HOTEL REVIEW


THIS PAGE: The rope pattern is prevalent throughout the public areas and guestrooms, printed in the Ege-manufactured carpet and laser burnt onto wood panels. Other features include golden anchors as towel hooks, stools made from plastic crates of the local Astra beer, and scaffold poles as shelving


panelling with the twisted rope detail,


sees ‘reversed’ wheelbarrows lined with sheepskin re-appropriated as chairs. The generally spacious and high-ceilinged (except for those in the eaves) guestrooms have walls covered with travel-related cuttings from local newspapers plus a lyric from a contemporary band, while each WC has a flip-flop screwed to the wall used as a magazine holder. The transformation of this 1926 telephone exchange – there are still some areas in use by the former tenants – is not short of pragmatic design. “My overriding concern for the design was to make sure of the ease of use for my staff,” explains Jörn Hoppe, General Manager of both Superbudes, “and consequently our guests.”


The learnings from Superbude St. Georg are many and have been considered in the creation of St. Pauli. The 20cm-high stackable bed-frame design by Rolf Heide – used in the original hotel to allow for changing bed configurations – proved too heavy to move efficiently and the constant movement weakened their structure. Therefore manufacturer Müller Möbelwerkstätten was asked to provide frames 28cm higher for static use in double rooms. Lighting in the first Superbude was


024 NOVEMBER / DECEMBER 2012 WWW.SLEEPERMAGAZINE.COM


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