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PROJECT REPORT: SPORTS & LEISURE FACILITIES


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moody and dark, exuding a premium feel,” explains Burles. The entrance is dressed with light fittings and softly illuminated decorative signage. A mesh and brass framed staircase takes users up to the first floor open-plan hospitality area. Upon entering the main leisure space, users encounter the bar, beyond which the cafe and lounge areas are adjacently situated, forming intuitively located zones. Run For the Hills designed crittall-style room dividers for flexible sub-division of the pillared open plan space, along with all-new doors, wall panelling and a picture rail running the entire perimeter, from which curtains and art are suspended. The main cocktail bar is one of the biggest new constructions, with a ceiling-suspended metal gantry and custom lighting. The Tivoli logo is displayed across a large back- bar joinery piece – also designed bespoke – with an integrated antique mirror. Located at the far end of the space is a more formal restaurant area – the entrance to which is framed by further curved ‘urban-deco’ crittall screens that divide the space without closing it off completely. Behind the screens hang full-height drapes, giving users the option for more intimate private dining and events, and maximum


ADF JANUARY 2019


flexibility for either private or public use. Curved sofas were designed with couples in mind.


New walls and partitions were erected to cordon off each of the four screening rooms plus the exclusive ‘Director’s Lounge,’ while the bathrooms are situated more or less in the pre-existing locations, having undergone some minor tweaks in layout. Kitchens and back-of-house amenities were repositioned for enhanced functional performance.


Materiality


In the early stages of the design, Run For The Hills experimented with bespoke stoneware pieces and detailing, as Burles explains: “We were really inspired by the beauty of Bath as a location and the history and materials that come with it.” The designers played with the idea of using Bath and York stone to reference the location, but then decided against it as the building itself, with its neo-Georgian architecture, was seen by the team to pay sufficient homage to the local context. “We didn’t want to veer into cliché in any way,” says Burles. Also, as in all projects, budgetary restraints placed limits on design freedom. A bespoke mosaic floor in front of the


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SCREENING STUDIO


One of four ‘Screening Studios’ featuring opulently-upholstered two-seater sofas


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