HOTEL REVIEW


OPPOSITE PAGE: In the lobby, a stunning multi-faceted chandelier sits against the backdrop of a towering structure of glass panels set within a three dimensional gilded structure THIS PAGE (LEFT): The Landing Point lounge area (RIGHT) The Entrance area features artworks by Marie-Madeleine Gautier, Helen Poon and Antony Davy


The hotel’s 17-metre-wide entrance makes an impressive opening statement. Flanked by two plush banks of seating, the space is dominated by a stunning multi- faceted cylindrical chandelier, inspired by the shimmering waters of the bay. Indeed, a total of nine cut crystal chandeliers by Preciosa adorn the arrival spaces, with reflections bouncing off the flooring surfaces below. As visitors make their way towards the lounge, home to The Landing Point, their attention is drawn to a textured wall feature made from glass sheets gilded in gold set within a three- dimensional structure.


As a popular space for light meals, tea and cocktails, The Landing Point has been given a relaxed residential feel through custom-made silk, leather and velvet furnishings in hues of olive green, gold, plum and lilac. Sensuous touches include sparingly used solid bronze screens, curvaceous seating, hanging lanterns and a beautiful internal promenade of marble mosaics, developed in a collaboration between Fu and manufacturer Zisa from Malay ethnic patterns that sound echoes of multi-cultural


Singapore. Two-tiered seating is arranged around an 11-metre black Serpeggiante marble-topped bar, which sits underneath a pendant lighting sculpture comprising crystal glass, pale golden glass and gilded glass in a polished chrome angular framework. There is also a spacious outdoor terrace on the waterfront.


A linear chamber defined by four Palladian columns and chandelier, the hotel reception benefits from natural daylight enhanced by egg-white interiors and Italian grey marble flooring. Fu layers this vertiginous space with a backdrop wall of inlaid Indonesian Wenge veneer accessorised with diamond-shaped sconces. As part of an art programme curated by Fu, commissioned pieces and antiques decorate the interiors. Around reception they include two bronze sculptures of the female form by Marie-Madeleine Gautier, plus a porcelain and oil paint installation created by D’Art, aka Helen Poon and Anthony Davy. Like many of the other artworks, which range from nautical maps to screen prints, Pages of the Past evokes an aspect of Singapore’s


068 JANUARY / FEBRUARY 2011 WWW.SLEEPERMAGAZINE.COM


culture, in this case the days of early immigrants when red lanterns used to hang from Clifford Pier as a guide for seafarers. At Clifford, the hotel’s signature brasserie, another soaring ceiling height allows Fu to play with traditional materials. He comments: “Wood panelling and herringbone oak tiles are elements genuinely associated with French brasseries but by using them in a 10-metre- high space, they instantly create theatre.” The ivory-coloured panelling is contrasted with vintage furnishings in rich colours, French oak cabinetry and striped silk curtains by Pollack. Antique-effect mirrored panels in solid bronze frames and curving stainless steel lighting features holding individual candle lamps are custom-designed for the waterside restaurant by Fu.


Completing a trio of dining establishments,


Lantern can be found on the rooftop, positioned at the end of a 25-metre infinity swimming pool surrounded by tropical landscaping. Affording breathtaking views of the water, the bar is bathed in ambient light at night, bringing it to life. Fu has


Page 1  |  Page 2  |  Page 3  |  Page 4  |  Page 5  |  Page 6  |  Page 7  |  Page 8  |  Page 9  |  Page 10  |  Page 11  |  Page 12  |  Page 13  |  Page 14  |  Page 15  |  Page 16  |  Page 17  |  Page 18  |  Page 19  |  Page 20  |  Page 21  |  Page 22  |  Page 23  |  Page 24  |  Page 25  |  Page 26  |  Page 27  |  Page 28  |  Page 29  |  Page 30  |  Page 31  |  Page 32  |  Page 33  |  Page 34  |  Page 35  |  Page 36  |  Page 37  |  Page 38  |  Page 39  |  Page 40  |  Page 41  |  Page 42  |  Page 43  |  Page 44  |  Page 45  |  Page 46  |  Page 47  |  Page 48  |  Page 49  |  Page 50  |  Page 51  |  Page 52  |  Page 53  |  Page 54  |  Page 55  |  Page 56  |  Page 57  |  Page 58  |  Page 59  |  Page 60  |  Page 61  |  Page 62  |  Page 63  |  Page 64  |  Page 65  |  Page 66  |  Page 67  |  Page 68  |  Page 69  |  Page 70  |  Page 71  |  Page 72  |  Page 73  |  Page 74  |  Page 75  |  Page 76  |  Page 77  |  Page 78  |  Page 79  |  Page 80  |  Page 81  |  Page 82  |  Page 83  |  Page 84  |  Page 85  |  Page 86  |  Page 87  |  Page 88  |  Page 89  |  Page 90  |  Page 91  |  Page 92  |  Page 93  |  Page 94  |  Page 95  |  Page 96  |  Page 97  |  Page 98  |  Page 99  |  Page 100  |  Page 101  |  Page 102  |  Page 103  |  Page 104  |  Page 105  |  Page 106  |  Page 107  |  Page 108  |  Page 109  |  Page 110  |  Page 111  |  Page 112  |  Page 113  |  Page 114  |  Page 115  |  Page 116  |  Page 117  |  Page 118  |  Page 119  |  Page 120  |  Page 121  |  Page 122  |  Page 123  |  Page 124  |  Page 125  |  Page 126  |  Page 127  |  Page 128  |  Page 129  |  Page 130  |  Page 131  |  Page 132  |  Page 133  |  Page 134  |  Page 135  |  Page 136  |  Page 137  |  Page 138  |  Page 139  |  Page 140  |  Page 141  |  Page 142  |  Page 143  |  Page 144  |  Page 145  |  Page 146  |  Page 147  |  Page 148  |  Page 149  |  Page 150  |  Page 151  |  Page 152  |  Page 153  |  Page 154  |  Page 155  |  Page 156  |  Page 157  |  Page 158  |  Page 159  |  Page 160  |  Page 161  |  Page 162  |  Page 163  |  Page 164  |  Page 165  |  Page 166  |  Page 167  |  Page 168  |  Page 169  |  Page 170  |  Page 171  |  Page 172