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HOTEL REVIEW


of colourful Indian packaging labels and a glass-encased metal gate painted in gold while in the lobby, furniture ranges from trolley chairs to Trent Jansen stools made from recycled road signs to Ogle pendant lamps by Form Us With Love. Glamour comes in the form of a Tom Dixon Mirror Ball Lamp and Frank Gehry sofa. Trademark barbers’ chairs remind visitors that this is a Peng hotel. The Asylum designers have taken care to ensure the industrial effect of key surfaces is authentic. Assembled from steel that has been left to oxidise and rust in patches, the bar is framed by Campari bottle lighting fixtures and suspended water pipes that act as wine glass holders. In the restaurant, restored timber flooring is matched with rustic white tables and Tolix chairs, plus old wine crates serving as display cabinets. Around the communal


table, a Dear Ingo lamp by Ron Gilad for Moooi ties in with the industrial motif. The remaining three floors are dedicated to guest accommodation, with 11 capsule rooms on level two each rendered in a single colour. On this ‘Eccentricity’ floor developed by William Chan and Jackson Tan of Phunk Studio, rooms are simple in design and feature frosted glass cubicles for toilets and showers. The choice of room colour is reinforced with a neon sign of an apt song title, such as New Order’s ‘Blue Monday’ or The Beatles’ ‘Yellow Submarine’. Level three, meanwhile, offers nine rooms clad in white with contrasting black accents. Some follow a Pop Art concept, where stencilled, backlit installations lend a graphic feel while others take the art of origami as their inspiration, with sharply angled ceilings representing paper folds.


080 JANUARY / FEBRUARY 2011 WWW.SLEEPERMAGAZINE.COM


ABOVE: DP Architects designed the guestrooms on level three, entitled ‘Is It Just Black and White?’, where Pop Art style and backlit stencils lend a graphic feel


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