MEETING…BILL BENSLEY
ABOVE LEFT AND OPPOSITE PAGE: The Ma Nam Suites feature purple day beds, inset panelling and Art Deco wall sconces ABOVE RIGHT: The hotel’s ten pool villas follow one of three themes: China, Colonial or Deco, and have beautiful inner courtyards
Bensley’s touch in the finest details including music and staff uniforms. Much energy is invested in the early conceptual stages of projects. Bensley explains it is not unusual for designers to stay on premises for three days to meet deadlines, although either he or Sherman attends client meetings, staying in touch with “every nuance and corner” of their designs. Clients are often bowled over by the firm’s handcrafted three- dimensional drawings, and these have proven to be a useful tool in overcoming the common challenge of persuading hoteliers to try something new. Bensley laughingly compares the complex drawings to a David Hockney exhibition. While every resort is developed around
a story inspired by “anything from local artwork to an architectural form”, Bensley is happy for his designs to be recognised for their consistency of detailing. He is wary of trendiness, believing instead that hotel exteriors and interiors should stand the test of time. Books and artefacts represent catalysts for the germination of ideas but the designer is still dedicated to travel as a source
of inspiration. The next big trip will be to Antarctica because “on my gravestone, I want it to say, been there, done that, twice.” At The Siam, Bensley was drawn to the prospect of stepping back in time, with “Noi’s love of quirky antiques” the raison d’être of the design concept: “For guests, it will be like visiting their very own gorgeous, private museum.” Bensley and his team set about researching a style of architecture that would support the display of furniture, sculpture, pottery, porcelain, books, photographs and curios. They took their lead from local turn- of-the-century houses once owned by Siamese aristocrats. “The late 19th and early 20th centuries under King Rama V represented an exciting period when Thailand was embracing modernity, opening up to European influence and standing on its own two feet,” notes Bensley. But rather than produce a Rama V-era replica, principal architect Khemvadee Paopanlerd has taken that spirit of modernity and blending of influences onboard, turning to the Musée d’Orsay in Paris as a starting point. As such, The Siam’s form and lines are simplified and streamlined yet formal,
036 MAY / JUNE 2012
WWW.SLEEPERMAGAZINE.COM
incorporating treated black steel, glass, white wood and terrazzo stone. Roof inclines mirror traditional Siamese houses subtly. A muted, monochromatic colour scheme allows antiques to take pride of place and beckons in a secondary Art Deco-styled aesthetic. For Bensley’s team it has been imperative
to draw the outside in as a way of providing natural ventilation and softening the formal architecture. So the lobby building revolves around a spacious courtyard from where guests begin their journey around walkways, corners and arcades. And as head horticulturist Jirachai Rengthong points out, vines hang from rooftops, tropical planting is integrated into building niches, paths are bordered by frangipani and topiary informs the external spaces. Signature Bensley additions include a sculpture garden, a black stone and grass chequerboard plot, and oversized suspended day beds. Connecting the lobby to the main residence, is a bridge on which entrance display cabinets from a salvaged 1890s Siamese shophouse, chosen by Clapp to recall the reign of King Rama V, reveal a pair of welcoming Buddhas.
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 |
Page 173 |
Page 174 |
Page 175 |
Page 176 |
Page 177 |
Page 178 |
Page 179 |
Page 180 |
Page 181 |
Page 182 |
Page 183 |
Page 184 |
Page 185 |
Page 186 |
Page 187 |
Page 188 |
Page 189 |
Page 190 |
Page 191 |
Page 192 |
Page 193 |
Page 194 |
Page 195 |
Page 196 |
Page 197 |
Page 198 |
Page 199 |
Page 200 |
Page 201 |
Page 202 |
Page 203 |
Page 204