Take, for example, 25hours Frankfur t tailored by Levi’s, situated next to the Levi Strauss’s German headquar ters. A playful nod to American popular culture and Levi’s place within it, each f loor tells the tale of a single decade in American history – from the 30s through to the 80s – complete with its own sound track and period furnishings in shades of Levi’s blue. Or consider the groups f irst expanded project, Goldman 25hours. Set in the repurposed Henninger Hof of Frankfur t’s Ostend district, the proper ty was inspired by the Oriental Bangkok, a hotel famous for hosting literary greats such as Somerset Maugham, Graham Greene, Joseph Conrad, and Noel Coward. Goldman explains, “For twenty years I wanted to visit the Oriental Bangkok because of the legend that surrounds it. When I f inally arrived, I closed my eyes and thought of the history, the age, the guests, the books that were written, the stories. I felt the legend. For my f irst hotel, Goldman 25hours I wanted a hotel with a lot of stories, and I didn’t want to wait a hundred years!” And so Goldman invited his friends and colleagues to contribute those stories. The results inspired him to create 49 suites spread over seven f loors. “The hotel is like a Christmas Advent calendar; each door opens to reveal a different story inside.” The suite named “When Will Rome See You Again?” is based on the starry-eyed love that Goldman’s assistant enter tained for Charlton Heston as a young girl. The room is papered in letters to the actor. Another room explores the story of a friend who was overworked, f led the city to spend half a year traveling with a sheepherder, and discovered that time is the ultimate thing of value. The suite, by interior designers Delphine Buhro and Michael Dreher is entitled ‘Time is the
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