Icon of Our Time

Recently opened Hotel Icon is Hong Kong’s first teaching and research hotel, established in association with Hong Kong Polytechnic University, whose School of Design is regarded as one of Asia’s best. christina ko caught up with the key players on the hotel’s dream design team

ROCCO YIM – ARCHITECT
If Rocco Yim had a superpower, it would be designing structures that are at once modern and yet supremely inviting. It might sound like a lame power, but anyone who’s been through ifc or One Peking Road will beg to differ. The man who helms Rocco Design Architects Limited and who recently completed the Central Government Complex at Tamar has applied his signature glossy, glassy touch to Hotel Icon.

What attracted you to work with Hotel Icon?
What attracted me to this project was the promise that the design was to be chosen from an architectural competition. This was, and still is in Hong Kong, a rare arrangement, but it showed the client’s commitment to good design from the start.

What was the brief?
The brief was simply that, apart from overcoming the complex planning challenges of accommodating three different functions within one site, the resulting architecture needed to be unique.

You’ve been involved in a lot of projects in Hong Kong. How did you work to make Hotel Icon stand out from the others?
I feel that the finished building manages to project a strong visual identity that is borne of the functions within. As such, it is not just an object to be looked at, but a three-dimensional spatial composition that is best appreciated by moving through the levels and volumes on the inside.

How did the fact that Hotel Icon is a teaching and research hotel affect your perspective?
For me, it means that it has to project a certain civic presence, and to foster an ambience that is cultured rather than commercial.

What were some of the challenges of working with this space?
The main challenge unique to this project is that three separate programmes – a hotel, a school and a staff residence – have to be accommodated within a very confined site, with different requirements: total autonomy for the residence, and a balanced autonomy/interaction between the school and the hotel. This requires a very sensitive juxtaposition and composition of the functional elements such that their different needs (access, view, environmental protection) are met. At the same time, the resulting architecture reads as one integral composition rather than three visually disjointed pieces.

How does designing a space in Hong Kong differ from elsewhere in the world?
Designing spaces in a highly dense city like Hong Kong requires awareness that people and users have different perception of scale and distances. The architecture, being just a piece of the total jigsaw that is the city, needs to critically address the context and engage users both within and without.

What are you working on next?
We are working on a cultural centre that actively engages the community and opens itself up to both users and non-users.

 

WILLIAM LIM – INTERIOR DESIGN
As managing director of CL3 Architects, William Lim most recently oversaw the interior design of Swire’s East Hotel, whetting his appetite for independent boutique hotel projects such as Hotel Icon, where he applied his Midas touch to the guestrooms, Silverbox ballroom and the lobby’s grand staircase.

You’ve been involved in many projects in Hong Kong. How did you make Hotel Icon stand out from the others?
It has a strong architectural sense, elegant yet clean and contemporary, the way I like my design to be. It has many unique features: the Rocco Yim glass atrium, the Patrick Blanc green wall, the Terence Conran-designed restaurants, the Vivienne Tam suite, the many designer items, from stationery to uniforms to art pieces. Working on anything for four years with the same passion is not easy, but I’m very proud of the result.

What were some of the challenges of working with this space?
Because of the hotel’s educational mission and its use by both guests and students, it needs to inspire. We have to break new ground in hotel design in order to inspire. We need to rethink everything we know about conventional hotels and how to move to the next level. We studied every aspect of the design, working closely with the architect on replanning, such as relocating the grand stairs in a rethink about the flow of the hotel. For each space, we not only thought about what it should be, but what it should be at different times of the day. For instance, the pool and gym area can become a nighttime venue, and the lobby lounge is also the café with an elastic boundary. We looked at the guestroom planning in great detail and did a mock-up three times in order to get it perfect.

How did you integrate various Hong Kong aspects into the hotel design?
One [way] is by incorporating it into the fitting out, like employing Hong Kong motifs in the details for Green [cafe]; and, less visibly, by injecting Hong Kong’s sense of energy and efficiency, and the Chinese philosophy of yinyang, into the planning and organisation of the design. We also worked with a very talented group of local artists and students to develop the art programme throughout the hotel.

What’s unique about the Silverbox Ballroom?
In the theatre there is the “black box,” which is a space that has no fixed stage. The whole space is flexible and can cater to all kinds of performances. For the ballroom design, we wanted to do exactly this. We realised that for a lot of ballroom functions nowadays, the space is transformed totally to cater to the event. We wanted to provide this flexibility so there can be weddings, product launches or even recitals and concerts here, still retaining a sense of elegance for normal daily events. We picked silver [as the focus colour] because with LED lighting the ballroom can become any colour an event calls for. It has a massive crystal ceiling and I believe it is the most elegant ballroom one can find in Hong Kong.

How does designing a space in Hong Kong differ from elsewhere in the world?
Designing in Hong Kong has two major challenges: spatially it’s very constrained, and time is always of the essence. We have to be very efficient in the use of space, and every area has to be put to good use. Some spaces we even assign different functions for different times of the day. And of course, everything has to be ready yesterday.

What are you working on next?
Some single-tower high-end residential projects to which we can apply our knowledge in hotel design.

 

CONRAN & PARTNERS – RESTAURANT INTERIORS
International urban design, architecture and interiors firm Conran & Partners was founded by Terence Conran, the entrepreneur whose interests cover urban rejuvenation (the Shad Thames area in London, where he built the Design Museum), retail chains (he founded Habitat and Benchmark) and restaurants – Conran is one of London’s most eminent and influential restaurateurs. For an untested property like Hotel Icon to secure a big-name international design firm such as Conran & Partners was a coup, and a testament to the high standard of design across the board. Conran’s Richa rd Doone and Tina Norden helmed the design of the hotel’s restaurant interiors, and answered Prestige Hong Kong’s questions on behalf of the company.

What attracted you to work with Hotel Icon?
The most interesting element, and the thing that gives Hotel Icon the most differentiation, is the hotel’s close relationship with the PolyU’s hospitality teaching and research. We were really intrigued by the vision of creating such a close association between a luxury hotel and hospitality education, and were keen to play our part in realising this concept.

What was the brief for each restaurant?
The brief we received from the Hotel Icon team was very clear from the outset. On the 28th floor (the restaurant Above & Beyond) they sought an area with the feel of a private members’ club but with a contemporary edge, and for the second floor, a buffet restaurant (The Market) for all-day dining that sets itself apart from the many competitors in Hong Kong. For both spaces there was to be an emphasis on food and conviviality. Both briefs constitute a challenge in themselves; there is an abundance of both types already in existence so the task was to set them apart from their competitors.

Describe your concepts and rationales for each of the spaces, Market and Above & Beyond.
For Above & Beyond the overall mood is of a private club, so the intention was to create an atmosphere almost like visiting your host’s home. We have designed a series of beautiful timber library units with rows of books and interesting objects on display, like a personal collection. These have been carefully selected from all over Hong Kong and China to give an eclectic, special and local feel. The other element is wine, which features in the restaurant space with a full-height wine wall. We also have a special wine room with a sizeable marble table for tasting or private dining adjacent to a walk-in wine room, all with far-reaching views over Hong Kong. The final touch for the space is the art collection, which consists of pieces from [chairman of the hotel’s board of directors] Victor Lo’s private collection, and a selection of paintings and prints from local artists.

The Market wraps around a lovely internal courtyard, so the dining rooms are arranged to maximise the views of this space. The restaurant has been designed to have a robust, almost industrial feel to its shell, with exposed concrete walls and services visible above the slatted ceiling. This is offset by an individual colour and materials palette – richly veined marbles reminiscent of Mediterranean deli counters, lots of food and ingredients representative of the respective cuisines on display and warm slatted timber screens to separate the dining room into more intimate areas.

How did the fact that Hotel Icon is a teaching and research hotel affect your perspective?
The teaching and research element of the project was a key motivator in our desire to join the team of designers. The education of our future generations is essential to the world, as is the need to break down the barrier that often exists between the teaching and workplace environments. Hotel Icon is an important model for how these two worlds can come together and collaborate for the benefit of all.

With Above & Beyond, the space is very different from traditional Chinese restaurants. Was this a conscious decision?
We hope that it is clear from visiting Above & Beyond that the experience is about the view. It is rare in Hong Kong that you can achieve a 360-degree view of the city, due to the other high buildings that surround you. We have this opportunity on the 28th floor of Hotel Icon, and so we really wanted to maximise the potential. The kitchen and all back-of-house areas are located in the centre of the building so that guests, whether they are in the bar, restaurant, a private dining room or a meeting room, can fully appreciate the wonder of the city that surrounds them on all sides.

What are you working on next?
In Hong Kong we’re currently working on a confidential private-club project. Further afield in Asia, we’re designing the second stage of a 20-hectare, mixed-use regeneration project on the edge of Tokyo, in Futako Tamagawa. In Europe our current projects include hotels, restaurants, large-scale housing developments and retail. In all cases we continue to enjoy working as both architects and interior designers.

 

VIVIENNE TAM – VT SUITE
Designer Vivienne Tam rose to fame with her tongue-in-cheek interpretation of classic chinoiserie, and has maintained her place in the fashion lexicon with a consistent and unique aesthetic that highlights her heritage without falling prey to fetishisation. For Hotel Icon, the PolyU graduate became the latest household fashion name to put her name to a suite, the VT Suite, which is the largest of the property’s available rooms.

What attracted you to work with Hotel Icon?
I was asked to design the suite by invitation. I like the idea that it is a teaching hotel, and also PolyU is my alma mater.

Describe the design that you’ve put together for this suite.
I wanted to create a space that feels much more like my own home – a very personal space that I hope other people will enjoy experiencing.

How did your experiences at PolyU contribute to where you are today?
I had some great teachers, a lot of freedom and a lot of encouragement.

Can you talk a little about designing the VT Suite for Hotel Icon?
It’s not very different from designing clothes – it’s about pattern, textures and surfaces. The room itself is at the top of the hotel with an incredible view, and I don’t want to detract from the panorama. Therefore, the space is quite simple. There’s a tree and plants. I try to use “noble” materials and be as natural as possible. I hope this place is unpretentious and elegant.

What was the mood and message you wanted to convey?
As the suite is a penthouse, I want the guests to feel like being “on top of the world” when they’re staying there.

Who do you think the suite will appeal to?
Since it is a “home away from home,” I want people of all ages to enjoy and appreciate the suite, whether they’re honeymooners or business people.

How did designing a suite differ from working on your fashion line?
It’s dressing a space versus dressing a person.

As a frequent traveller, what do you look for in a good hotel?
Easy-to-find switches, not too many cushions on the bed, a very good bed and a comfortable bath.

How do hotel standards in Asia compare to the rest of the world?
People are very anxious to please in Asia, and they do try hard generally.

What’s your next non‐fashion design project?
As creative director for the Ambassadors of Design Ball in November.

 

FREEMAN LAU – ART CURATOR
Freeman Lau is an oft-heard name on the local design circuit, and though his most well-known design is probably still the Watson’s water bottle found on shelves all across the city, his sculptures and public artwork are equally stunning, if a little less portable. As chief art curator for Hotel Icon, the vice chairman of the Hong Kong Design Centre’s board of directors looked to home when collecting the art that graces the hotel’s interiors.

What was the brief given?
We wished to connect the hotel with PolyU and its surrounding area: sculptures with a city theme at the lobby, graphic works of the Hong Kong skyline at the hallway, photographs of buildings and the sea in the suites, paintings of Hong Kong street scenes on the club floor. They’re all what you can see around the hotel. There’s also a broad selection of artwork, and we invited young design students and artists, as well as more established ones. By doing so, we wish to demonstrate a full range of Hong Kong creativity and vibrancy all the way through the hotel.

Tell us about some of the more interesting objects that you’ve placed in the hotel.
I enjoy the pair of works from a young local artist, Chow Chun-fai, whose pieces are displayed at the reception on the club floor. It’s quite surprising to see the pair of large paintings as you enter the club reception from a relatively narrow lobby. The paintings feature street scenes from the Mongkok and Yau Ma Tei area, which are neighbourhoods near the hotel. The context of the paintings creates interesting conversation with the surrounding region and recalls visitors’ memories of the fascinating Hong Kong street scene.

How did you work with the various designers to ensure the hotel’s design and art pieces complemented each other?
We were able to work closely enough with the hotel interior designer and management on the selection of works. We had the chance to work with people who share a vision with us, and who are prominent players in each field. The main challenge lay in getting the most suitable work to create the right mood in different zones of the hotel. For example, along the corridors where people would quickly walk through, we selected works which carry strong visual impact, and for the spa area we created a softer tone to make people feel relaxed and at ease.

What do you look for in a hotel?
For frequent travellers like myself, we seldom stay in one place for long. I admire hotels that bring a taste of the local culture. A hotel that showcases local creativity and traditional culture certainly enhances the guest experience.

How did the fact that Hotel Icon is a teaching and research hotel affect your creative decisions?
Since Hotel Icon is a teaching and research hotel, we wished to engage mainly PolyU alumni and students in this artist collaboration project. We believe the hotel will be a proper platform for established artists to share their creative ideas and expertise with others. It also offers chances to younger artists to gain experience and to demonstrate their work to the public.

What were the criteria for the selection of student pieces?
We looked for work that showcases the eminent creativity of PolyU students. Currently, a series of fashion shoots from PolyU’s ITC [Institute of Textiles and Clothing] graduates is on display to highlight the flair of the faculty as a whole. The works of art along the corridors are changed from time to time in order to ensure an ever-refreshing experience for guests. Works from students definitely reflect the creativity of our younger generation. I believe we will integrate more art from students in the near future.

What are you working on next?

We are currently offering our services as culture consultant for a client in Lijiang. My role is to extract a few significant cultural elements of Lijiang and to apply them on architectural, interior and landscape design in order to bring out the character of the city. It is interesting to explore a culture so fascinating and to transform these traditional cultural elements into modern design.