ„āļ›āđ€āļĨāļĒāļĨāļ° āļŠāļĢāļ°āđ€āļĨāļāđ† āļ—āđƒāļŠāļ§āļēāļĒāđ„āļ›āļāļĨāļšāđ„āļ” āđāļ•āļ”āļ” āđƒāļ™āļ—āļŠāļ”āđ€āļĢāļēāļāđ„āļ”āļŠāļĢāļ°āļ§āļēāļĒāļ™āļģāļēāļ‚āļ™āļēāļ”āļĒāļēāļ§āļāļģāļēāļĨāļ‡āļ” āļžāļĢāļ­āļĄāļāļšāļ—āļŸāļ•āđ€āļ™āļŠāđ€āļĨāļāđ† āļ–āļēāđ€āļāļ”āļ§āļēāđ€āļĢāļēāđ„āļĄāđ„āļ”āļ—āļģāļēāļŠāļĢāļ°āļ§āļēāļĒāļ™āļģāļēāļĄāļ™āļ„āļ‡āļ™āļēāđ€āļŠāļĒāļ”āļēāļĒāļĄāļēāļ āđ€āļžāļĢāļēāļ°āļ§āļ§āļ•āļĢāļ‡āļ™āļŠāļ§āļĒāļĄāļēāļāđ€āļĨāļĒ

art4d: āđāļ•āļĒāļ­āļ™āļāļĨāļšāđ„āļ›āļ™āļ”āļ™āļ‡āļ™āļ° āļ„āļ“āļšāļ­āļāļ§āļēāļ•āļ­āļ™āļ—āļ„āļ“āđ€āļŦāļ™āļŠāļ–āļēāļ™āļ—āļ„āļĢāļ‡āđāļĢāļāđāļĨāļ°āđ„āļĄāđāļ™āđƒāļˆāļ§āļēāļ™āļˆāļ°āđ€āļ›āļ™āđ‚āļĢāļ‡āđāļĢāļĄāļ—āļ”āđ„āļ” āļ„āļ“āļ„āļ”āļ­āļĒāļēāļ‡āļ™āļ™āđ€āļžāļĢāļēāļ°āļ•āļģāļēāđāļŦāļ™āļ‡āļ—āļĄāļ™āļ­āļĒāļŦāļĢāļ­āđ€āļžāļĢāļēāļ°āļ‚āļ™āļēāļ”āļ‚āļ­āļ‡āļĄāļ™?PS: āđ€āļžāļĢāļēāļ°āļ•āļģāļēāđāļŦāļ™āļ‡āļ‚āļ­āļ‡āļĄāļ™ āļ„āļ“āļāļ•āļ­āļ‡āļœāļēāļ™āļ‹āļ­āļĒāđƒāļŦāļāđ€āļ‚āļēāļĄāļēāļāļ­āļ™āļ‹āļ­āļĒāļ™āļ‡āđāļĨāļ§āļ„āļ“āļ•āļ­āļ‡āđ€āļĨāļĒāļ§āđ€āļ‚āļēāļ‹āļ­āļĒāđ€āļĨāļ āļˆāļēāļāļ™āļ™āļāļœāļēāļ™āļ—āļēāļ§āļ™āđ€āļŪāļēāļŠāļĄāļēāļāļ­āļ™āļ—āļˆāļ°āļĄāļēāļ–āļ‡āļ—āļ™ āļ‹āļ‡āļŠāļģāļēāļŦāļĢāļšāļœāļĄāđāļĨāļ§āļĄāļ™āđ€āļ›āļ™āļ„āļ§āļēāļĄāļ—āļēāļ—āļēāļĒāļŠāļģāļēāļŦāļĢāļšāđ‚āļĢāļ‡āđāļĢāļĄ āđ€āļžāļĢāļēāļ°āđ€āļĢāļēāļˆāļ°āļ”āļ‡āđƒāļŦāļĄāđāļ‚āļāđ€āļ‚āļēāļĄāļēāđ„āļ”āļ­āļĒāļēāļ‡āđ„āļĢ? āđ€āļĢāļēāļāļžāļĒāļēāļĒāļēāļĄāļ—āļˆāļ°āļ—āļģāļēāļŠāļ§āļ™āļ‚āļ­āļ‡āđ€āļĢāļēāđƒāļŦāļ”āļ—āļŠāļ”āļˆāļēāļāļŠāļ‡āļ—āđ€āļĢāļēāļĄāđāļĨāļ§āļ—āļģāļēāđƒāļŦāļĄāļ™āļ™āļēāļ”āļĄāļēāļāļ—āļŠāļ”

art4d: āđāļĨāļ§āđ€āļĢāļ­āļ‡āļŦāļ­āļ‡āļžāļ āļĢāļŠāļāļ§āļēāļ—āļāļ­āļĒāļēāļ‡āļ–āļāļ—āļģāļēāđƒāļŦāđ€āļāļ”āļ›āļĢāļ°āđ‚āļĒāļŠāļ™ āđƒāļ™āļ™PS: āļ„āļĢāļš āļ•āļ§āļŦāļ­āļ‡āļ™āļ™āļĄāļ‚āļ™āļēāļ”āļĢāļēāļ§ 24 āļŦāļĢāļ­ 25 āļ•āļēāļĢāļēāļ‡āđ€āļĄāļ•āļĢ āđāļ•āļ§āļēāļāļ™āļ•āļĢāļ‡āđ† āđ€āļĨāļĒāļ™āļ°āļ„āļĢāļš āđ€āļĢāļēāđ„āļĄāđ€āļ„āļĒāļ•āļ­āļ‡āļ—āļģāļēāļŦāļ­āļ‡āļŠāļģāļēāļŦāļĢāļšāđ‚āļĢāļ‡āđāļĢāļĄāđƒāļ™āļ‚āļ™āļēāļ”āđ€āļĨāļāđ€āļ—āļēāļ™āļĄāļēāļāļ­āļ™ āļŠāļ§āļ™āļĄāļēāļāđ€āļĢāļēāļāļˆāļ°āđ„āļ”āļžāļ™āļ—āļ­āļĒāļēāļ‡āļ™āļ­āļĒ 35 āļ•āļēāļĢāļēāļ‡- āđ€āļĄāļ•āļĢ āđ€āļĢāļēāļžāļĒāļēāļĒāļēāļĄāļĄāļēāļāđƒāļ™āļāļēāļĢāđƒāļŠāļŠāļ‡āļ­āļģāļēāļ™āļ§āļĒāļ„āļ§āļēāļĄāļŠāļ°āļ”āļ§āļāđƒāļŦāļ„āļĢāļšāļ—āļāļ­āļĒāļēāļ‡āļ—āđ‚āļĢāļ‡āđāļĢāļĄ 4 āļ”āļēāļ§ āļ„āļ§āļĢāļˆāļ°āļĄāđ€āļ­āļēāđ„āļ§āđƒāļ™āļŦāļ­āļ‡āļ™ āļ–āļēāļ„āļ“āļĄāļ­āļ‡āļ•āļēāļĄāļĄāļēāļ•āļĢāļāļēāļ™āļ‚āļ­āļ‡ B&B āļ—āļ§āđ„āļ›āļ„āļ“āļāļ„āļ‡āđ„āļĄāđ€āļŦāļ™āļ‚āļ­āļ‡āļžāļ§āļāļ™ āđ€āļĢāļēāļĄāļ—āļ‡āļĄāļ™- āļšāļēāļĢ āļĄāļ•āđ€āļŠāļ­āļœāļēāļ‚āļ™āļēāļ”āļĄāļēāļ•āļĢāļāļēāļ™ āļĄāļŠāļ‡āļ­āļģāļēāļ™āļ§āļĒāļ„āļ§āļēāļĄāļŠāļ°āļ”āļ§āļāļžāļ§āļāļ™ āļ–āļ‡āđāļĄāđ€āļĢāļēāļˆāļ°āđ„āļĄāļĄāļ­āļēāļ‡āļ­āļēāļšāļ™āļģāļēāđƒāļ™āļŦāļ­āļ‡āļ™āļģāļē āđāļ•āđ€āļĢāļēāļĄāļāļāļšāļ§āļŠāļ™āđ€āļĨāļĻ āđ€āļĢāļēāļĄāļ—āļāļ­āļĒāļēāļ‡āļ—āļ„āļ“āļˆāļ°āļ™āļāđ„āļ”āđƒāļ™āđ‚āļĢāļ‡āđāļĢāļĄ 4 āļ”āļēāļ§ āļ”āļ‡āļ™āļ™āđ€āļĢāļ­āļ‡āļ‡āļēāļ™āļ•āļāđāļ•āļ‡āļ āļēāļĒāđƒāļ™ āđ€āļĢāļēāļžāļĒāļēāļĒāļēāļĄāļ—āļˆāļ°āļŦāļēāļāļēāļĢāļˆāļ”āļ§āļēāļ‡āļ—āļ•āļĢāļ‡āļāļšāļˆāļ”āļ›āļĢāļ°āļŠāļ‡āļ„ āđāļĨāļ°āļāļ­āļ™āļ—āđ€āļĢāļēāļˆāļ°āļĄāļēāļŠāļĢāļ›āļāļ™āļ—āđ€āļĨāļĒāđ€āļ­āļēāļ—āđāļšāļšāļ™ āđ€āļĢāļēāđ„āļ”āļ—āļ”āļĨāļ­āļ‡ āļœāļĄāļ§āļēāļĄāļēāļāļāļ§āļē 20 āđ€āļĨāļĒāđ€āļ­āļēāļ—āļĄāļēāđāļĨāļ§ āđāļĨāļ§āļāļ„āļĒāļāļšāļ„āļ“āļāļ§āļ™āđāļĨāļ° Martin āđ€āļžāļ­āļ—āļˆāļ°āđ€āļĨāļ­āļāđāļšāļšāļ—āđ€āļĢāļēāļ„āļ”āļ§āļēāđ€āļāļ”āļ›āļĢāļ°āđ‚āļĒāļŠāļ™āđāļĨāļ°āđƒāļŠāļ‡āļēāļ™āđ„āļ”āļ„āļĄāļ„āļēāļ—āļŠāļ” āļĒāļāļ•āļ§āļ­āļĒāļēāļ‡āđ€āļŠāļ™ āļĄāļ™āļšāļēāļĢāļ­āļ™āļ™ āđ€āļĢāļēāļ•āļ­āļ‡āđ€āļ­āļēāļžāļ§āļāđ€āļ„āļĢāļ­āļ‡āđƒāļŠāļ—āļ‡āļŦāļĄāļ”āđ„āļ§āđƒāļ™āļāļĨāļ­āļ‡āļ™ āđ€āļĢāļēāļ•āļ­āļ‡āđƒāļŠāļ•āđ€āļĒāļ™ āļžāļĒāļēāļĒāļēāļĄāļˆāļ°āđƒāļŦāļĨāļ™āļŠāļāļ­āļĒāļ”āļēāļ™āļ‚āļēāļ‡ āđāļĨāļ°āļ•āļĢāļ‡āļ›āļĢāļ°āļ• āđāļĨāļ§āļāđƒāļŠāļĄāļ™āļšāļēāļĢāđ„āļ§āļ•āļĢāļ‡āļ™ āđ€āļĢāļēāļžāļĒāļēāļĒāļēāļĄāļˆāļ°āđ€āļ­āļēāđāļŠāļ‡āđ€āļ‚āļēāļĄāļēāđƒāļŠāđƒāļ™āļ—āļāļĄāļĄāļŦāļ­āļ‡ āļ™āļ™āđ€āļ›āļ™āļŠāļēāđ€āļŦāļ•āļ—āđ€āļĢāļēāļ•āļ­āļ‡āđƒāļŠ muted glass āļ‚āļēāļ‡āđƒāļ™āļŦāļ­āļ‡āļ™āļģāļē āđ€āļžāļĢāļēāļ°āļŠāļ§āļ™āļ•āļ§āđāļĨāļ§āļœāļĄāđ€āļāļĨāļĒāļ”āļāļēāļĢāļ­āļēāļšāļ™āļģāļēāđƒāļ™āļ—āļĄāļ” āļŦāļĢāļ­āļŦāļ­āļ‡āļ™āļģāļēāļ—āđ„āļĄāļĄāđāļŠāļ‡āļ˜āļĢāļĢāļĄāļŠāļēāļ• āļ”āļ‡āļ™āļ™āļ–āļ‡āđāļĄāļ§āļēāđ€āļĢāļēāļˆāļ°āđ„āļĄāđ„āļ”āļĄāļŦāļ­āļ‡āļ™āļģāļēāļ­āļĒāđƒāļāļĨāļāļšāļŦāļ™āļēāļ•āļēāļ‡ āđ€āļĢāļēāļāļ­āļĒāļēāļāđƒāļŦāļĄāđāļŠāļ‡āļ˜āļĢāļĢāļĄāļŠāļēāļ•āđ„āļŦāļĨāđ€āļ‚āļēāđ„āļ›āđƒāļ™āļžāļ™āļ—āļ­āļēāļšāļ™āļģāļēāļŠāļģāļēāļŦāļĢāļšāļ—āļāđ† āļŦāļ­āļ‡ āđāļĨāļ°āļŠāļ”āļ—āļēāļĒāđ€āļĢāļēāļāļ—āļģāļēāđ„āļ” āđ€āļĢāļēāđƒāļŠāđƒāļˆāļāļšāļĢāļēāļĒ- āļĨāļ°āđ€āļ­āļĒāļ”āđ€āļ›āļ™āļžāđ€āļĻāļĐ āļ­āļĒāļēāļ‡āļ•āļģāļēāđāļŦāļ™āļ‡āļ‚āļ­āļ‡āđ€āļ„āļĢāļ­āļ‡āļ›āļĢāļšāļ­āļēāļāļēāļĻ āļ§āļ˜āļ‹āļ­āļ™āļĄāļ™āđƒāļŦāđ€āļŦāļĄāļēāļ°āļŠāļĄ āļĢāļ§āļĄāļ–āļ‡āļāļēāļĢāļŦāļēāļˆāļ”āļ§āļēāļ‡āļ—āļ§ āđāļĨāļ°āļ§āļ˜āļ—āļģāļēāđƒāļŦāļŦāļ­āļ‡āļ”āļŠāļ°āļ­āļēāļ” āđ€āļžāļĢāļēāļ°āļĄāđāļ‚āļāļ—āļĄāļēāđƒāļŠāđ‚āļĢāļ‡āđāļĢāļĄāļŦāļĨāļēāļĒāđāļšāļš āļĄāļ„āļ™āļ—āļĄāļēāļˆāļēāļāđ‚āļĢāļ‡āļžāļĒāļēāļšāļēāļĨ āļšāļēāļ‡āļ„āļ™āļĄāļēāđ€āļžāļ­āļŠāļĄāļœāļŠāļāļšāļ˜āļĢāļĢāļĄāļŠāļēāļ• āļšāļēāļ‡āļ„āļ™āļĄāļēāđ€āļžāļ­āļ˜āļĢāļāļˆ āļ”āļ‡āļ™āļ™āđƒāļ™āđāļ‡āļ‚āļ­āļ‡āļāļēāļĢāļ•āļāđāļ•āļ‡āļ āļēāļĒāđƒāļ™āļ‚āļ­āļ‡āļŦāļ­āļ‡ āļāļēāļĢāļˆāļ°āļ—āļģāļēāđƒāļŦāđāļ‚āļāļ—āļāļ›āļĢāļ°āđ€āļ āļ—āļĢāļŠāļāļžāļ­āđƒāļˆ āļĄāļ™āđ€āļ›āļ™āđ€āļĢāļ­āļ‡āđ€āļ‰āļžāļēāļ°āļ•āļ§āļĄāļēāļ āđ€āļĢāļēāļˆāļ‡āļžāļĒāļēāļĒāļēāļĄāđƒāļŦāļāļēāļĢāļ•āļāđāļ•āļ‡ āļ”āđ€āļ›āļ™āļ˜āļĢāļĢāļĄāļŠāļēāļ•āļĄāļēāļ āļ”āđ€āļ›āļ™āļāļĨāļēāļ‡āļĄāļēāļāļ—āļŠāļ”

art4d : Can you tell us about the expansion?PS : It is connected to the other side and we will be trying to add more rooms, probably in a bigger size to serve different clientele and trying to add in a meeting space and a spa, maybe. The functions that appear in good hotels, we are trying to put it in, bit by bit. And the challenge is how we can connect this property to the new one.

art4d : I am sure that most people couldn’t imagine that this could happen in this space.PS : That is right. And I think, as a designer, I think that we can turn most of the shophouses in Bangkok into something that is useable. Many are empty and even though there are some in good areas, they are left empty, and we can turn them into something that is useable. Most of the townhouses in this area are not for living in anymore, they are for commercial use. Some are offices, some are spas, salons. So, I think it is good for their business if we have this hotel situated here, I think it can bring benefit. And even some, they have turned themselves into a small hotel. It is kind of interesting isn’t it? And I think this is a good example to show how if we really push it we can do something nicely even in the existing structure, rather than knocking the whole thing out and building a new one. It is much more fun, more challenging and I think it gives you a good feeling, everybody has a good feeling that you can keep the harmony of the neighborhood’s look but bring the new soul into the existing building.

art4d : Do you have a favorite place in the hotel? What is your favorite space?PS : There are many corners that I like, but I think I personally like the junction by the stair, that is the connection between the old town-house building and the new structure. I think that this is the space that I really like because this is the place where the stairs, ventilation, and the natural light flow into this space just before the guests enter into the room. Actually this was created by Martin, and he was really clever to put this instead of having just a normal staircase. We created a nice, inviting staircase and you notice that the junctions on the left sides and the right sides are a little bit different. It is very clever.

art4d : Let’s talk about the design of the guest rooms. I feel like everything is useful in this space. PS : Yes, the room itself is about 24 or 25 sqm. And frankly speaking we had never done a hotel room in such a small size before. Mostly we are working with at least 35 sqm, We tried so hard to put all the modern facilities of the 4 star hotel into this room. If you are looking at typical bed and breakfast standards, you won’t see these kinds of things. We have the minibar, we have the full-sized wardrobe, we have all of those amenities, and even though we don't have the bathtub in the bathroom, we have the state of the art shower and we have all you would expect from a modern 4 star hotel. In terms of the interior design we are trying to search for the layout that could best serve the purpose and utilize the space, such a small space. Before we ended up with this layout here we tried I think more than 20 types of layouts and discussed with Gavin and Martin to choose the one that we thought would be the most useful, the most functional. For example, like this minibar, we had to put all of the amenities in this box. We had to put the fridge and make the drawer on the side and the front door and then insert the minibar here to make it work. And we are trying to bring the light into every corner of the room. That is why we had to put in the muted glass into the bathroom, because I personally hate to take a bath in the dark, and have bathrooms with no natural light, so even though we can’t have the bathroom next to the window we are trying to bring in the natural light to flow into that bath area in every room, and we did manage to achieve that. We really paid attention to the details, like the posi-tioning of the air-conditioning, how to conceal it properly, and where to put the TV. How to make the room look clean. It looks clean most of the time and you know the guests who are come and stay in this hotel, there are so many types of guests. There are the ones that come to use the hospital, some come for the nature, some come for business so in terms of the interior decora-tion of the room, how to make all the guests feel happy? It is very subjective sometimes, so we try to make it very natural and very neutral.

art4d : Are there other features that you particularly did in a certain way to match the clientele? PS : We must remind ourselves that we are not doing a hip hotel. We are doing a good-sized hotel and a comfortable hotel and a comfort-able room and we are giving the guests all the modern functions and amenities and making the appearance look good to them, that is all. That is our goal. We are not trying to make it look trendy or fashionable, that is not our goal at all.

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āļĄāļ™āļšāļēāļĢāļ—āļĄāļēāļžāļĢāļ­āļĄāļ•āđ€āļāļšāļ‚āļ­āļ‡

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āļŦāļ­āļ‡āļžāļāļ‹āļ‡āļ›āļĢāļšāļ›āļĢāļ‡āļˆāļēāļāļ­āļēāļ„āļēāļĢ āļ—āļēāļ§āļ™āđ€āļŪāļēāļŠāđ€āļ”āļĄ āļ–āļāļ­āļ­āļāđāļšāļšāđƒāļŦāđ„āļ”āļĢāļšāđāļŠāļ‡āļ˜āļĢāļĢāļĄāļŠāļēāļ•

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an art4d supplement 17

art4d: āļĄāļˆāļ”āđ€āļ”āļ™āļ­āļ°āđ„āļĢāļ­āļāļšāļēāļ‡āļ—āļ„āļ“āļ—āļģāļēāđ‚āļ”āļĒāđ€āļ‰āļžāļēāļ°āđ€āļžāļ­āļĢāļ­āļ‡āļĢāļšāļ„āļ§āļēāļĄāļ•āļ­āļ‡āļāļēāļĢāļ‚āļ­āļ‡āļĨāļāļ„āļē?PS: āđ€āļĢāļēāļ•āļ­āļ‡āļ„āļ­āļĒāđ€āļ•āļ­āļ™āļ•āļ§āđ€āļĢāļēāļ§āļēāđ€āļĢāļēāđ„āļĄāđ„āļ”āļāļģāļēāļĨāļ‡āļ—āļģāļē hip hotel āļ­āļĒ āđ€āļĢāļēāļāļģāļēāļĨāļ‡āļ—āļģāļēāđ‚āļĢāļ‡āđāļĢāļĄāļ‚āļ™āļēāļ”āļžāļ­āļ”āđ† āđ‚āļĢāļ‡āđāļĢāļĄāļ—āđƒāļŦāļ„āļ§āļēāļĄāļŠāļšāļēāļĒāđ€āļ›āļ™āļŦāļĨāļ āļĄāļŦāļ­āļ‡āļ—āļŠāļšāļēāļĒ āļĄāļāļēāļĢāđƒāļŠāļ‡āļēāļ™āđāļĨāļ°āļ­āļ›āļāļĢāļ“āļ—āļ—āļ™āļŠāļĄāļĒ āļžāļĢāļ­āļĄāļāļšāļ āļēāļž- āļĨāļāļĐāļ“āļ—āļ”āļ”āļŠāļģāļēāļŦāļĢāļšāļĨāļāļ„āļēāđ€āļžāļĒāļ‡āđāļ„āļ™āļ™ āļ™āļ™āļ„āļ­āđ€āļ›āļēāļŦāļĄāļēāļĒāļ‚āļ­āļ‡āđ€āļĢāļē āđ€āļĢāļēāđ„āļĄāļ•āļ­āļ‡āļāļēāļĢāļ—āļģāļēāđƒāļŦāļĄāļ™āļ”āļ­āļ™āđ€āļ—āļĢāļ™āļ”āļŦāļĢāļ­āļ•āļēāļĄāļŠāļĄāļĒāļ™āļĒāļĄ āļ™āļ™āđ„āļĄāđƒāļŠ āđ€āļ›āļēāļŦāļĄāļēāļĒāļ‚āļ­āļ‡āđ€āļĢāļēāđ€āļĨāļĒ

art4d: āļ„āļ“āļŠāļ§āļĒāđ€āļĨāļēāđ€āļāļĒāļ§āļāļšāļŠāļ§āļ™āļ•āļ­āđ€āļ•āļĄāđƒāļŦāļŸāļ‡āļŦāļ™āļ­āļĒāđ„āļ”āđ„āļŦāļĄāļ§āļēāļĄāļ™āļˆāļ°āđ€āļ›āļ™āļ­āļĒāļēāļ‡āđ„āļĢ? PS: āļĄāļ™āļˆāļ°āđ€āļŠāļ­āļĄāļ­āļāļ”āļēāļ™āļŦāļ™āļ‡āđāļĨāļ°āđ€āļĢāļēāļˆāļ°āļžāļĒāļēāļĒāļēāļĄāđ€āļžāļĄāļŦāļ­āļ‡āļžāļāđƒāļŦāļĄāļēāļāļ‚āļ™ āđƒāļ™āļ‚āļ™āļēāļ”āļ—āđƒāļŦāļāļ‚āļ™āđ€āļžāļ­āļĢāļ­āļ‡āļĢāļšāļĨāļāļ„āļēāļŦāļĨāļēāļĒāđ† āđāļšāļš āđāļĨāļ°āļžāļĒāļēāļĒāļēāļĄāļˆāļ°āđ€āļžāļĄāļžāļ™āļ—āļŠāļģāļēāļŦāļĢāļšāļāļēāļĢāļ›āļĢāļ°āļŠāļĄ āđāļĨāļ°āļŠāļ›āļēāļ”āļ§āļĒ āļŸāļ‡āļāļŠāļ™āļ—āļĄāđƒāļ™āđ‚āļĢāļ‡āđāļĢāļĄāļ”āđ† āđ€āļĢāļēāļˆāļ°āļ„āļ­āļĒāđ† āđ€āļžāļĄāđ€āļ•āļĄāđ€āļŠāļĢāļĄāđ€āļ‚āļēāđ„āļ›āļ—āļĨāļ°āļ™āļ” āļ„āļĢāļēāļ§āļ™āļŠāļ‡āļ—āđ€āļ›āļ™āļ„āļ§āļēāļĄāļ—āļēāļ—āļēāļĒāļāļ„āļ­āđ€āļĢāļēāļˆāļ°āđ€āļŠāļ­āļĄāļžāļ™āļ—āļ™āļāļšāļžāļ™āļ—āđƒāļŦāļĄāļ­āļĒāļēāļ‡āđ„āļĢ

art4d: āļ„āļ™āļŠāļ§āļ™āļĄāļēāļāļ„āļ‡āļ„āļ”āļ§āļēāđ„āļĄāļ™āļēāļˆāļ°āļĄāļ­āļ°āđ„āļĢāđāļšāļšāļ™āđ€āļāļ”āļ‚āļ™āđƒāļ™āļĨāļ°āđāļ§āļāļ™āđ„āļ”PS: āđƒāļŠāļ„āļĢāļš āđāļĨāļ°āļœāļĄāļ§āļēāđƒāļ™āļāļēāļ™āļ°āļ™āļāļ­āļ­āļāđāļšāļš āđ€āļĢāļēāļŠāļēāļĄāļēāļĢāļ–āđ€āļ›āļĨāļĒāļ™āļ•āļāđāļ–āļ§āļ­āļāļĄāļēāļāđƒāļ™āļāļĢāļ‡āđ€āļ—āļžāļŊ āļ•āļāļĢāļēāļ‡āđ† āđ€āļŦāļĨāļēāļ™āļ™ āļ—āđāļĄāļˆāļ°āļ­āļĒāđƒāļ™āļĒāļēāļ™āļ”āđ† āđāļ•āļāđ„āļĄāđ„āļ”āļ–āļāđƒāļŠāļ‡āļēāļ™āđāļĨāļ§ āđƒāļŦāđ€āļāļ”āļ›āļĢāļ°āđ‚āļĒāļŠāļ™āđ„āļ” āļ—āļēāļ§āđ€āļŪāļēāļŠāļŠāļ§āļ™āļĄāļēāļāđƒāļ™āļĒāļēāļ™āļ™āđ„āļĄāļĄāļ„āļ™āļ­āļĒāļ­āļēāļĻāļĒāļ­āļāđāļĨāļ§ āļĄāļ™āļ–āļāđƒāļŠāđƒāļ™āđ€āļŠāļ‡āļžāļēāļ“āļŠāļĒāđ„āļ›āļŦāļĄāļ” āļšāļēāļ‡āđāļŦāļ‡āļāđ€āļ›āļ™āļŠāļģāļēāļ™āļāļ‡āļēāļ™ āļšāļēāļ‡āđāļŦāļ‡āļāđ€āļ›āļ™āļŠāļ›āļē āļĢāļēāļ™āļ—āļģāļēāļœāļĄ āļœāļĄāļ„āļ”āļ§āļēāļĄāļ™āļ”āļ•āļ­āļ˜āļĢāļāļˆāļ‚āļ­āļ‡āđ€āļ‚āļēāļ–āļēāļĄāđ‚āļĢāļ‡āđāļĢāļĄāļ•āļ‡āļ­āļĒāđāļ–āļ§āļ™ āļœāļĄāļ„āļ”āļ§āļēāļĄāļ™āļˆāļ°āļ™āļģāļēāļĄāļēāļ‹āļ‡āļ›āļĢāļ°āđ‚āļĒāļŠāļ™ āļ–āļ‡āđāļĄāļ§āļēāļˆāļ°āļĄāļšāļēāļ‡āļ„āļ™āļ—āļ—āļģāļēāđƒāļŦāļĄāļ™āđ€āļ›āļ™āđ‚āļĢāļ‡āđāļĢāļĄāđ€āļĨāļāđ† āļāļ•āļēāļĄ āļœāļĄāļ„āļ”āļ§āļēāļĄāļ™āļ™āļēāļŠāļ™āđƒāļˆāļĄāļēāļāļ—āđ€āļ”āļĒāļ§ āđāļĨāļ°āļœāļĄāļāļ„āļ”āļ§āļēāļ™āđ€āļ›āļ™āļ•āļ§āļ­āļĒāļēāļ‡āļ—āļ”āļ—āđāļŠāļ”āļ‡āđƒāļŦāļ„āļ™āđ€āļŦāļ™āļ§āļēāļ–āļēāđ€āļĢāļēāļĄāļ„āļ§āļēāļĄāļžāļĒāļēāļĒāļēāļĄ āļāļŠāļēāļĄāļēāļĢāļ–āļ—āļģāļēāļ­āļ°āđ„āļĢāļ­āļ­āļāļĄāļēāļŠāļ§āļĒāļ‡āļēāļĄāđ„āļ”āđ‚āļ”āļĒāđƒāļŠāđ‚āļ„āļĢāļ‡āļŠāļĢāļēāļ‡āđ€āļ”āļĄāļ‚āļ­āļ‡āļ•āļāđāļ–āļ§ āđāļ—āļ™āļ—āļˆāļ°āļ—āļšāļ—āļ‡āļ­āļ­āļāļ—āļ‡āļŦāļĄāļ”āđāļĨāļ°āļŠāļĢāļēāļ‡āļ­āļ°āđ„āļĢāļ‚āļ™āļĄāļēāđƒāļŦāļĄ āļ‹āļ‡āļĄāļ™āļŠāļ™āļāļĄāļēāļāļāļ§āļē āđāļĨāļ°āļ—āļēāļ—āļēāļĒāļāļ§āļēāđāļĨāļ°āļœāļĄāļ„āļ”āļ§āļēāļĄāļ™āļ—āļģāļēāđƒāļŦāļ„āļ“āļĢāļŠāļāļ” āļ—āļāļ„āļ™āļˆāļ°āļĢāļŠāļāļ”āļ—āļ„āļ“āļŠāļēāļĄāļēāļĢāļ–āļĢāļāļĐāļēāļ„āļ§āļēāļĄāļāļĨāļĄāļāļĨāļ™āļ‚āļ­āļ‡āļĢāļ›āļĨāļāļĐāļ“āđƒāļ™āļĨāļ°āđāļ§āļāļĒāļēāļ™ āđāļ•āļāļ”āļ‡āļŠāļ§āļ•āđƒāļŦāļĄāļ­āļ­āļāļĄāļēāļˆāļēāļāļ•āļāđ€āļāļē

art4d: āļ„āļ“āļĄāļ—āđ‚āļ›āļĢāļ”āđƒāļ™āđ‚āļĢāļ‡āđāļĢāļĄāļšāļēāļ‡āđ„āļŦāļĄ? āļ•āļĢāļ‡āđ„āļŦāļ™āđ€āļ›āļ™āļžāļ™āļ—āļ—āļ„āļ“āļŠāļ­āļšāļĄāļēāļāļ—āļŠāļ”PS: āļœāļĄāļŠāļ­āļšāļ­āļĒāļŦāļĨāļēāļĒāļĄāļĄ āđāļ•āļŠāļ§āļ™āļ•āļ§āđāļĨāļ§āļœāļĄāļŠāļ­āļšāļˆāļ”āđ€āļŠāļ­āļĄāļ•āļĢāļ‡āļšāļ™āđ„āļ” āļĄāļ™āđ€āļ›āļ™āļˆāļ”āļ—āđ€āļŠāļ­āļĄāļĢāļ°āļŦāļ§āļēāļ‡āļ­āļēāļ„āļēāļĢāđ€āļāļēāļāļšāđ‚āļ„āļĢāļ‡āļŠāļĢāļēāļ‡āđƒāļŦāļĄ āļœāļĄāļ§āļēāļ™āļ„āļ­āļžāļ™āļ—āļ—āļœāļĄāļŠāļ­āļšāļĄāļēāļāđ€āļžāļĢāļēāļ°āļ§āļēāļĄāļ™āđ€āļ›āļ™āļ—āļ—āđ€āļ›āļ™āļšāļ™āđ„āļ”āļĨāļ‡āļĄāļē āđāļĨāļ°āđ€āļĢāļēāļāļˆāļ°āđ„āļ”āļāļēāļĢāļŦāļĄāļ™āđ€āļ§āļĒāļ™āļ‚āļ­āļ‡āļ­āļēāļāļēāļĻāļ—āđāļŠāļ‡āļ˜āļĢāļĢāļĄāļŠāļēāļ•āļŠāļēāļĄāļēāļĢāļ–āđ„āļŦāļĨāđ€āļ‚āļēāļĄāļēāļŠāļžāļ™āļ—āļāļ­āļ™āļ—āđāļ‚āļāļˆāļ°āđ€āļ‚āļēāļŠāļŦāļ­āļ‡āļžāļāļ‚āļ­āļ‡āđ€āļ‚āļē Martin āđ€āļ›āļ™āļ„āļ™āļ„āļ”āđāļĨāļ°āļŠāļĢāļēāļ‡āļĄāļ™āļ‚āļ™āļĄāļē āđ€āļ‚āļēāļ‰āļĨāļēāļ”āļĄāļēāļāļ—āļ—āļģāļēāđāļšāļšāļ™ āđāļ—āļ™āļ—āđ€āļĢāļēāļˆāļ°āļĄāļšāļ™āđ„āļ” āļ˜āļĢāļĢāļĄāļ”āļē āļ‚āļ™āļĄāļē āđ€āļ‚āļēāļŠāļēāļĄāļēāļĢāļ–āļŠāļĢāļēāļ‡āļšāļ™āđ„āļ”āļ—āļŠāļ§āļĒāļ‡āļēāļĄāđāļĨāļ°āļ™āļēāđƒāļŠ āđāļĨāļ°āļ„āļ“āļĨāļ­āļ‡āļŠāļ‡āđ€āļāļ•āļ§āļēāļ—āļēāļ‡āļ”āļēāļ™āļ‹āļēāļĒāđāļĨāļ°āļ”āļēāļ™āļ‚āļ§āļēāļĄāļ„āļ§āļēāļĄāđāļ•āļāļ•āļēāļ‡ āļāļ™āđ€āļĨāļāļ™āļ­āļĒāļ”āļ§āļĒ āļ™āļ™āļ‰āļĨāļēāļ”āļĄāļēāļ art4d: āđƒāļ™āļ„āļ§āļēāļĄāļ„āļ”āļ‚āļ­āļ‡āļ„āļ“ āđ€āļ—āļĢāļ™āļ”āļ­āļ°āđ„āļĢāļ—āļˆāļ°āđ€āļāļ”āļ‚āļ™āđƒāļ™āļ­āļ™āļēāļ„āļ•

āļ‚āļ­āļ‡āļāļēāļĢāļ­āļ­āļāđāļšāļšāđ‚āļĢāļ‡āđāļĢāļĄāļšāļēāļ‡?PS: āļœāļĄāļĄāļ­āļ‡āđ„āļĄāđ€āļŦāļ™āđ€āļ—āļĢāļ™āļ”āļ­āļ°āđ„āļĢāđƒāļ™āđāļ‡āļ‚āļ­āļ‡āļāļēāļĢāļ•āļāđāļ•āļ‡āļŦāļĢāļ­āļ‡āļēāļ™āļŠāļ–āļēāļ›āļ•āļĒāļāļĢāļĢāļĄ āđāļ•āļœāļĄāļĄāļ­āļ‡āđ€āļŦāļ™āđ€āļ—āļĢāļ™āļ”āđƒāļ™āļ”āļēāļ™āļ‚āļ­āļ‡āļāļēāļĢāđƒāļŦāļšāļĢāļāļēāļĢ āļ§āļ˜āļ—āļģāļēāđƒāļŦāđāļ‚āļāļĢāļŠāļāļŠāļšāļēāļĒāļĄāļēāļāļ‚āļ™āđāļĨāļ°āļāļēāļĢāđƒāļŦāļšāļĢāļāļēāļĢāļ—āđ„āļ”āļ›āļĢāļ°āļŠāļ—āļ˜āļ āļēāļžāļĄāļēāļāļ‚āļ™ āļ•āļ§āļ­āļĒāļēāļ‡āđ€āļŠāļ™ āļ§āļ˜āđ€āļŠāļ„āļ­āļ™-āđ€āļŠāļ„āđ€āļ­āļēāļ— āđƒāļ™āļ—āļēāļ‡āļ—āļŠāļ°āļ”āļ§āļāļ—āļŠāļ” āļšāļēāļ‡āļ—āļ„āļ“āđ„āļĄāļ•āļ­āļ‡āļĄāļžāļ™āļ—āļ•āļ­āļ™āļĢāļšāđāļ‚āļāļ—āđ€āļ›āļ™āļ—āļēāļ‡āļāļēāļĢāļāđ„āļ” āļāļģāļēāļĨāļ‡āļĄāđ€āļ—āļĢāļ™āļ” āļ—āļĄāļ‡āđ„āļ›āļŠāļĢāļēāļ‡āļ›āļĢāļ°āļŠāļ—āļ˜āļ āļēāļžāđƒāļ™āļāļēāļĢāļšāļĢāļāļēāļĢ āļ­āļĒāļēāļ‡āđ€āļŠāļ™āļ„āļ“āļŠāļēāļĄāļēāļĢāļ–āđ€āļŠāļ„āļ­āļ™āļĨāļ§āļ‡āļŦāļ™āļēāđ„āļ”āļˆāļēāļāđ‚āļ—āļĢāļĻāļžāļ—āļĄāļ­āļ–āļ­ āļŦāļĢāļ­āļ­āļ°āđ„āļĢāđāļšāļšāļ™āļ™ āļāļēāļĢāđƒāļŠāđ€āļ—āļ„āđ‚āļ™āđ‚āļĨāļĒāđāļĨāļ°āļ­āļ›āļāļĢāļ“āļ—āļˆāļ°āļĄāļēāļŠāļ§āļĒāđƒāļŦāļāļēāļĢāļšāļĢāļāļēāļĢāļ„āļĨāļ­āļ‡āđāļ„āļĨāļ§āļĄāļēāļāļ‚āļ™ āđ„āļ”āļ›āļĢāļ°āļŠāļ—āļ˜- āļ āļēāļžāļĄāļēāļāļ‚āļ™ āđ„āļĄāļ§āļēāļˆāļ°āđ€āļ›āļ™āđ‚āļĢāļ‡āđāļĢāļĄāđ€āļĨāļ 2 āļ”āļēāļ§ 3 āļ”āļēāļ§ 4 āļ”āļēāļ§ 5 āļ”āļēāļ§ 6 āļ”āļēāļ§ āđ€āļ—āļĢāļ™āļ”āļāļģāļēāļĨāļ‡āļĄāļ‡āđ„āļ›āļĒāļ‡āļˆāļ”āļ™ āļĄāļ™āļ‚āļ™āļ­āļĒāļāļšāđ€āļ‡āļ™āļ—āļ™ āļ‚āļ™āļ­āļĒāļāļš āļ„āļ§āļēāļĄāļ›āļĢāļēāļ”āđ€āļ›āļĢāļ­āļ‡āđāļĨāļ°āļ§āļŠāļĒāļ—āļĻāļ™āļ‚āļ­āļ‡āđ€āļˆāļēāļ‚āļ­āļ‡āđāļĨāļ°āļ§āļ˜āļ›āļāļšāļ•āļāļēāļĢ

art4d: āđāļ•āđƒāļ™āļāļēāļ™āļ°āļ”āđ„āļ‹āđ€āļ™āļ­āļĢāļ„āļ“āļ„āļ”āļ§āļēāļ„āļ“āļ•āļ­āļ‡āļ•āļ­āļšāļŠāļ™āļ­āļ‡āļāļšāđ€āļ—āļĢāļ™āļ”āļ™āļ™āļ—āļēāļ‡āđƒāļ”āļ—āļēāļ‡āļŦāļ™āļ‡āļŦāļĢāļ­āđ€āļ›āļĨāļē?PS: āđāļ™āļ™āļ­āļ™āđ€āļĢāļēāļ•āļ­āļ‡āļ•āļ­āļšāļŠāļ™āļ­āļ‡ āđ€āļžāļĢāļēāļ°āđ€āļĢāļēāļ•āļ­āļ‡āļĢāļ§āļēāđ€āļ—āļĢāļ™āļ”āļ„āļ­āļ­āļ°āđ„āļĢ āļ•āļ­āļ‡āļĢāļ§āļ˜āđ€āļ­āļēāļžāļ™āļ—āļĄāļēāđƒāļŠāđƒāļŦāļ–āļāļ•āļ­āļ‡āļ•āļēāļĄāļāļēāļĢāđƒāļŠāļ‡āļēāļ™āļ—āļĄāļ™āļ•āļ­āļ‡āļāļēāļĢ āđ€āļŠāļ™āļ—āļ™ āđ€āļĢāļēāđ„āļĄāļĄāđ€āļ„āļēāļ™āđ€āļ•āļ­āļĢāļ•āļ­āļ™āļĢāļšāļĨāļāļ„āļē āđ€āļĢāļēāļĄāļēāļ›āļĢāļāļĐāļēāļāļ™āļ§āļēāđ€āļĢāļēāļŠāļēāļĄāļēāļĢāļ–āđƒāļŠāļ‡āļēāļ™āđ‚āļ”āļĒāđ„āļĄāļ•āļ­āļ‡āļĄāđ€āļ„āļēāļ™āđ€āļ•āļ­āļĢāđ€āļĨāļĒāđ„āļŦāļĄ? āļŦāļĢāļ­āđ‚āļ•āļ°āļ­āļ°āđ„āļĢāđ€āļĨāļĒ? āđƒāļŦāđāļ‚āļāđ€āļ”āļ™āđ€āļ‚āļēāļĄāļē āđ€āļ‚āļēāļĄāļēāđƒāļ™āļŦāļ­āļ‡āļ™āļ‡āđ€āļĨāļ™ āđāļĨāļ°āļĄāļžāļ™āļāļ‡āļēāļ™āđ€āļ‚āļēāđ„āļ›āļ•āļ­āļ™āļĢāļšāđāļĨāļ°āđ€āļŠāļāļžāļ§āļāđ€āļ‚āļēāđ„āļ›āļ™āļ‡āļžāļĢāļ­āļĄāļāļšāļ—āļģāļēāļāļēāļĢāđ€āļŠāļ„āļ­āļ™āđƒāļŦ āđāļ•āđ€āļĢāļēāļāļĒāļ‡āđ„āļĄāļŠāļēāļĄāļēāļĢāļ–āļ—āļģāļēāļ­āļĒāļēāļ‡āļ™āļ™āđ„āļ” āđ€āļĢāļēāļĒāļ‡āļĄāđ‚āļ•āļ°āđ€āļĨāļāđ† āļŠāļģāļēāļŦāļĢāļšāļāļēāļĢāđ€āļŠāļ„āļ­āļ™āļ­āļĒ āđ€āļĢāļēāļĒāļ‡āļ•āļ­āļ‡āļĄāļžāļ™āļāļ‡āļēāļ™āļ•āļ­āļ™āļĢāļšāđ€āļŦāļĄāļ­āļ™āđ‚āļĢāļ‡āđāļĢāļĄāļ—āļ§āđ„āļ› āđāļ•āđƒāļ™āļ„āļ§āļēāļĄāļ•āļ‡āđƒāļˆāđāļĢāļāđ€āļĢāļĄāļ‚āļ­āļ‡āļœāļĄ āļœāļĄāļŦāļ§āļ‡āđ„āļ§āļ§āļēāļˆāļ°āđ„āļĄāļ•āļ­āļ‡āļĄāļ­āļ°āđ„āļĢāđāļšāļšāļ™āļ™āđ€āļĨāļĒ āļ™āļ™āđ€āļ›āļ™āļ„āļ§āļēāļĄāļĢāļŠāļāļ—āđ€āļĢāļēāļ­āļĒāļēāļāļˆāļ°āļ—āļģāļēāđƒāļŦāđ„āļ” āđāļ•āļ•āļ­āļ™āļ™āļĄāļ™āļĒāļ‡āļĢāļŠāļāļ§āļēāđ€āļ›āļ™āđ‚āļĢāļ‡āđāļĢāļĄāļ­āļĒ

art4d: āļĄāļ­āļ°āđ„āļĢāļ—āļ„āļ“āļŦāļ§āļ‡āļ§āļēāļˆāļ°āļ—āļģāļēāđƒāļŦāđāļ•āļāļ•āļēāļ‡āļ­āļ­āļāđ„āļ›āļšāļēāļ‡āđ„āļŦāļĄ āļŠāļ‡āļ—āļ„āļ“āļ„āļ”āļ§āļēāļ­āļēāļˆāđ€āļ›āļĨāļĒāļ™āđāļ›āļĨāļ‡āđ„āļ”āđƒāļ™āļŠāļ§āļ™āļ•āļ­āđ€āļ•āļĄāļ—āļˆāļ°āļĄ?PS: āđ€āļĢāļēāļˆāļ°āđ„āļĄāļ—āļģāļēāđ€āļŦāļĄāļ­āļ™āļ­āļĒāļēāļ‡āđ€āļ”āļĄ āđ€āļĢāļēāļāļģāļēāļĨāļ‡āļĄāļ­āļ‡āļŦāļēāļ„āļ­āļ™āđ€āļ‹āļ›āļ•āđƒāļŦāļĄāđ† āļŠāļģāļēāļŦāļĢāļšāļ‡āļēāļ™āļ™ āđāļ•āđāļ™āļ™āļ­āļ™āļ§āļēāļŸāļ‡āļāļŠāļ™āđāļĨāļ°āļāļēāļĢāđƒāļŠāļ‡āļēāļ™āđāļĨāļ°āļ„āļ§āļēāļĄāļŠāļšāļēāļĒāļ‚āļ­āļ‡āļžāļ™āļ—āļˆāļ°āļĒāļ‡āļ„āļ‡āļ­āļĒ āļĒāļāđ€āļ§āļ™āđ€āļĢāļ­āļ‡āļ‚āļ­āļ‡āļ­āļēāļĢāļĄāļ“āđāļĨāļ°āđ‚āļ—āļ™āļŠāļ­āļēāļˆāļ•āļ­āļ‡āđ€āļ›āļĨāļĒāļ™āđ„āļ› āđƒāļ™āđāļ‡āļ‚āļ­āļ‡āļžāļ™āļ—āļĄāļ™āļˆāļ°āļ•āļ­āļ‡āļ–āļāđ€āļ›āļĨāļĒāļ™ āļĄāļ™āļ™āļēāļŠāļ™āļāļ—āđ€āļ”āļĒāļ§ āļĢāļ­āļ”āļ™āļ°āļ„āļĢāļš

art4d : In your opinion, what are the trends we will see in the future for hotel design?PS : I don’t see trends in terms of the decortion or architecture, but I see the trend in terms of the service, how to make the guests more com- fortable and the service more efficient. For example, how to check-in and check-out in a very conve-nient way, sometimes you don’t have to have a proper reception area. The trend is going toward more efficient service like pre-checking in from your mobile phone. And using technology and technological devices to try to make the service smoother and more efficient. I think this trend is coming. And no matter if it is a small hotel, 2-star, 3-star, 4-star, 5-star, 6-star! The trend is toward this, it depends on the budget, it depends on how clever the vision of the owners and the operation.

art4d : But as a designer do you think you will have to respond to that trend in some way?PS : Yes, we have to respond. Because we have to know the trend and we have to know how we can utilize the space according to this function. For example, at Ad Lib, we don’t have a recep-tion counter and we are discussing whether we can go without any counter at all? Any table at all? The guests just come in, into a living room and then the staff will come to attend and invite them to somewhere to sit and do a check-in process and so on. But we still cannot achieve that 100%, we still have a small table and we still have a staff that is hotel like, but in my original intentions I hoped that we could have done something without this at all. That is the kind of feeling that we would like to achieve, but this one - I still feel that there is somehow a hotel process.

art4d : Is there anything that you wish you had done differently here, that you might try in the new addition? PS : Yes, we are not doing the same thing; we are looking for probably a new concept for the new wing. But of course the function and uses and all the comfortable space will be there, except that the theme and the mood and the tone, and maybe space wise it will be different. It should be fun. Wait and see.

August Design Consultantaugust.co.th

You can keep the harmony of the neighborhood’s look but bring the new soul into the existing building.

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18 an art4d supplement

PallerosMartin

ferent. So I think it comes as a surprise in many ways. If you come through soi 1, and enter from the busy street, it is sort of like an oasis.

art4d: Yes, the location is interesting in the sense that it is very convenient and easy to access from the BTS, and quite quick to walk here, but you still feel like you are somehow hidden and in this secret space. I think the location is ideal in that sense. MP: Yeah it is; it is perfect. But at the same time it provides a strong contrast with the rest, you know? When you come in you don’t expect to see what you see here.

art4d: I think one of the most noteworthy ele-ments to me is the connection between the exterior and interior spaces. From the entrance to the lobby area and into the restaurant and then out to this sitting area, can you talk about how you achieved that? MP: Again, the first thing that we wanted to achieve was to keep the presence of the garden of the old family home and so the challenge was, I mean there wasn’t much space to do a garden, so the only way to express the garden was by having this vertical, green wall element as a backdrop for the restaurant along with the trees here so this was the only sort of small piece of garden opportunity that we had, and then that is why the whole idea was to create this very open and transparent space so that as you arrive you can always relate to the old garden and what it used to be. So I think that was a very important idea from the beginning, just to keep that experi-ence and to emphasize the green area and the idea of a garden.

art4d: Can you talk about the ceiling also? Because I think the ceiling also helps to create that sense of movement through the space. MP: Well, in terms of the materials, we wanted to create something that is comfortable and natural and something that doesn’t feel too formal; therefore that is why we looked at using timber as an element of the design. So to create that feeling of warmth and again this was also, in a way, what the owners also envisioned from the beginning, they wanted something that feels like home, like it used to be. The timber would bring that warmth to the project.

art4d: The layout of the lobby and the restau-rant, it is surprising when you actually start counting how many tables are in here, in this small space. It is amazing actually how much is going on in this small area and I wonder what is your secret for achieving this?MP: Well, I think the secret is, I mean we want to do something simple, and practical, because the owners needed a certain amount of space and tables and so I think the secret basically is a rectangular, simple space that gives you a lot of flexibility and also blurring the line between what is inside and what is outside. So that gives you a lot of flexibility, you can have events outside and you can have more ceiling spaces on the inside so the whole idea was to have as much flexibility so this space can change. Don’t forget that the size of the restaurant is also the lobby of the hotel, and I think they have events on and off, so the whole idea of the space changes.

art4d: Gavin mentioned that a lot of the cli-ents are coming just to use the restaurant, or just to use the bar, and they are not necessar-ily here for the hotel. MP: Yes, right.

art4d: āļ”āļ§āļĒāđ‚āļ„āļĢāļ‡āļāļēāļĢāļ™āđ€āļ›āļ™āđ‚āļ„āļĢāļ‡āļāļēāļĢāļ›āļĢāļšāļ›āļĢāļ‡āļžāļ™āļ—āđƒāļŦāļĄ āđāļĢāļāđ€āļĢāļĄ āđ€āļĨāļĒāļ„āļ“āļ›āļĢāļ°āđ€āļĄāļ™āļ‡āļēāļ™āđāļĨāļ°āļ­āļ­āļāđāļšāļšāļžāļ™āļ—āļ­āļĒāļēāļ‡āđ„āļĢāļšāļēāļ‡?Martin Palleros: āļœāļĄāļ•āļ­āļ‡āļšāļ­āļāļāļ­āļ™āļ§āļēāļĄāļ™āđ€āļ›āļ™āđāļ„āļāļēāļĢāļ›āļĢāļšāļ›āļĢāļ‡āđ€āļžāļĒāļ‡āļšāļēāļ‡āļŠāļ§āļ™ āđ€āļžāļĢāļēāļ°āļ§āļēāļŠāļ§āļ™āļ—āđ€āļ›āļ™āļĢāļēāļ™āļ­āļēāļŦāļēāļĢāđāļĨāļ°āļĨāļ­āļšāļšāļ™āļ™āđ€āļ„āļĒāđ€āļ›āļ™āļˆāļ”āļ—āđ€āļˆāļēāļ‚āļ­āļ‡āđ‚āļ„āļĢāļ‡āļāļēāļĢāđ€āļ„āļĒāļ­āļēāļĻāļĒāļ­āļĒ āļ—āļ™āđ€āļ„āļĒāđ€āļ›āļ™āļšāļēāļ™āļ‚āļ­āļ‡āļ„āļĢāļ­āļšāļ„āļĢāļ§ āļ‚āļ­āļ‡āđ€āļ‚āļē āļ„āļ§āļēāļĄāļ›āļĢāļ°āļ—āļšāđƒāļˆāđāļĢāļāļ•āļ­āļ™āļ—āļœāļĄāļĄāļēāļ”āļŠāļ–āļēāļ™āļ—āļ„āļ­āļĄāļ•āļ™āđ„āļĄāļŠāļ§āļĒāđ† āļ­āļĒāļĄāļēāļ āđ€āļ›āļ™āļ—āļ—āļĢāļĄāļĢāļ™āļĄāļēāļ āļŠāļ‡āđāļĢāļāļ—āđ€āļ‚āļēāļĄāļēāđƒāļ™āļ„āļ§āļēāļĄāļ„āļ”āļœāļĄāļ„āļ­āļāļēāļĢāļĢāļāļĐāļēāļˆāļ•āļ§āļāļāļēāļ“āļ‚āļ­āļ‡āļŠāļ–āļēāļ™āļ—āđ€āļ”āļĄāđ€āļ­āļēāđ„āļ§āļ­āļĒāļēāļ‡āđ„āļĢ āļ™āđ€āļ›āļ™āļˆāļ”āđ€āļĢāļĄāļ•āļ™āļ‚āļ­āļ‡āļāļĢāļ°āļšāļ§āļ™āļāļēāļĢāļ—āļ‡āļŦāļĄāļ” āđāļĨāļ§āļāļ„āļ”āļ§āļ˜āļ—āļˆāļ°āļĢāļ§āļĄāļ­āļēāļ„āļēāļĢāđƒāļŦāļĄāđ€āļ‚āļēāđ„āļ›āđƒāļ™āđ„āļ‹āļ•āļ•āļĢāļ‡āļ—āđ€āļ„āļĒāđ€āļ›āļ™āļšāļēāļ™āļĄāļēāļāļ­āļ™ āļ”āļ‡āļ™āļ™āļ„āļ§āļēāļĄāļ—āļēāļ—āļēāļĒāļ—āđ€āļĢāļēāļ•āļ­āļ‡āđ€āļˆāļ­āļ„āļ­āļāļēāļĢāļŦāļēāļˆāļ”āļ—āļžāļ­āļ” āđ€āļžāļĢāļēāļ°āļ§āļēāđ€āļĢāļēāļĄāđ‚āļ›āļĢāđāļāļĢāļĄāļžāļ™āļ—āļ—āđāļ™āļ™āļĄāļēāļ āļŦāļĨāļēāļĒāđ† āļ­āļĒāļēāļ‡āļˆāļ°āļ•āļ­āļ‡āļ–āļāđƒāļŠāđ€āļ‚āļēāđ„āļ›āđƒāļ™āļžāļ™āļ—āļ—āđ€āļĨāļāļĄāļēāļ āđ‚āļ”āļĒāļĢāļ§āļĄāļāļ„āļ­āđ€āļĢāļēāļ•āļ­āļ‡āļ„āļ”āļ§āļēāļˆāļ°āđ€āļāļšāļžāļ™āļ—āļŠāđ€āļ‚āļĒāļ§āđ„āļ§āļ­āļĒāļēāļ‡āđ„āļĢāđāļĨāļ°āļˆāļ°āđ€āļāļšāļˆāļ•āļ§āļāļāļēāļ“āļ‚āļ­āļ‡āļšāļēāļ™āļŦāļĨāļ‡āđ€āļāļēāđ„āļ§āđ„āļ”āļ­āļĒāļēāļ‡āđ„āļĢ āđ€āļĢāļēāđ‚āļŠāļ„āļ”āļĄāļēāļāđ† āļ—āđ€āļĢāļēāļĄāļ•āļ™āđ„āļĄāđƒāļŦāļāļ—āļŠāļ§āļĒāļĄāļēāļāļ•āļĢāļ‡āļ—āļēāļ‡āđ€āļ‚āļē āļĄāļ™āļ—āļģāļēāđƒāļŦāļŠāļ–āļēāļ™āļ—āļ”āļĄāļŠāļ§āļ•āļĄāļēāļāđ€āļĨāļĒāļ—āđ€āļ”āļĒāļ§ āđāļĨāļ°āļ™āļ™āļāđ€āļ›āļ™āļˆāļ”āđ€āļĢāļĄāļ•āļ™āđƒāļ™āļāļēāļĢāļŠāļĢāļēāļ‡āļžāļ™āļ—āļ—āđ‚āļ›āļĢāļ‡āđƒāļŠ āļ„āļ“āļŠāļēāļĄāļēāļĢāļ–āļĄāļ­āļ‡āļ—āļ°āļĨāđ„āļ›āļ–āļ‡āļ„āļ§āļēāļĄāđ€āļ‚āļĒāļ§āļ‚āļˆāđāļĨāļ°āļŠāđ€āļ‚āļĒāļ§āļˆāļ°āļ­āļĒāđƒāļ™āļŠāļēāļĒāļ•āļēāļ•āļĨāļ­āļ”āđ„āļĄāļ§āļēāļ„āļ“āļˆāļ°āļ­āļĒāļ—āđ„āļŦāļ™

art4d: āļĄāļ­āļ‡āļ„āļ›āļĢāļ°āļāļ­āļšāļ­āļ°āđ„āļĢāđ€āļ›āļ™āļžāđ€āļĻāļĐāđƒāļ™āļāļēāļĢāļĢāđ‚āļ™āđ€āļ§āļ—āļ„āļĢāļ‡āļ™āļ—āļ„āļ“āļ„āļ”āļ§āļēāļ—āļēāļ—āļēāļĒāļ—āļŠāļ”āļšāļēāļ‡?MP: āļāļĄāļšāļēāļ‡āļ­āļĒāļēāļ‡āļ—āļ—āļēāļ—āļēāļĒāđƒāļ™āļāļēāļĢāļ—āļģāļēāļ•āļēāļĄāđ€āļ‡āļ­āļ™āđ„āļ‚āļ—āđ„āļ”āļĄāļēāđāļĨāļ° āļāļēāļĢāļ›āļĢāļšāđ„āļ›āļāļšāļŠāļ‡āļ—āļĄāļ­āļĒāđƒāļ™āđ„āļ‹āļ• āđāļ•āļœāļĄāļ§āļēāļĄāļ™āļ­āļ­āļāļĄāļēāļ”āļĄāļēāļāļ—āđ€āļ”āļĒāļ§ āļœāļĄāļžāļ”āļ–āļ‡āļ‚āļ”āļˆāļģāļēāļāļ”āđƒāļ™āļāļēāļĢāļ­āļ­āļāđāļšāļšāļŦāļ­āļ‡āļ—āļ„āļ­āļ™āļ‚āļēāļ‡āđ€āļĨāļ āļĄāđ€āļ™āļ­āļ—āđāļ„ 22-25 āļ•āļēāļĢāļēāļ‡āđ€āļĄāļ•āļĢ āđāļ•āļœāļĄāļ„āļ”āļ§āļēāļ™āļāļ­āļ­āļāđāļšāļšāļ āļēāļĒāđƒāļ™āļ—āļģāļēāļŦāļ™āļēāļ—āļ—āļ”āļĄāļēāļāđƒāļ™āļāļēāļĢāļ—āļģāļēāđƒāļŦāļŦāļ­āļ‡āļ”āđƒāļŦāļāļ‚āļ™āļāļ§āļēāļ—āļĄāļ™āđ€āļ›āļ™

art4d: āļ„āļ“āļ—āļģāļēāļ‡āļēāļ™āļĢāļ§āļĄāļāļšāļ™āļāļ­āļ­āļāđāļšāļšāļ āļēāļĒāđƒāļ™āļ”āļ§āļĒāļŦāļĢāļ­āđ€āļ›āļĨāļē?MP: āđƒāļŠ āđ€āļĢāļēāļ—āļģāļēāļ‡āļēāļ™āļāļ™āļ­āļĒāļēāļ‡āđƒāļāļĨāļŠāļ” āļāļšāļ—āļ‡āļ™āļāļ­āļ­āļāđāļšāļšāļ āļēāļĒāđƒāļ™āđāļĨāļ°āļ āļĄāļŠāļ–āļēāļ›āļ™āļāļ”āļ§āļĒ

art4d: āļĄāļˆāļ”āđ„āļŦāļ™āļŦāļĢāļ­āļĨāļāļĐāļ“āļ°āđ€āļ”āļ™āļ­āļ°āđ„āļĢāļšāļēāļ‡āđƒāļ™āđ‚āļ„āļĢāļ‡āļāļēāļĢ āļĄāļĨāļāļĐāļ“āļ° āđ€āļ”āļ™āļ­āļ°āđ„āļĢāđƒāļ™āđ„āļ‹āļ•āļ­āļāđ„āļŦāļĄāļ—āļ—āļģāļēāđƒāļŦāļĄāļ™āļāļĨāļēāļĒāđ€āļ›āļ™āđ‚āļ­āļāļēāļŠ?MP: āļœāļĄāļžāļ”āđ„āļ›āļāļ­āļ™āļŦāļ™āļēāļ™āļ§āļēāđ„āļ‹āļ•āļĄāļ™āđāļ™āļ™āļĄāļēāļāđ† āđ€āļžāļĢāļēāļ°āļ‰āļ°āļ™āļ™āđ€āļĢāļēāļˆāļ‡āđ€āļāļšāļ­āļ°āđ„āļĢāđƒāļ™āđ„āļ‹āļ•āļĄāļēāļāđ„āļĄāđ„āļ”āļ™āļ­āļāļˆāļēāļāļ•āļ™āđ„āļĄāđƒāļŦāļāļāļšāļ•āļāđāļ–āļ§āļŠāļ­āļ‡āļŦāļĨāļ‡ āļœāļĄāļ„āļ‡āļ•āļ­āļ‡āļžāļ”āļ§āļēāļ•āļ™āđ„āļĄāđ€āļ›āļ™āļˆāļ”āđ€āļ”āļ™āļ—āļŠāļ” āđāļĨāļ°āļĄāļ•āļāđāļ–āļ§āđ€āļ‚āļēāļĄāļēāļŠāļĢāļēāļ‡āļāļĢāļ­āļšāđƒāļ™āļāļēāļĢāļ­āļ­āļāđāļšāļšāđ„āļ§

art4d: āļ™āļ­āļāļˆāļēāļāļŠāļ­āļ‡āļ­āļĒāļēāļ‡āļ™ āļ—āļāļ­āļĒāļēāļ‡āļ–āļāļ—āļģāļēāļ‚āļ™āļĄāļēāđƒāļŦāļĄāļŦāļĄāļ”āđ€āļĨāļĒāļ­āļĒāļēāļ‡āļ™āļ™āđ€āļŦāļĢāļ­?MP: āđƒāļŠāļ„āļĢāļš āļ—āļāļ­āļĒāļēāļ‡āļ–āļāļ—āļģāļēāļ‚āļ™āđƒāļŦāļĄ āļĄ 2 āļ­āļ‡āļ„āļ›āļĢāļ°āļāļ­āļšāļ™āļ™āļ—āđ€āļĢāļē āđ€āļāļšāđ„āļ§āļ­āļĒ

art4d: āļŠāļĄāļŠāļ™āđƒāļ™āļĨāļ°āđāļ§āļāļ•āļ­āļšāļŠāļ™āļ­āļ‡āļ­āļĒāļēāļ‡āđ„āļĢāļšāļēāļ‡āļāļšāļāļēāļĢāđ€āļ›āļĨāļĒāļ™- āđāļ›āļĨāļ‡āļ™?MP: āļœāļĄāļ§āļēāđ€āļĢāļēāđ„āļ”āļĢāļšāļāļēāļĢāļ•āļ­āļšāļĢāļšāļ­āļĒāļēāļ‡āļ”āđ€āļĨāļĒ āđ‚āļ”āļĒāđ€āļ‰āļžāļēāļ°āļāļēāļĢāļ—āļĄāļ™āđ„āļ”āđ€āļžāļĄāļ­āļ°āđ„āļĢāđāļ›āļĨāļāđƒāļŦāļĄāļ—āļ„āļ™āđƒāļ™āļĨāļ°āđāļ§āļāđ„āļĄāļ„āļēāļ”āļ„āļ” āļžāļ­āļ„āļ“āđ€āļ”āļ™āļ­āļ­āļāļĄāļēāļˆāļēāļāļ‹āļ­āļĒ āļĄāļ™āđƒāļŦāļ„āļ§āļēāļĄāļĢāļŠāļāļ—āļ•āļēāļ‡āļāļ™āļ—āļ™āļ—āđ€āļĨāļĒ āļ”āļ‡āļ™āļ™āļœāļĄāļ„āļ”āļ§āļēāļĄāļ™āđ€āļ›āļ™āđ€āļĢāļ­āļ‡āļ™āļēāļ•āļ™āđ€āļ•āļ™āđƒāļ™āļŦāļĨāļēāļĒāđ† āļ—āļēāļ‡āļ™āļ° āļ–āļēāļ„āļ“āđ€āļ”āļ™āļœāļēāļ™āļ‹āļ­āļĒ 1 āļˆāļēāļāļ–āļ™āļ™āļ—āļ§āļ™āļ§āļēāļĒāļŠāļ”āđ† āļ—āļ™āđāļ—āļšāļˆāļ°āđ€āļ›āļ™āđ€āļŦāļĄāļ­āļ™āđ‚āļ­āđ€āļ­āļ‹āļŠāđ€āļĨāļĒ

art4d: āļ—āļˆāļĢāļ‡āļ•āļĢāļ‡āļ™āđ€āļ›āļ™āļŠāļ–āļēāļ™āļ—āļ—āļ™āļēāļŠāļ™āđƒāļˆāļĄāļēāļāļˆāļĢāļ‡āđ† āđƒāļ™āđāļ‡āļ—āļ§āļēāļĄāļ™āđ€āļ”āļ™āļ—āļēāļ‡āđ„āļ”āļ„āļ­āļ™āļ‚āļēāļ‡āļŠāļ°āļ”āļ§āļāļˆāļēāļ BTS āđāļĨāļ°āļāđƒāļŠāđ€āļ§āļĨāļēāđ€āļ”āļ™āđāļ›āļš- āđ€āļ”āļĒāļ§ āđƒāļ™āļ‚āļ“āļ°āļ—āđ€āļĢāļēāļĢāļŠāļāđ€āļŦāļĄāļ­āļ™āļ‹āļ­āļ™āļ•āļ§āļ­āļĒāđƒāļ™āļŠāļ–āļēāļ™āļ—āļ—āđ€āļ›āļ™āļ„āļ§āļēāļĄāļĨāļš āđ€āļ›āļ™āļˆāļ”āļ—āđ€āļ›āļ™āļ­āļ”āļĄāļ„āļ•āļĄāļēāļāđƒāļ™āđāļ‡āļ™āļ™MP: āđƒāļŠāļ„āļĢāļš āļĄāļ™āđ€āļžāļ­āļĢāđ€āļŸāļ„āđ€āļĨāļĒ āđāļ•āđƒāļ™āļ‚āļ“āļ°āđ€āļ”āļĒāļ§āļāļ™āļĄāļ™āļāļĄāļ„āļ§āļēāļĄāđāļ•āļāļ•āļēāļ‡āļāļšāļžāļ™āļ—āļ™āļ­āļĒāļĄāļēāļ āļžāļ­āļ„āļ“āđ€āļ‚āļēāļĄāļēāļ„āļ“āđ„āļĄāļ„āļ”āļ§āļēāļ‚āļēāļ‡āđƒāļ™āļˆāļ°āđ€āļ›āļ™āđāļšāļšāļ™

art4d: āļ­āļ‡āļ„āļ›āļĢāļ°āļāļ­āļšāļ—āļ™āļēāļˆāļ”āļˆāļģāļēāļĄāļēāļāļ—āļŠāļ”āļ­āļĒāļēāļ‡āļŦāļ™āļ‡āļ„āļ­āļāļēāļĢāđ€āļŠāļ­āļĄāļ•āļ­āļĢāļ°āļŦāļ§āļēāļ‡āļžāļ™āļ—āļ āļēāļĒāļ™āļ­āļāļāļšāļ āļēāļĒāđƒāļ™ āļˆāļēāļāļ—āļēāļ‡āđ€āļ‚āļēāļŠāļšāļĢāđ€āļ§āļ“āļĨāļ­āļšāļš āđāļĨāļ°āļāđ€āļ‚āļēāđ„āļ›āđƒāļ™āļĢāļēāļ™āļ­āļēāļŦāļēāļĢāļ­āļ­āļāļŠāļšāļĢāđ€āļ§āļ“āļ—āļ™āļ‡āļ­āļĒāļ•āļĢāļ‡āļ™ āļŠāļ§āļĒāļžāļ”āđ€āļāļĒāļ§āļāļšāļāļēāļĢāļ­āļ­āļāđāļšāļšāđƒāļ™āļŠāļ§āļ™āļ™āļŦāļ™āļ­āļĒāđ„āļ”āđ„āļŦāļĄ?MP: āļŠāļ‡āđāļĢāļāļ—āđ€āļĢāļēāļ­āļĒāļēāļāļˆāļ°āļ—āļģāļēāļ„āļ­āļāļēāļĢāđ€āļāļšāļ„āļ§āļēāļĄāļĢāļŠāļāļ—āđ€āļ›āļ™āļŠāļ§āļ™āļ‚āļ­āļ‡āļšāļēāļ™āļŦāļĨāļ‡āđ€āļāļēāđ€āļ­āļēāđ„āļ§ āđ€āļžāļĢāļēāļ°āļ‰āļ°āļ™āļ™āļ„āļ§āļēāļĄāļ—āļēāļ—āļēāļĒāļ­āļĒāļ•āļĢāļ‡āļ—āđ€āļĢāļēāđ„āļĄāļĄāļžāļ™āļ— āļĄāļēāļāļžāļ­āđƒāļŦāļ—āļģāļēāļŠāļ§āļ™ āļ”āļ‡āļ™āļ™āļ§āļ˜āđ€āļ”āļĒāļ§āļ—āļˆāļ°āļ–āļēāļĒāļ—āļ­āļ”āļ„āļ§āļēāļĄāđ€āļ›āļ™āļŠāļ§āļ™āļ­āļ­āļāļĄāļēāļ„āļ­āļāļēāļĢāļ—āļģāļēāļŠāļ§āļ™āđāļ™āļ§āļ•āļ‡ āļŠāļĢāļēāļ‡āļāļģāļēāđāļžāļ‡āļŠāđ€āļ‚āļĒāļ§āđ„āļ›āļžāļĢāļ­āļĄāļāļšāļ•āļ™āđ„āļĄāļ—āļĄāļ­āļĒāļ—āļ™āđ€āļ›āļ™āļ‰āļēāļāļŦāļĨāļ‡āđƒāļŦāļāļšāļĢāļēāļ™āļ­āļēāļŦāļēāļĢ āļ™āđ€āļ›āļ™āđ‚āļ­āļāļēāļŠāđ€āļ”āļĒāļ§āļ—āđ€āļĢāļēāļˆāļ°āļŠāļĢāļēāļ‡āļŠāļ§āļ™āļ‚āļ™āļĄāļēāđ„āļ” āđāļĨāļ°āļ™āļ™āļ„āļ­āđ€āļŦāļ•āļœāļĨāļ—āđ€āļĢāļēāļĄāđ„āļ­āđ€āļ”āļĒāļ—āļˆāļ°āļŠāļĢāļēāļ‡āļžāļ™āļ—āļ—āđ€āļ›āļ”āļāļ§āļēāļ‡āđāļĨāļ°āđ‚āļ›āļĢāļ‡āđƒāļŠ āđ€āļžāļĢāļēāļ°āđ€āļĄāļ­āļ„āļ“āđ€āļ”āļ™āđ€āļ‚āļēāļĄāļē āļ„āļ“āļˆāļ°āļŠāļēāļĄāļēāļĢāļ–āļŠāļĄāļœāļŠāđ„āļ”āļ–āļ‡āļŠāļ§āļ™āļ­āļ™āđ€āļāļē āļŠāļ‡āļ—āļĄāļ™āđ€āļ„āļĒāđ€āļ›āļ™āļĄāļēāļāļ­āļ™ āļœāļĄāļ§āļēāļ™āļ™āđ€āļ›āļ™āļ„āļ§āļēāļĄāļ„āļ”āđ€āļĢāļĄāđāļĢāļāļ—āļŠāļģāļēāļ„āļāļĄāļēāļāļ—āļˆāļ°āđƒāļŦāļ„āļ§āļēāļĄāļŠāļģāļēāļ„āļāļāļšāļžāļ™āļ—āļŠāđ€āļ‚āļĒāļ§āđāļĨāļ°āđ€āļĢāļ­āļ‡āļ‚āļ­āļ‡āļŠāļ§āļ™

art4d: āļŠāļ§āļĒāļžāļ”āđ€āļĢāļ­āļ‡āđ€āļžāļ”āļēāļ™āļ”āļ§āļĒāđ„āļ”āđ„āļŦāļĄ? āđ€āļžāļĢāļēāļ°āļ„āļ“āļ„āļ”āļ§āļēāđ€āļžāļ”āļēāļ™ āđ€āļ­āļ‡āļāļŠāļ§āļĒāļŠāļĢāļēāļ‡āļ„āļ§āļēāļĄāļĢāļŠāļāļ‚āļ­āļ‡āļāļēāļĢāđ€āļ„āļĨāļ­āļ™āđ„āļŦāļ§āđƒāļ™āļžāļ™āļ—āđ„āļ”āđ€āļŦāļĄāļ­āļ™āļāļ™MP: āļ–āļēāļžāļ”āļāļ™āđƒāļ™āđāļ‡āļ‚āļ­āļ‡āļ§āļŠāļ”āđāļĨāļ§ āđ€āļĢāļēāļ­āļĒāļēāļāļˆāļ°āļŠāļĢāļēāļ‡āļ­āļ°āđ„āļĢāļ—āđƒāļŦāļ„āļ§āļēāļĄāļĢāļŠāļāļŠāļšāļēāļĒāđāļĨāļ°āđ€āļ›āļ™āļ˜āļĢāļĢāļĄāļŠāļēāļ• āđāļĨāļ°āđ„āļĄāļ”āđ€āļ›āļ™āļ—āļēāļ‡āļāļēāļĢāļĄāļēāļāđ€āļāļ™āđ„āļ› āļ™āļ™āļ„āļ­āđ€āļŦāļ•āļœāļĨāļ—āđ€āļĢāļēāđƒāļŠāđ„āļĄāļĄāļēāđ€āļ›āļ™āļŦāļ™āļ‡āđƒāļ™āļ­āļ‡āļ„āļ›āļĢāļ°āļāļ­āļšāļ‚āļ­āļ‡āļāļēāļĢāļ­āļ­āļāđāļšāļš āļ”āļ‡āļ™āļ™ āļāļēāļĢāļˆāļ°āļŠāļĢāļēāļ‡āļ„āļ§āļēāļĄāļĢāļŠāļāļ­āļšāļ­āļ™āđāļĨāļ°āļœāļĄāļžāļ”āļ­āļāļ„āļĢāļ‡ āļ™āļ„āļ­āļŠāļ‡āļ—āđ€āļˆāļēāļ‚āļ­āļ‡ āđ„āļ”āļ§āļēāļ”āļ āļēāļžāđ„āļ§āļ•āļ‡āđāļ•āđāļĢāļāđāļĨāļ§ āļ„āļ­āļ•āļ­āļ‡āļāļēāļĢāđƒāļŦāļ—āļ™āļĄāļ„āļ§āļēāļĄāļĢāļŠāļāđ€āļŦāļĄāļ­āļ™āļšāļēāļ™ āļ­āļĒāļēāļ‡āļ—āļĄāļ™āđ€āļ„āļĒāđ€āļ›āļ™ āļžāļ§āļāļ—āļ­āļ™āđ„āļĄāļ™āļāđ€āļ‚āļēāļĄāļēāļŠāļ§āļĒāđƒāļŦāļ„āļ§āļēāļĄāļ­āļšāļ­āļ™āļāļšāđ‚āļ„āļĢāļ‡āļāļēāļĢ

art4d: āļāļēāļĢāļˆāļ”āļ§āļēāļ‡āļ‚āļ­āļ‡āļĨāļ­āļšāļšāđāļĨāļ°āļĢāļēāļ™āļ­āļēāļŦāļēāļĢāļ™ āļ™āļēāđāļ›āļĨāļāđƒāļˆāļĄāļēāļāļ—āļžāļĒāļēāļĒāļēāļĄāļ™āļšāļ§āļēāļĄāđ‚āļ•āļ°āļāļ•āļ§āļāļ™āđāļ™āđƒāļ™āļ™ āđƒāļ™āļžāļ™āļ—āđ€āļĨāļāđ† āļ™ āļĄāļ™āļ™āļēāļ•āļ™āđ€āļ•āļ™āļĄāļēāļāļ—āđ„āļ”āđ€āļŦāļ™āļ­āļ°āđ„āļĢāļŦāļĨāļēāļĒāđ† āļ­āļĒāļēāļ‡āđ€āļāļ”āļ‚āļ™āđƒāļ™āļžāļ™āļ—āđāļ„āļ™ āļ­āļ°āđ„āļĢāļ„āļ­āđ€āļ„āļĨāļ”āļĨāļšāđƒāļ™āļāļēāļĢāļ—āļģāļēāđƒāļŦāđ€āļāļ”āļžāļ™āļ—āđāļšāļšāļ™āļ‚āļ™āļĄāļēāđ„āļ”?MP: āđ€āļĢāļēāļ•āļ­āļ‡āļāļēāļĢāļ—āļģāļēāļ­āļ°āđ„āļĢāļ—āđ€āļĢāļĒāļšāļ‡āļēāļĒāđāļĨāļ°āđƒāļŠāļāļēāļĢāđ„āļ”āļ­āļĒāļēāļ‡āđ€āļŦāļĄāļēāļ°āļŠāļĄ āđ€āļžāļĢāļēāļ°āđ€āļˆāļēāļ‚āļ­āļ‡āļ•āļ­āļ‡āļāļēāļĢāļžāļ™āļ—āđāļĨāļ°āļˆāļģāļēāļ™āļ§āļ™āđ‚āļ•āļ°āļ‚āļ™āļēāļ”āļŦāļ™āļ‡ āđāļĨāļ°āļœāļĄāļ āļ„āļ”āļ§āļēāđ€āļ„āļĨāļ”āļĨāļšāļ­āļĒāļ—āļŠāđ€āļŦāļĨāļĒāļĄāļœāļ™āļœāļē āļžāļ™āļ—āđ€āļĢāļĒāļšāđ† āļ—āļŠāļēāļĄāļēāļĢāļ–āđƒāļŦāļ„āļ§āļēāļĄāļĒāļ”āļŦāļĒāļ™āđ„āļ”āļ­āļĒāļēāļ‡āđ€āļ•āļĄāļ— āđāļĨāļ°āļāļāļēāļĢāđ€āļšāļĨāļ­āđ€āļŠāļ™āļ—āđāļšāļ‡āļŠāļ‡āļ—āļ­āļĒāļ‚āļēāļ‡āđƒāļ™āļāļšāļ‚āļēāļ‡āļ™āļ­āļ āļˆāļ‡āļŠāļēāļĄāļēāļĢāļ–āļˆāļ”āļ­āđ€āļ§āļ™āļ—āļ‚āļēāļ‡āļ™āļ­āļāđ„āļ” āļĄāļžāļ™āļ—āļĢāļ°āļŦāļ§āļēāļ‡āđ€āļžāļ”āļēāļ™āđ„āļ”āļĄāļēāļāļ‚āļ™āļ‚āļēāļ‡āđƒāļ™ āđ„āļ­āđ€āļ”āļĒāļŦāļĨāļāļ„āļ­āļāļēāļĢāļ—āļģāļēāđƒāļŦāļžāļ™āļ—āļĄāļ„āļ§āļēāļĄāļĒāļ”āļŦāļĒāļ™āļĄāļēāļāļ—āļŠāļ” āļ­āļĒāļēāļĨāļĄāļ§āļēāļžāļ™āļ—āļ‚āļ­āļ‡āļĢāļēāļ™āļ­āļēāļŦāļēāļĢāļ™āļ™āļāđ€āļ›āļ™āļĨāļ­āļšāļšāļ‚āļ­āļ‡āđ‚āļĢāļ‡āđāļĢāļĄāđ€āļŦāļĄāļ­āļ™āļāļ™ āđāļĨāļ°āļœāļĄāļĢāļŠāļāļ§āļēāļˆāļ°āļĄāļāļēāļĢāļˆāļ”āļ­āđ€āļ§āļ™āļ—āļ­āļĒāđ€āļĢāļ­āļĒāđ† āđ€āļžāļĢāļēāļ°āļ‰āļ°āļ™āļ™āļŦāļ™āļēāļ—āļ‚āļ­āļ‡āļžāļ™āļ—āļˆāļ‡āđ€āļ›āļĨāļĒāļ™āđ„āļ›

art4d: As the project is a renovation project, can you talk about how, from the very beginning, you began to evaluate and design the site?Martin Palleros: Sure, well, I must say that it is a partial renovation. Because the site where the restaurant and the lobby is used to be the house where the client used to live. So this was the family home. And my first impression of the site when I came to see it was that there were a lot of beautiful trees, and the place was very green, so my first thing in mind, the challenge was, how to try to keep the spirit of the existing site. So that is how the whole process started. And then, how to incorporate the new existing buildings into the site where the house used to be. So the whole challenge was trying to keep a balance because it was a very tight program, a lot of things to fit within the small site. So it was all about how to keep the green area and how to keep the spirit of the old house. We are also very lucky to have the beautiful large ficus tree at the entrance and that already provides quite a lot of presence to the site. So that was the whole idea behind creating this transparent space. You can see through to the greenery and so the green is always present no matter where you are.

art4d: Were there any particular elements of the renovation that were most challenging? MP: Well, some of the challenges were in trying to comply with the requirements and adapting what was existing but I think it worked out well, I mean the constraint was the rooms being small and just 22–25 sqm, but I think the interior de-signer did quite a good job of making the rooms feel bigger than what they are.

art4d: Did you work closely together with the interior designer?MP: Yes, we worked very closely together, both with the interior designer of this project and also with the landscape architect.

art4d: Were there any characteristics or features of the existing site that turned out to become opportunities?MP: Well, as I mentioned the site was very tight, so unfortunately, we couldn’t keep much of the site besides the large tree and the two shop houses. So I would say that the tree was a main element, and the shop houses were what dictated the rest of the design.

art4d: So, minus those two things, everything is new? MP: Everything yes is different; those are the two elements from the original site.

art4d: How did the neighborhood respond to the change? MP: I think it was a positive response. Especially because it added something new and unexpect-ed to the whole neighborhood and as soon as you come out of the soi, it feels completely dif-

The architect

DirectorTierra Design (Thailand)

18

āļāļēāļĢāđƒāļŠāļžāļŠāļžāļ™āļ˜āļ•āļēāļ‡āđ† āļ–āļāļ™āļģāļēāļĄāļēāđƒāļŠāđ€āļ›āļ™āļ­āļ‡āļ„āļ›āļĢāļ°āļāļ­āļšāļ—āļŠāļ§āļĒāđ€āļžāļĄāļ„āļ§āļēāļĄāļĢāļŠāļāļŠāļšāļēāļĒāđāļĨāļ°āļœāļ­āļ™āļ„āļĨāļēāļĒ āđƒāļ™āđāļ—āļšāļ—āļāļžāļ™āļ—āļ‚āļ­āļ‡āđ‚āļĢāļ‡āđāļĢāļĄ

an art4d supplement 19

art4d: āļāļ§āļ™āđ€āļĨāļēāļ§āļēāļĄāļĨāļāļ„āļēāļŦāļĨāļēāļĒāļ„āļ™āļ—āļĄāļēāļ—āļ™ āļˆāļ°āđāļ§āļ°āļĄāļēāļ—āļĢāļēāļ™āļ­āļēāļŦāļēāļĢ āļ­āļĒāļēāļ‡āđ€āļ”āļĒāļ§ āļŦāļĢāļ­āļĄāļēāđƒāļŠāļšāļĢāļāļēāļĢāļšāļēāļĢāđ€āļ—āļēāļ™āļ™ āļžāļ§āļāđ€āļ‚āļēāđ„āļĄāđ„āļ”āļĄāļēāđ€āļžāļ­āđ‚āļĢāļ‡āđāļĢāļĄāļ‹āļ°āļ—āđ€āļ”āļĒāļ§MP: āļ–āļāļ•āļ­āļ‡āļ„āļĢāļš

art4d: āđāļĨāļ§āļŠāļĢāļ°āļ§āļēāļĒāļ™ïŋ―ïŋ―āļāļšāļžāļ™āļ—āļŸāļ•āđ€āļ™āļŠāļĨāļ° āļĄāļ™āļĄāļĨāļāļĐāļ“āļ°āđ€āļ”āļ™āļ­āļ°āđ„āļĢāđƒāļ™āđ€āļŠāļ‡āļ­āļ­āļāđāļšāļšāļ—āļ„āļ“āļ­āļĒāļēāļāļˆāļ°āļžāļ”āļ–āļ‡āđ„āļŦāļĄ?MP: āļ­āļĒāļēāļ‡āļ—āļœāļĄāđ„āļ”āļšāļ­āļāđ„āļ› āļ•āļ™āđ„āļĄāļ•āļĢāļ‡āļ—āļēāļ‡āđ€āļ‚āļēāđ€āļ›āļ™āļ­āļ‡āļ„āļ›āļĢāļ°āļāļ­āļšāļ—āļŠāļģāļēāļ„āļāļĄāļēāļ āļ”āļ‡āļ™āļ™āļŠāļ‡āļ—āđ€āļĢāļēāļ•āļ­āļ‡āļāļēāļĢāļ„āļ­āļāļēāļĢāļĄāļˆāļ”āļ—āđ€āļŠāļ­āļĄ āđ„āļĄāđƒāļŠāđāļ„āļ•āļĢāļ‡āļ—āļēāļ‡āđ€āļ‚āļēāļ—āļ„āļ“āđ€āļŦāļ™āļ—āđƒāļŦāļĄāļ„āļ§āļēāļĄāļĢāļŠāļāļ§āļēāļĄāļ•āļ™āđ„āļĄ āđāļ•āļ–āļēāļ„āļ“āļ‚āļ™āļĄāļē āļšāļ™āļ™āļ„āļ“āļāļˆāļ°āļĢāļŠāļāļ–āļ‡āļ„āļ§āļēāļĄāļŠāļĄāļžāļ™āļ˜āļāļšāļĢāļĄāđ€āļ‡āļēāļ‚āļ­āļ‡āļ•āļ™āđ„āļĄāļ”āļ§āļĒāđ€āļŠāļ™āļāļ™ āđ€āļžāļĢāļēāļ°āļˆāļ”āļ›āļĢāļ°āļŠāļ‡āļ„āļ‚āļ­āļ‡āđ€āļĢāļēāļ„āļ­āļāļēāļĢāļ—āļģāļēāđƒāļŦāļĢāļŠāļāļœāļ­āļ™āļ„āļĨāļēāļĒ āļĢāļŠāļāļ–āļ‡āļ„āļ§āļēāļĄāđ€āļ›āļ™āļ˜āļĢāļĢāļĄāļŠāļēāļ•āļĢāļ­āļšāđ† āļ•āļ§ āđāļĄāļ§āļēāđ€āļĢāļēāļˆāļ°āļ­āļĒāļ—āļēāļĄāļāļĨāļēāļ‡āļ„āļ§āļēāļĄāđ€āļ›āļ™āđ€āļĄāļ­āļ‡āļ—āļ§āļ™āļ§āļēāļĒ āļĄāļ•āļāļĨāļ­āļĄāļĢāļ­āļšāđāļĨāļ°āļ­āļ°āđ„āļĢāđ€āļāļ”āļ‚āļ™āļĢāļ­āļšāđ† āļ•āļ§āļ„āļ“ āļŦāļĨāļāđ† āđāļĨāļ§āđ€āļĢāļēāļ•āļ­āļ‡āļāļēāļĢāđƒāļŦāđāļ‚āļāļ‚āļ™āđ„āļ›āļšāļ™āļ™āļ™āđāļĨāļ§āđ„āļ”āđ€āļˆāļ­āļāļšāļžāļ™āļ—āļ—āđ€āļ‚āļēāļŠāļēāļĄāļēāļĢāļ– āļĢāļŠāļāļœāļ­āļ™āļ„āļĨāļēāļĒāđ„āļ”

art4d: āļ„āļ“āļĄāļˆāļ”āļ—āļ„āļ“āļŠāļ­āļšāļĄāļēāļāļ—āļŠāļ”āđƒāļ™āđ‚āļĢāļ‡āđāļĢāļĄāđ„āļŦāļĄ?MP: āļĒāļēāļāļ—āļˆāļ°āļšāļ­āļāđāļ„āļˆāļ”āđ€āļ”āļĒāļ§ āđāļ•āļŠāļģāļēāļŦāļĢāļšāļœāļĄāļ•āļ­āļ‡āļšāļ­āļāļ§āļēāļœāļĄāļĢāļŠāļāļŠāļ‡āļšāļĄāļēāļāļ•āļ­āļ™āļ—āđ€āļ‚āļēāđ„āļ›āđƒāļ™āļĨāļēāļ™āļ—āļĄāļ•āļ™āđ„āļĄ āļĄāļŠāļ§āļ™āļ—āļĨāļ­āļĄāļĢāļ­āļšāļ”āļ§āļĒāļœāļ§āļ‚āļ­āļ‡āļ­āļēāļ„āļēāļĢ āļ™āļ­āļāļˆāļēāļāļ™āļāļ•āļĢāļ‡āļŠāļ§āļ™āļ‚āļēāļ‡āļŦāļĨāļ‡ āđāļĨāļ§āļāļĢāļēāļ™āļ­āļēāļŦāļēāļĢāļāļšāļĨāļ­āļšāļš

art4d: āļāļ§āļ™āļšāļ­āļāļ§āļēāļ„āļ“āļˆāļ°āđ€āļ›āļ™āļ„āļ™āļ—āļģāļēāļžāļ™āļ—āļŠāļ§āļ™āļ‚āļĒāļēāļĒāļ”āļ§āļĒ?MP: āđƒāļŠāļ„āļĢāļš āđ‚āļĢāļ‡āđāļĢāļĄāđ„āļ”āļĢāļšāļ„āļ§āļēāļĄāļ™āļĒāļĄāļĄāļēāļāđƒāļ™āļ•āļ­āļ™āļ™ āļĄāļ™āđāļ—āļšāļˆāļ°āđ€āļ•āļĄāļ•āļĨāļ­āļ”āđ€āļ§āļĨāļē āļ”āļ‡āļ™āļ™āļāļ§āļ™āļˆāļ‡āļ­āļĒāļēāļāļ—āļˆāļ°āļ‚āļĒāļēāļĒāļžāļ™āļ—āđāļĨāļ°āļŠāļĢāļēāļ‡āļŦāļ­āļ‡āđ€āļžāļĄ āļ”āļ‡āļ™āļ™āđ€āļĢāļēāđ€āļĢāļĄāļ­āļ­āļāđāļšāļšāļŦāļ­āļ‡āđ‚āļ”āļĒāļāļēāļĢāļŠāļģāļēāļĢāļ§āļˆāļ•āļāđāļ–āļ§āļ—āđ€āļ„āļĒāļ­āļĒāļ•āļĢāļ‡āļ™āļĄāļēāļāļ­āļ™āđāļĨāļ§āļĄāļēāļ•āļ„āļ§āļēāļĄāđƒāļŦāļĄāđƒāļŦāļĄāļ™āļĄāļŦāļ­āļ‡āļĄāļēāļāļ‚āļ™ āļŦāļ­āļ‡āļ—āļ‡āļŦāļĄāļ”āļˆāļ°āļ•āļēāļ‡āļāļ™āđ„āļ› āđ€āļžāļĢāļēāļ°āļŠāļ§āļ™āļŦāļ™āļ‡āļ‚āļ­āļ‡āđāļ™āļ§āļ„āļ”āļ‚āļ­āļ‡āđ‚āļĢāļ‡āđāļĢāļĄāļ„āļ­āļāļēāļĢāļĄāļ­āļ°āđ„āļĢāļ—āđāļ•āļ- āļ•āļēāļ‡āļāļ™āđ„āļ›āđ€āļāļ”āļ‚āļ™āđƒāļ™āļžāļ™āļ—āļŦāļĨāļēāļĒāđ† āļžāļ™āļ— āļšāļēāļ‡āļ—āļ­āļēāļˆāļˆāļ°āđƒāļŦāļāļ‚āļ™ āđāļĨāļ° āđ„āļĄāđ€āļŦāļĄāļ­āļ™āļ—āļ­āļ™āđ† āđāļ•āļ—āļˆāļĢāļ‡āļ•āļ­āļ™āļ™āđ€āļĢāļēāđāļ„āļ­āļĒāđƒāļ™āļŠāļ§āļ‡āļāļēāļĢāļ­āļ­āļāđāļšāļš

art4d: āļ–āļēāļ­āļĒāļēāļ‡āļ™āļ™āļāļ•āļēāļ‡āļāļ™āđāļ„āđƒāļ™āđ€āļŠāļ‡āļ‚āļ­āļ‡āļ‚āļ™āļēāļ”?MP: āđƒāļ™āđāļ‡āļ‚āļ­āļ‡āļžāļ™āļ— āļ‚āļ™āļēāļ” āđāļĨāļ°āđ€āļĢāļēāļāļģāļēāļĨāļ‡āļ”āļ§āļēāļšāļēāļ‡āļŦāļ­āļ‡āļ­āļēāļˆāļˆāļ°āļĄāļĢāļ°āđ€āļšāļĒāļ‡āļŠāļ§āļ™āļ•āļ§āđāļĨāļ°āļŠāļĢāļ°āļ™āļģāļēāđ€āļĨāļāđ† āļ”āļ§āļĒ

art4d: āđāļĨāļ§āļžāļ™āļ—āļ™āļ™āļˆāļ°āļ–āļāļŠāļĢāļēāļ‡āļ‚āļēāļ‡āļŦāļĨāļ‡āđ‚āļĢāļ‡āđāļĢāļĄāļ™?MP: āđƒāļŠāļ„āļĢāļš āđ€āļĢāļēāļāļģāļēāļĨāļ‡āļĄāļ­āļ‡āļ§āļēāļˆāļ°āļ—āļģāļēāļŦāļ­āļ‡āļ”āđ€āļžāļĨāļāļ‹āļŦāļ­āļ‡āļ™āļ‡ āđ€āļžāļĢāļēāļ°āļ‰āļ°āļ™āļ™ āļžāļ™āļ—āļˆāļ°āļĄāļ„āļ§āļēāļĄāļŠāļ‡āļĄāļēāļ

art4d: āļ­āļĒāļēāļ‡āļ—āļ„āļ“āļšāļ­āļāļ§āļēāļ„āļ“āļ•āļ­āļ‡āļāļēāļĢāđƒāļŦāđ‚āļĢāļ‡āđāļĢāļĄāļĢāļŠāļāļŠāļšāļēāļĒ āļ‹āļ‡āļĄāļ™āļ›āļĢāļ°āļŠāļšāļ„āļ§āļēāļĄāļŠāļģāļēāđ€āļĢāļˆāļĄāļēāļāļ—āđ€āļ”āļĒāļ§ āđāļ•āđāļ„āļŠāļ‡āļŠāļĒāļ§āļēāļ„āļ“āļ—āļģāļēāļ­āļĒāļēāļ‡āđ„āļĢāļ–āļ‡āļ—āļģāļēāđƒāļŦāđ€āļāļ”āļŠāļ‡āļ™āļ‚āļ™āļĄāļēāđ„āļ” āđāļĨāļ°āļĄāļāļēāļĢāđ€āļāļšāļĢāļēāļĒāļĨāļ°āđ€āļ­āļĒāļ”āļŦāļĢāļ­āļŠāđ„āļ•āļĨāļŦāļĢāļ­āļ„āļ§āļēāļĄāļ›āļĢāļ°āļ“āļ•āđ„āļ”āđƒāļ™āđ€āļ§āļĨāļēāđ€āļ”āļĒāļ§āļāļ™MP: āļŠāļ‡āļ—āļ—āļģāļēāđƒāļŦāđ€āļāļ”āļ„āļ§āļēāļĄāļŠāļšāļēāļĒāļĄāļēāļˆāļēāļāļāļēāļĢāđ€āļĨāļ­āļāļŠāļĢāļĢāļ§āļŠāļ” āđāļĨāļ°āļ•āļ§āļ•āļ™āđ„āļĄāļ”āļ§āļĒāđ€āļŠāļ™āļāļ™ āļœāļĄāļ§āļēāđ€āļĢāļ­āļ‡āļ•āļ™āđ„āļĄāļŠāļ§āļĒāđ€āļžāļĄāļ„āļ“āļŠāļĄāļšāļ•āļ™āļ™āđ„āļ”āļĄāļēāļ āļ—āđ€āļ”āļĒāļ§ āđ€āļžāļĢāļēāļ°āļŠāļģāļēāļŦāļĢāļšāļāļ§āļ™āļ—āļ™āđ€āļ›āļ™āļ—āļ—āđ€āļ‚āļēāđ€āļ•āļšāđ‚āļ•āļ‚āļ™āļĄāļē āđ€āļ‚āļēāđ‚āļ•āļĄāļēāļāļšāļŠāļ§āļ™ āļāļšāļ„āļ§āļēāļĄāđ€āļ‚āļĒāļ§āļ‚āļˆ āļœāļĄāđ€āļĨāļĒāļ„āļ”āļ§āļēāļ™āļ—āļģāļēāđƒāļŦāđ€āļ‚āļēāļ™āļāļ–āļ‡āļ„āļ§āļēāļĄāļ—āļĢāļ‡āļˆāļģāļēāđ€āļāļēāđ† āļ‚āļ­āļ‡āļŠāļ‡āļ—āļŠāļ–āļēāļ™āļ—āļ™āđ€āļ„āļĒāđ€āļ›āļ™ āļ™āļ™āļ„āļ­āđ€āļŦāļ•āļœāļĨāļ§āļēāļ•āļ™āđ„āļĄāļŠāđ€āļ‚āļĒāļ§āđāļĨāļ°āļāļēāļĢāđƒāļŠāđ„āļĄ āđƒāļ™āļāļēāļĢāļ—āļģāļēāđƒāļŦāļ„āļ™āļĢāļŠāļāļŠāļšāļēāļĒ āļœāļ­āļ™āļ„āļĨāļēāļĒ āđāļĨāļ°āļāļēāļĢāđƒāļŠāđāļŠāļ‡āļˆāļēāļāļ•āļ­āļ™ āļāļĨāļēāļ‡āļ§āļ™āđ€āļ‚āļēāļŠāļāļĨāļēāļ‡āļ„āļ™āļāļˆāļ°āļĄāļāļēāļĢāđ€āļ›āļĨāļĒāļ™āđ€āļĨāļāļ™āļ­āļĒāļ”āļ§āļĒ āđāļ•āļœāļĄāļ„āļ”āļ§āļēāđ„āļĄāļ§āļēāļˆāļ°āļ•āļ­āļ™āļāļĨāļēāļ‡āļ§āļ™āļŦāļĢāļ­āļāļĨāļēāļ‡āļ„āļ™ āļ—āļ™āļ„āļ“āļŠāļēāļĄāļēāļĢāļ–āļĢāļŠāļāļœāļ­āļ™āļ„āļĨāļēāļĒ āđ„āļ”āļˆāļĢāļ‡āđ†

art4d: āļ•āļ­āļ™āļ—āļ„āļ“āļ­āļ­āļāđāļšāļšāđ‚āļĢāļ‡āđāļĢāļĄāđāļĨāļ°āđ€āļĢāļĄāļ„āļ”āđ€āļāļĒāļ§āļāļšāđ€āļĢāļ­āļ‡āļ›āļĢāļ°āđ€āļ āļ—āļ‚āļ­āļ‡āļĨāļāļ„āļēāļ—āļˆāļ°āļĄāļēāđƒāļŠāđ‚āļĢāļ‡āđāļĢāļĄ āļāļēāļĢāļ„āļ”āđ€āļĢāļ­āļ‡āļ™āđ€āļ›āļĨāļĒāļ™āđ‚āļ„āļĢāļ‡āļŠāļĢāļēāļ‡āļ­āļ°āđ„āļĢāđƒāļ™āļ‡āļēāļ™āļ­āļ­āļāđāļšāļšāļ‚āļ­āļ‡āļ„āļ“āļšāļēāļ‡āđ„āļŦāļĄ? āļ­āļ°āđ„āļĢāļ„āļ­āļ„āļ“āļŠāļĄāļšāļ•āđƒāļ™āđ‚āļĢāļ‡āđāļĢāļĄāļ—āļŠāļ°āļ—āļ­āļ™āļ„āļ§āļēāļĄāđ€āļ›āļ™āļĨāļāļ„āļēāļ—āļˆāļ°āļĄāļēāđƒāļŠāļ‡āļēāļ™?MP: āļ‚āļ™āļēāļ”āļ‚āļ­āļ‡āļŦāļ­āļ‡ āļ­āļ‡āļ„āļ›āļĢāļ°āļāļ­āļšāļ‚āļ­āļ‡āļžāļ™āļ— āļŠāļ‡āļ—āđ€āļ›āļ™āļĨāļāļĐāļ“āļ°āđ€āļ‰āļžāļēāļ°āļ‚āļ­āļ‡āļ—āļ™āļ„āļ­āđ€āļĢāļēāđ„āļĄāļĄāļžāļ™āļ—āļžāļ­āļ—āļˆāļ°āļĄāļĨāļ­āļšāļšāđāļĨāļ°āļŦāļ­āļ‡āļ­āļēāļŦāļēāļĢāđ„āļ” āđ€āļĢāļēāđ€āļĨāļĒāļžāļĒāļēāļĒāļēāļĄāļœāļŠāļĄāļ—āļ‡āļŦāļĄāļ”āļ™āļ™āđ€āļ‚āļēāđ„āļ›āđƒāļ™āļžāļ™āļ—āđ€āļ”āļĒāļ§ āđƒāļ™āļĢāļ›āđāļšāļšāļ—āļ”āđ€āļ›āļ™āļ˜āļĢāļĢāļĄāļŠāļēāļ• āļ—āļ™āļ—āļ—āļ„āļ“āđ€āļ‚āļēāļĄāļēāđāļĨāļ°āđ€āļŠāļ„āļ­āļ™ āļ„āļ“āļˆāļ°āļĢāļŠāļāļœāļ­āļ™āļ„āļĨāļēāļĒ āļ™āļ™āđ€āļ›āļ™āđ‚āļˆāļ—āļĒāļ­āļĒāļēāļ‡āļŦāļ™āļ‡āļ—āļāļ§āļ™āđƒāļŦāļĄāļēāļ•āļ‡āđāļ•āļ§āļ™āđāļĢāļ āđ€āļ‚āļēāļ­āļĒāļēāļāļˆāļ°āđƒāļŦāļ„āļ™āļĢāļŠāļāđ€āļŦāļĄāļ­āļ™āļ­āļĒāļšāļēāļ™ āļ—āļ‡āļŦāļĄāļ”āļ™āļ™āļ–āļāļ™āļģāļēāļĄāļēāļ—āļšāļ—āļ§āļ™āđ€āļŠāļĄāļ­āđƒāļ™āļāļēāļĢāļ­āļ­āļāđāļšāļš

art4d: āļĄāļ­āļ°āđ„āļĢāļ—āļ„āļ“āļ„āļ”āļ§āļēāļ­āļĒāļēāļāļˆāļ°āđ€āļ›āļĨāļĒāļ™āđāļ›āļĨāļ‡āđ„āļŦāļĄāļŦāļĨāļ‡āļˆāļēāļāđ„āļ”āđ€āļŦāļ™āļ‡āļēāļ™āļ—āđ€āļŠāļĢāļˆāđāļĨāļ§?MP: āļœāļĄāļ§āļēāđ‚āļ”āļĒāļĢāļ§āļĄāļĄāļ™āļ­āļ­āļāļĄāļēāļ”āļĄāļēāļāđ€āļĨāļĒāļ™āļ° āđāļĨāļ°āļāļēāļĢāļ—āļĄāļ™āļ–āļāļˆāļ­āļ‡āđ€āļ•āļĄ 100% āļ•āļĨāļ­āļ”āđ€āļ§āļĨāļēāļāļšāļ­āļāļ­āļ°āđ„āļĢāđ„āļ”āļŦāļĨāļēāļĒāļ­āļĒāļēāļ‡ āđāļĨāļ°āđ€āļĢāļēāļ•āļ­āļ‡āļāļēāļĢāļ­āļ­āļāđāļšāļšāđ€āļžāļ­āđƒāļŦāđ„āļ”āļœāļĨāļĨāļžāļ˜āđāļšāļšāļ™ āļ”āļ‡āļ™āļ™āđ€āļĢāļēāļ„āļ­āļ™āļ‚āļēāļ‡āļžāļ­āđƒāļˆāļĄāļēāļāđ† āļ—āđ„āļ”āļĒāļ™āļ§āļēāđ‚āļ›āļĢāđ€āļˆāļ„āļ•āļāļģāļēāļĨāļ‡āđ„āļ›āđ„āļ”āļŠāļ§āļĒ āđ€āļžāļĢāļēāļ°āļ™āļ™āļ„āļ­āļˆāļ”āļ›āļĢāļ°āļŠāļ‡āļ„āļŦāļĨāļāļ‚āļ­āļ‡āđ€āļĢāļē āđāļĨāļ°āđāļ™āļ™āļ­āļ™āļŠāļģāļēāļŦāļĢāļšāļŠāļ§āļ™āļ—āļŠāļ­āļ‡ āđ€āļĢāļēāļ­āļĒāļēāļāļˆāļ°āļ—āļģāļēāđƒāļŦāļŠāļ–āļēāļ™āļ—āļĄāļŠāļ§āļ•āļŠāļ§āļē āđāļĨāļ°āļĄāļžāļ™āļ—āļŠāļģāļēāļŦāļĢāļšāļāļēāļĢāđ€āļ›āļ”āļĢāļšāļ­āļ°āđ„āļĢāđƒāļŦāļĄāđ† āđ€āļžāļĢāļēāļ°āļ‰āļ°āļ™āļ™āđāļĄāļ§āļēāļĄāļ™āļˆāļ°āļĄāļŠāļ§āļ™āļ›āļĢāļ°āļāļ­āļšāļĄāļēāļāļĄāļēāļĒ āđ€āļĢāļēāļāļˆāļ°āļĒāļ”āļŦāļĨāļāļāļēāļĢāļ­āļ­āļāđāļšāļšāļ™āļ•āļ­āđ„āļ›

art4d: āđƒāļ™āđāļ‡āļ‚āļ­āļ‡āļāļēāļĢāļ­āļ­āļāđāļšāļšāļŠāļģāļēāļŦāļĢāļšāļ˜āļĢāļāļˆāđ‚āļĢāļ‡āđāļĢāļĄāđ‚āļ”āļĒāļĢāļ§āļĄāđāļĨāļ§ āļ„āļ“āļĄāļ­āļ‡āđ€āļŦāļ™āđ€āļ—āļĢāļ™āļ”āļāļēāļĢāļ­āļ­āļāđāļšāļšāļ­āļ°āđ„āļĢāđƒāļ™āđāļ§āļ”āļ§āļ‡āđ‚āļĢāļ‡āđāļĢāļĄāđƒāļ™āļ­āļ™āļēāļ„āļ•āļšāļēāļ‡?MP: āļœāļĄāļžāļ”āļ•āļĢāļ‡āđ† āđ€āļĨāļĒāļ§āļēāđ€āļĢāļēāļžāļĒāļēāļĒāļēāļĄāļˆāļ°āđ„āļĄāļ•āļēāļĄāđ€āļ—āļĢāļ™āļ”āļ­āļ°āđ„āļĢ āđ€āļĢāļēāļžāļĒāļēāļĒāļēāļĄāļˆāļ°āļ­āļ­āļāđāļšāļšāļ•āļēāļĄāļŠāļ āļēāļžāļžāļ™āļ—āđāļĨāļ°āļšāļĢāļšāļ—āđ‚āļ”āļĒāļĢāļ­āļšāđ€āļŠāļĄāļ­ āđ€āļĢāļēāļ„āļ”āļ§āļēāļŠāļ–āļēāļ™āļ—āļ•āļ‡āļ­āļĒāļ•āļĢāļ‡āđ„āļŦāļ™ āļ­āļ°āđ„āļĢāļ„āļ­āļ„āļ“āļĨāļāļĐāļ“āļ°āļ‚āļ­āļ‡āļŠāļ–āļēāļ™āļ— āļœāļĄāļ„āļ”āļ§āļēāļ™āļ™āļ„āļ­āļŠāļ‡āļ—āļŠāļģāļēāļ„āļāļ—āļŠāļ”āļŠāļģāļēāļŦāļĢāļšāđ€āļĢāļē āđƒāļ™āļāļēāļ™āļ°āļ”āđ„āļ‹āđ€āļ™āļ­āļĢ āļ•āļ­āļ™āļ—āđ€āļĢāļēāđ€āļĢāļĄāļ‚āļ™āļ•āļ­āļ™āļāļēāļĢāļ­āļ­āļāđāļšāļšāļāļˆāļ°āļ•āļ‡āļ„āļģāļēāļ–āļēāļĄāļ§āļē āđ€āļĢāļēāļˆāļ°āļ—āļģāļēāļ­āļĒāļēāļ‡āđ„āļĢāđƒāļŦāļŠāļ–āļēāļ™āļ—āļĄāđ€āļ­āļāļĨāļāļĐāļ“āļŠāļģāļēāļŦāļĢāļšāļ—āļ”āļ™āļ•āļĢāļ‡āļ™ āđ€āļĢāļēāļĄāļžāļ™āļāļēāļ™āđƒāļ™āļ‡āļēāļ™āļŠāļ–āļēāļ›āļ•āļĒ- āļāļĢāļĢāļĄ āđāļĨāļ°āļ‡āļēāļ™āļ āļĄāļŠāļ–āļēāļ›āļ•āļĒāļāļĢāļĢāļĄ āļœāļĄāļ–āļāļāļāļĄāļēāļ—āļ‡āļŠāļ­āļ‡āļ­āļĒāļēāļ‡ āļŠāļģāļēāļŦāļĢāļš āđ€āļĢāļēāļĄāļ™āđ€āļ›āļ™āđ€āļĢāļ­āļ‡āđāļĢāļāļ—āļ•āļ­āļ‡āļžāļˆāļēāļĢāļ“āļē āđ€āļĢāļ­āļ‡āļĨāļāļĐāļ“āļ°āđ€āļ‰āļžāļēāļ°āļ‚āļ­āļ‡āļžāļ™āļ—āđ€āļ™āļĒ āļ™āļ™āđ€āļ›āļ™āļŠāļ‡āļ—āļˆāļ°āļ—āļģāļēāđƒāļŦāđ‚āļ„āļĢāļ‡āļāļēāļĢāļĄāđ€āļ­āļāļĨāļāļĐāļ“

art4d: āļŠāļ–āļēāļ™āļ—āđ€āļ›āļ™āļŠāļ‡āđ€āļ”āļĒāļ§āļ—āđ‚āļ„āļĢāļ‡āļāļēāļĢāļŠāļēāļĄāļēāļĢāļ–āļĄāđ„āļ” āđāļšāļšāļ— āļ—āļ­āļ™āļĄāđ„āļĄāđ„āļ”āđƒāļŠāđ„āļŦāļĄ?MP: āļ–āļāļ•āļ­āļ‡āđāļĨāļ§

art4d: So it is good that the space can support that equally as well. MP: Yes.

art4d: How about the swimming pool and fit-ness area, are there any special characteristics about that part of the design that you would like to point out? MP: Well, again as I mentioned, the tree at the entrance is a very important element so what we want to do is have a connection not only from the entrance that you see to have the pres-ence of the tree but also when you are up there you feel a strong connection with the canopy of the tree. Because it is all about feeling relaxed and feeling greenery around you even though you are in the middle of this busy hub with so many buildings and things happening around you. So the idea is that the guests can, when they are up there, find that they are in a space where they can feel relaxed.

art4d: Do you have a favorite space in the hotel?MP: It is hard to pinpoint one space. But, I must say that for me personally I feel a lot of peace when you enter into the courtyard with the tree, the greenery and the façade surrounding the building and then the garden at the back and the restaurant and the lobby.

art4d: Gavin mentioned that you are also go-ing to be expanding on this site. MP: Yes, the hotel is very popular now so there is a strong demand. They are full most of the time so Gavin is quite keen on trying to get more space and more rooms. So the same way that we have approached the rooms is to look at some of the existing shop houses and reinter-pret them into having more rooms. The rooms will be different, because part of the idea of the hotel is to have different things happening in dif-ferent places, so some will be slightly larger, and different, but we are just in the design process and looking at that.

art4d: So, different mostly just in terms of size?MP: In terms of space, in terms of size, and we are looking at some that would have private ter-races and a small plunge pool.

art4d: And that will be behind the existing hotel?MP: Yes, right. We are looking also at making one duplex, so having a very tall space.

art4d: You mentioned that you wanted the hotel to feel comfortable, and it does - very much so, but I am wondering about how you achieve that and also maintain a certain amount of finish, style or refinement at the same time?MP: Well, what makes it feel comfortable is the material selection as well as the greenery. I think

that adds a lot too because for Gavin, he grew up on this site, he grew up in the garden and had a lot of greenery and so I think this brings back a lot of his memories of what the place used to be. So that is why the greenery and also the use of timber makes people feel comfort-able and relaxed. And the light, from daytime to nighttime, it changes quite a bit but I think that either in daytime or nighttime, it is a place that you really feel comfortable.

art4d: When you design the hotel and are thinking about the types of clients that will be using the hotel, how has that altered the way that you structure the design? What are the certain characteristics in this hotel that reflect the clientele?MP: The size of the rooms, the configuration of the space, in terms of what makes it different here is that we didn’t have a lot of space to have a lobby and such and then a restaurant, so we tried to combine all into one and in a sort of natural way, so again from the moment that you come in and check in you feel relaxed. That was a part of the brief from Gavin from day one. He really wants people to feel relaxed and at home so all that has been considered as part of the design.

art4d: Is there anything that you wish you had done differently? MP: I think to be honest, in general it works very well. And the fact that they are at 100% oc-cupancy says something. We design for that so for us we are very happy to hear that the project is doing well and that is the main thing for us. And for the second part, we want to keep the place vibrant and keep room for new things so even though there are many elements that will continue with the same design, there will also be new things that will make it different.

art4d: In terms of designing for the hotel busi-ness in general, are there any certain trends that you foresee in the future for hotel design? MP: To be honest really, we try not to follow any trends. We try to always design site specifically when it comes to where the place is and what are the characteristics of the place. I think that is the most important element for us, as design-ers. When we start the design process, how do we make this place unique for this particular site? We have a background of architecture and landscape architecture, I was trained in both, so for us it is the first approach and the first in-stance comes from the site, how to make it site specific. That is what makes a project unique.

art4d: The site is the one thing that a project has that no other has, right?MP: That’s right.

Tierra Designtierradesign.com

Blurring the line between what is inside and what is outside, that gives you a lot of flexibility.

18

20 an art4d supplement

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āļāļēāļĢāļˆāļ°āļŦāļēāļšāļĢāļĐāļ—āļāļ­āļŠāļĢāļēāļ‡āļ—āļĄāļ„āļ“āļ āļēāļž āļ‹āļ­āļŠāļ•āļĒ āļ•āļĢāļ‡āđ€āļ§āļĨāļēāđāļĨāļ°āļĒāļ•āļ˜āļĢāļĢāļĄ āļ™āļ™āđ„āļĄāđ„āļ”āļŦāļēāļāļ™āđ„āļ”āļ‡āļēāļĒāđ† āđ‚āļ”āļĒāđ€āļ‰āļžāļēāļ°āļšāļĢāļĐāļ—āļ—āđ€āļ‚āļēāđƒāļˆāļ„āļ­āļ™āđ€āļ‹āļ›āļ•āđāļĨāļ°āļĄāļ„āļ§āļēāļĄāđ€āļ›āļ™āļĄāļ­āļ­āļēāļŠāļžāļžāļ­āļ—āļˆāļ°āļ–āļēāļĒāļ—āļ­āļ”āļˆāļ™āļ•āļ™āļēāļāļēāļĢāļ‚āļ­āļ‡āļœāļ­āļ­āļāđāļšāļšāđƒāļŦāļ­āļ­āļāļĄāļēāđ€āļ›āļ™āļ‡āļēāļ™āļ—āļŠāļĄāļšāļĢāļ“āđāļšāļš āļ—āļēāļ‡āļšāļĢāļĐāļ—āđ€āļāļĒāļĢāļ•āļ›āļĢāļ°āđ€āļŠāļĢāļāļĄāļēāļĢāđ€āļāļ•āļ•āļ‡ āļˆāļģāļēāļāļ” āđ€āļ›āļ™āļšāļĢāļĐāļ—āļŦāļ™āļ‡āđƒāļ™āļšāļĢāļĐāļ—āļāļ­āļŠāļĢāļēāļ‡āļ—āļšāļĢāļĐāļ—āļœāļ­āļ­āļāđāļšāļšāļ•āļ­āļ‡āļāļēāļĢāļĢāļ§āļĄāļ‡āļēāļ™āļ”āļ§āļĒ āļšāļĢāļĐāļ—āđ€āļāļĒāļĢāļ•āļ›āļĢāļ°āđ€āļŠāļĢāļāļĄāļēāļĢāđ€āļāļ•āļ•āļ‡ āļˆāļģāļēāļāļ” āđ€āļ›āļ™āļšāļĢāļĐāļ—āļāļ­āļŠāļĢāļēāļ‡āļ—āđ„āļ”āļĢāļšāļ„āļ§āļēāļĄāđ„āļ§āļ§āļēāļ‡āđƒāļˆāļˆāļēāļāđ€āļˆāļēāļ‚āļ­āļ‡āđ‚āļ„āļĢāļ‡āļāļēāļĢāđāļĨāļ°āļšāļĢāļĐāļ—āļœāļ­āļ­āļāđāļšāļšāđƒāļŦāđ€āļ›āļ™āļœāļŠāļĢāļēāļ‡āļŠāļĢāļĢāļ„āļœāļĨāļ‡āļēāļ™āļŠāļ‡āļāļ­āļŠāļĢāļēāļ‡āļ•āļēāļ‡āđ† āļ­āļĒāļēāļ‡āļ•āļ­āđ€āļ™āļ­āļ‡ āđ„āļĄāļ§āļēāļˆāļ°āđ€āļ›āļ™āļ‡āļēāļ™āđ‚āļ„āļĢāļ‡āļāļēāļĢāļšāļēāļ™āļžāļ- āļ­āļēāļĻāļĒ āđ‚āļĢāļ‡āđāļĢāļĄ āļĢāļŠāļ­āļĢāļ— āļ­āļēāļ„āļēāļĢāļŠāļģāļēāļ™āļāļ‡āļēāļ™ āļŊāļĨāļŊ āļˆāļ™āđ€āļ›āļ™āļ—āļĒāļ­āļĄāļĢāļšāđƒāļ™āļ§āļ‡āļāļēāļĢāļāļ­āļŠāļĢāļēāļ‡āļĄāļēāļ•āļĨāļ­āļ”āļĢāļ°āļĒāļ°āđ€āļ§āļĨāļē 34 āļ› āđ‚āļĢāļ‡āđāļĢāļĄ Ad Lib āđ€āļ›āļ™āļ•āļ§āļ­āļĒāļēāļ‡āļŦāļ™āļ‡āļ‚āļ­āļ‡ āļœāļĨāļ‡āļēāļ™āļāļ­āļŠāļĢāļēāļ‡āļ—āđ„āļ”āļĢāļšāļ„āļ§āļēāļĄāļŠāļ™āļŠāļĄāļˆāļēāļāđ€āļˆāļēāļ‚āļ­āļ‡āđ‚āļ„āļĢāļ‡āļāļēāļĢāđāļĨāļ°āļšāļĢāļĐāļ—āļœāļ­āļ­āļāđāļšāļš

If we are talking about baking tools and utensils, the Somerville brand is at the forefront amongst others in terms of innovation, technology and quality. Founded in Hong Kong in 1958, the company has grown to become a familiar and trusted name in a variety of countries including Australia, Bangladesh, India, Malaysia, Myanmar, Cambodia, the Philippines, Singapore and Thailand. Not only recognized for their design of professional kitchen utensils, Somerville further offers consultancy services for commercial kitchen and restaurant projects. Hotels, serviced apartments, res- taurants, supermarkets, embassies, private and government sector hospitals have depended upon and benefited from collaboration with Somerville for over 57 years.

āļ–āļēāļžāļ”āļ–āļ‡āđ€āļĢāļ­āļ‡āļ„āļĢāļ§āđāļĨāļ°āļ­āļ›āļāļĢāļ“āļŠāļģāļēāļŦāļĢāļšāļ—āļģāļēāđ€āļšāđ€āļāļ­āļĢāđ€āļŠāļ‡āļžāļēāļ“āļŠāļĒāđāļĨāļ§āļĨāļ°āļ āļŠāļ­āđ€āļŠāļĒāļ‡āļ‚āļ­āļ‡ Somerville āļ­āļĒāđƒāļ™āļĢāļ°āļ”āļšāđāļ™āļ§āļŦāļ™āļēāđƒāļ™āđ€āļĢāļ­āļ‡āļ‚āļ­āļ‡āļœāļĨāļ•āļ āļ“āļ‘āļ—āļĄāļ„āļ§āļēāļĄāđ€āļ›āļ™āļ™āļ§āļ•āļāļĢāļĢāļĄ āļ”āļ§āļĒāđ€āļ—āļ„āđ‚āļ™āđ‚āļĨāļĒāļ—āļāļēāļ§āļĨïŋ―ïŋ―āđāļĨāļ°āđ€āļ›āļ™āļĄāļ•āļĢāļ•āļ­āļŠāļ‡āđāļ§āļ”āļĨāļ­āļĄ āļāļĨāļĄāļšāļĢāļĐāļ— Somerville āļāļ­āļ•āļ‡āđƒāļ™āļŪāļ­āļ‡āļāļ‡āđƒāļ™āļ› 1958 āļāļ­āļ™āļˆāļ°āļ‚āļĒāļēāļĒāļāļˆāļāļēāļĢāđ„āļ›āļĒāļ‡āļ­āļ­āļŠāđ€āļ•āļĢāđ€āļĨāļĒ āļšāļ‡āļ„āļĨāļēāđ€āļ—āļĻ āļ­āļ™āđ€āļ”āļĒ āļĄāļēāđ€āļĨāđ€āļ‹āļĒ āđ€āļĄāļĒāļ™āļĄāļēāļĢ āļāļĄāļžāļŠāļē āļŸāļĨāļ›āļ›āļ™āļŠ āļŠāļ‡āļ„āđ‚āļ›āļĢ āđāļĨāļ°āļ›āļĢāļ°āđ€āļ—āļĻāđ„āļ—āļĒ Somerville āđ„āļ”āļŠāļ­āļ§āļēāđ€āļ›āļ™āļĄāļ­āļ­āļēāļŠāļžāđƒāļ™āļ”āļēāļ™āļāļēāļĢāļ­āļ­āļāđāļšāļšāđāļĨāļ°āđƒāļŦāļ„āļģāļēāļ›āļĢāļāļĐāļēāđ€āļāļĒāļ§āļāļšāđ€āļ„āļĢāļ­āļ‡āļ„āļĢāļ§āđ€āļŠāļ‡āļžāļēāļ“āļŠāļĒāđāļĨāļ°āđ€āļ›āļ™āļœāļŠāļģāļēāļ™āļēāļāļāļēāļĢāļ—āļēāļ‡āļ”āļēāļ™āļ­āļ›āļāļĢāļ“ āļāļēāļĢāļ—āļģāļēāđ€āļšāđ€āļāļ­āļĢāļ—āđ„āļ”āļĢāļšāļ„āļ§āļēāļĄāđ„āļ§āļ§āļēāļ‡āđƒāļˆāļˆāļēāļāđ‚āļĢāļ‡āđāļĢāļĄ āđ€āļ‹āļ­āļĢāļ§āļŠāļ­āļžāļēāļĢāļ•āđ€āļĄāļ™āļ• āļĢāļēāļ™āļ­āļēāļŦāļēāļĢ āļ‹āļ›āđ€āļ›āļ­āļĢāļĄāļēāļĢāđ€āļāļ• āļŠāļ–āļēāļ™āļ—āļ• āđāļĨāļ°āđ‚āļĢāļ‡āļžāļĒāļēāļšāļēāļĨāļ‚āļ­āļ‡āļĢāļāļšāļēāļĨāđāļĨāļ°āđ€āļ­āļāļŠāļ™āļĄāļēāļ•āļĨāļ­āļ”āđ€āļ§āļĨāļē 57 āļ› āļ”āļ§āļĒāļ„āļ“āļ āļēāļžāđāļĨāļ°āļĢāļēāļ„āļēāļ—āļĒāļ•āļ˜āļĢāļĢāļĄ

Somervillesomerville-siam.com

One of the leading wooden furniture manufacturers in Thailand, Tokyo Parawood places emphasis on creating aesthetically pleasing designs paired with functionality that can suit the characteristics of limited space that come with a modern metropolitan life. Phonic Desk is a modern styled-furniture that, while focused on simplicity, encom-passes a variety of hidden details that eagerly invite and encourage its use. From the quirky desk drawers and tiny slot perfectly designed to house your iPad while concealing the electric cable behind to the adjustable shelf on the top and overall look and feel of the material, Phonic Desk is an ideal fit for today’s boutique hotel interior.

āļœāļœāļĨāļ•āđ€āļŸāļ­āļĢāļ™āđ€āļˆāļ­āļĢāđ„āļĄāļŠāļ™āļ™āļģāļēāļ­āļāļĢāļēāļĒāļŦāļ™āļ‡āļ‚āļ­āļ‡āļ›āļĢāļ°āđ€āļ—āļĻāđ„āļ—āļĒ āļĄāļ‡āļēāļ™āļ”āđ„āļ‹āļ™āļ—āđ€āļ™āļ™āļ„āļ§āļēāļĄāļŠāļ§āļĒāļ‡āļēāļĄāđāļĨāļ°āļ›āļĢāļ°āđ‚āļĒāļŠāļ™āđƒāļŠāļŠāļ­āļĒāļ—āđ€āļ‚āļēāļāļšāđ„āļĨāļŸāļŠāđ„āļ•āļĨāļ„āļ™āđ€āļĄāļ­āļ‡ āļ‹āļ‡āļĄāļžāļ™āļ—āđƒāļŠāļŠāļ­āļĒāļˆāļģāļēāļāļ”āļ­āļ­āļāļĄāļēāļŦāļĨāļēāļĒāļ•āļ§ Phonic Desk āđ€āļ›āļ™āđ€āļŸāļ­āļĢāļ™āđ€āļˆāļ­āļĢāļŠāđ„āļ•āļĨāđ‚āļĄāđ€āļ”āļĢāļ™ āļˆāļ”āđ€āļ”āļ™āļ­āļĒāļ•āļĢāļ‡āļ„āļ§āļēāļĄāđ€āļĢāļĒāļšāļ‡āļēāļĒāđāļ•āļĄāļĢāļēāļĒāļĨāļ°āđ€āļ­āļĒāļ”āđ€āļĨāļāđ† āļ™āļ­āļĒāđ† āļŠāļ§āļ™āđƒāļŦāļŠāļ™āļāļāļšāļāļēāļĢāđƒāļŠāļ‡āļēāļ™ āđ„āļĄāļ§āļēāļˆāļ°āđ€āļ›āļ™āļāļēāļ™āļˆāļšāļĨāļ™āļŠāļ āđāļ™āļ§āļĢāļ­āļ‡āļŠāļģāļēāļŦāļĢāļšāļ•āļ‡ iPad āļžāļĢāļ­āļĄāļāļšāļŠāļ­āļ‡āļ‹āļ­āļ™āļŠāļēāļĒāđ„āļŸāļ”āļēāļ™āļŦāļĨāļ‡ āļ•āļĨāļ­āļ”āļˆāļ™āļŠāļ™āļšāļ™āļŠāļēāļĄāļēāļĢāļ–āļ›āļĢāļšāļĢāļ°āļ”āļšāđ„āļ” āļ”āđ€āļ‚āļēāļāļšāļ­āļēāļĢāļĄāļ“āļšāļ•āļ„āđ‚āļŪāđ€āļ—āļĨāļĒāļ„āļ™āđ„āļ”āđ€āļ›āļ™āļ­āļĒāļēāļ‡āļ”

Ultra screen is an expert in sun screening and heat reduction systems, offering the most effective techno-logies for interior and exterior window coverings paired with a perfect sense of decoration and realized in count-less styles and designs. Providing hundreds of options for high quality retractable awnings, custom blinds, motorized roller blinds and intelligent blinds and awnings that can be controlled by your smartphone, Ultra screen is the ideal source for home screening and heat reduction systems.

āļœāđ€āļŠāļĒāļ§āļŠāļēāļāļ”āļēāļ™āļāļēāļĢāļ­āļ­āļāđāļšāļšāđāļĨāļ°āļ•āļ”āļ•āļ‡āļ­āļ›āļāļĢāļ“āļ›āļ­āļ‡āļāļ™āđāļŠāļ‡āđāļ”āļ”āđāļĨāļ°āļĨāļ”āļ„āļ§āļēāļĄāļĢāļ­āļ™āļ āļēāļĒāđƒāļ™āđāļĨāļ°āļ āļēāļĒāļ™āļ­āļāļ­āļēāļ„āļēāļĢ āļ”āļ§āļĒāļĢāļ›āđāļšāļšāđāļĨāļ°āđ€āļ—āļ„āđ‚āļ™āđ‚āļĨāļĒāļ—āđ€āļŦāļĄāļēāļ°āļŠāļĄāļāļšāļ‡āļēāļ™āļ­āļ­āļāđāļšāļšāļĢāļ§āļĄāļŠāļĄāļĒ āđ‚āļ”āļĒāđ€āļ‰āļžāļēāļ°āđ‚āļ„āļĢāļ‡āļāļēāļĢāļ—āļ•āļ­āļ‡āļāļēāļĢāļ„āļ§āļēāļĄāļŠāļ§āļĒāļ‡āļēāļĄāļ‚āļ­āļ‡ āļ”āđ„āļ‹āļ™āđāļĨāļ°āļ›āļĢāļ°āļŠāļ—āļ˜āļ āļēāļžāđƒāļ™āļāļēāļĢāđƒāļŠāļ‡āļēāļ™ āļĄāļŠāļ™āļ„āļēāđƒāļŦāđ€āļĨāļ­āļāļŠāļĢāļĢāļĄāļēāļāļĄāļēāļĒ āļ­āļēāļ— āļāļ™āļŠāļēāļ”āļžāļšāđ€āļāļšāđ„āļ” āļĄāļēāļ™āļĄāļ§āļ™āļ­āļ•āđ‚āļ™āļĄāļ• āļĄāļēāļ™āļĄāļ§āļ™āļĄāļ­āđ€āļ•āļ­āļĢ āļĢāļ§āļĄāđ„āļ›āļ–āļ‡āļĢāļ°āļšāļšāļĄāļēāļ™āđāļĨāļ°āļāļ™āļŠāļēāļ”āļ­āļˆāļ‰āļĢāļĒāļ°āļ—āļŠāļēāļĄāļēāļĢāļ–āļšāļ‡āđāļ”āļ”āđāļĨāļ°āļĨāļ”āļ„āļ§āļēāļĄāļĢāļ­āļ™āđ‚āļ”āļĒāļāļēāļĢāļ„āļ§āļšāļ„āļĄāļœāļēāļ™āļŠāļĄāļēāļĢāļ—āđ‚āļŸāļ™

KLAPsklapsdesign.com

by TokyoParawood

Ultraultrascreensystem.comScreen System

KiatprasertMarketingkiatprasertmarketing.co.th

The suppliers

an art4d supplement 21

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Published by art4dCorporation 4d 81 Sukhumvit 26 Bangkok 10110 T +66 2 260 2606-8 F +66 2 260 2606-8 E [email protected] www.art4d.com

Editor in Chief Pratarn Teeratada

Editors Kamolthip Kimaree Rebecca Vickers

Editorial Manager Sudaporn Jiranukornsakul

ContributorsJaksin NoyraiphoomJintawach TasanavitesPongboon WongchalardTanakanya Changchaitum

PhotographerKetsiree Wongwan

Book DesignerVanicha Srathongoil

Advertising ManagerAreewan Suwanmanee

Print & Plate Focal Image

Special thanks toGavin VongkusolkitWachira Pruangchana Chawannuch Kanoklak

ÂĐ 2015 Corporation 4dAll rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, in-cluding photocopy or any storage and retrieval system, without written permission from the publisher.

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HÃĪfele (Thailand) Ltd.Design Studio Bangkok (Head Office) 57 Soi Sukhumvit 64, Sukhumvit Road, Bangchak, Phrakanong Bangkok 10260 ThailandT +66 2 741 7171 F +66 2 741 7272 E [email protected] www.hafele.com

GROHE (Thailand) Ltd.Q-House Lumpini Level 27, 1 South Sathorn Road,Tungmahamek, SathornBangkok 10120 ThailandT +66 2 610 3685-6 F +66 2 610 3872E [email protected]

Somerville (Siam) Ltd. Head Office Somerville (Siam) Ltd. 15 Moo 14, Bangna-Trad Highway Km.10, Bangplee Yai, Bangplee, Samutprakarn 10540 Thailand T +66 2 316 0751-9F +66 2 316 0772E [email protected] www.somerville-siam.com

KLAPs by Tokyo Parawood (1986) Co., Ltd.2/1 M.1 Bangbung-Klaeng Road, Klaeng,Rayong 21110 ThailandT +66 38 671 974-5F +66 38 671 973 E [email protected] Ultra Screen System Co., Ltd.2199, 2201, 2203, 2205, 2207Ladprao 55/1 Road, Saphansong,Wangthonglang, Bangkok 10310 ThailandT +66 2 933 1326-7F +66 2 933 1346E [email protected]

Ad Lib Bangkok HotelSukhumvit 1 Bangkok

OwnerHeritage Estates

ArchitectTierra Design (Thailand)

Interior DesignerAugust Design Consultant

Landscape ArchitectTrop : terrains + open space

Structural EngineerWarnes and associates Lighting Designer DJCoalition

ContractorKiatprasert Marketing

HardwaresHÃĪfele

Faucet / Shower SystemGROHE (Thailand)

Kitchen and Bakery EquipmentSomerville (Siam)

Wood FurnitureTokyo Parawood ( 1986)

Screen SystemUltra Screen System

Surprisingan art4d supplement

Sanctuary

24 an art4d supplement


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