FOCUS 061 ABar lounge
One of the features of spaces throughout the hotel is the contrast in brightness levels between adjacent areas, in this case the moody dark bar juxtaposed with the daylit atrium restaurant and lobby. A relaxation space that goes from day to night, the brief was cosy sanctuary. Te overall effect of the interior design is created with opulent fabrics, golden mesh and dark finishes. However, the lighting approach needed to counter the simple, strong geometry of the interior elements. ‘Tere were a lot of rich materials but very minimal design so soft light was needed to take the edge off,’ says Belfield.
Lighting needed to counter the simple, strong geometry of the interior elements
Aside from concealed lighting behind the quadrilateral decorative panels around the perimeter, the key feature of the space is the suspended mesh ceiling elements. ‘We explored various options but uplighting from the bottom of the mesh gave the best effect, using 5mm-wide, diffused LEDs.’ Again attention to detail ensured the precise effect with theatrical black wrap tape used on the bottom to remove any light spill and focus the light exclusively upwards. Te space is further softened with concealed dim-to- warm LED lighting to change from relaxed ambience during the day to a dark, intimate space with richer, golden light late at night.
Dosa restaurant
With its uncompromising gritty aesthetic, the lighting has to work hard to suggest the atmosphere of exclusive fine dining. Offering a Korean-inspired tasting menu, the restaurant seats just 14 diners at the chef’s table. As lighting can affect perception of taste, it was designed in consultation with the chef and maître d’. Te lighting scene slowly changes over the three hours of each sitting (17 courses), calibrated to work with the food and stage of the process. While the downlights to the preparation area and spots on the dining area are standard solutions, the central metal structure – evoking a giant cooker hood – acts as both the key interior element and light source.
A band of LEDs at the bottom of the structural leaves both animates and softens them. Unusually, the two key sources over the dining area also have a different colour temperature range. Te sources on the structure are tuneable from a warm 2000K to a very cool 5000K, while the spots directed at the dining area change between 2500K and 3500K.
‘Te overall design makes you feel as if you have been allowed behind the scenes into the kitchen with direct access to the chef,’ says Belfield. ‘Te tuneable white LEDs allowed us to play with colour temperatures and the diners’ perception of the spaces.’
Left The central metal structure – evoking a giant cooker hood – acts as both the key interior element and light source
‘The effects of reflection and refraction, the movement of the chefs in the kitchen, combined with lighting effects, stimulate the senses of visitors and
translate the inspiring vision of chef Akira’
– Curiosity
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
