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Society Interiors - - INTERNATIONAL NEWS -

Stun­ning Re­sort Cey­lon, the bench­mark for bou­tique, small lux­ury re­sorts in Sri Lanka has an­nounced its new­est re­sort of­fer­ing- the Wild Coast Tented Lodge. Ide­ally lo­cated at the edge of Yala Na­tional Park in the South-Eastern part of the coun­try, renowned for its dense leop­ard pop­u­la­tion, this spec­tac­u­lar lux­ury tented lodge nds its place, where the glo­ri­ous jun­gle meets a pris­tine beach over­look­ing the azure wa­ters of the Indian Ocean. Set to open in mid-October 2017, Wild Coast Tented Lodge will also be a mem­ber of Re­lais & Chateaux, a pres­ti­gious as­so­ci­a­tion of some of the nest ho­tels and restau­rants around the world. The re­sort de­sign has been con­cep­tu­alised by No­madic Re­sorts—a con­sor­tium of Dutch, English and Sri Lankan de­sign­ers, wherein it blends seam­lessly into the sur­round­ing land­scape built with metic­u­lously hand­picked nat­u­ral ma­te­ri­als. The re­sort would also con­sist of world-class din­ing ex­pe­ri­ences, an open-air bam­boo-clad Ten Tuskers bar and Din­ing Pav­il­ion also wrap around the re­sort’s enor­mous free-form swim­ming pool. Guests will be able to en­joy cre­ative daily chang­ing menus of au­then­tic Sri Lankan cui­sine in the restau­rant, as well as sun downer cock­tails and pic­nics al fresco on the sand dunes. The Sanc­tu­ary Spa will of­fer a range of nat­u­ral treat­ments de­vel­oped in-house with na­tive Sri Lankan ingredients—Cey­lon Tea and Cey­lon Cin­na­mon. The li­brary will dou­ble up as an ed­u­ca­tional cen­tre, where guests can learn about the sur­round­ing wildlife in the park and watch doc­u­men­taries, fur­ther ex­plained by the lodge’s ex­pert guides and nat­u­ral­ists.

Cre­ative Canopy The South Street Sea­port in New York is set to re­ceive an elab­o­rate canopy from German ar­chi­tect Achim Menges to ac­com­mo­date SHoP Ar­chi­tects’ Pier 17 project. The light­weight, ethe­real canopy will com­prise a fi­brous body in­flu­enced by the wings of bee­tles atop the building’s rooftop stage. SHoP’s $250 mil­lion Pier 17 project is slated for com­ple­tion in the fall and sched­uled to open next year. Ren­der­ings of SHoP’s 250,000-sq.ft. project de­pict a land­scaped stage ca­pa­ble of host­ing up to 4,000 peo­ple. An ad­di­tional 60,000 sq. ft. of the roof will be out­fit­ted with a restau­rant and two out­door bars. Pier 17 will span four sto­ries and will be clad with glass. New Look Glen and Co. Ar­chi­tec­ture re­cently com­pleted the re-de­sign of the his­toric Ames Bos­ton Ho­tel, spear­head­ing the de­sign of the ho­tel’s public spa­ces, in­clud­ing the lobby, The Li­brary, Ames and Oliver & Oakes rooms, and Cul­ti­var restau­rant. The re­vi­tal­ized 114-suite Ames Bos­ton Ho­tel merges the past, present and fu­ture, of­fer­ing a blend of mod­ern style and old-world so­phis­ti­ca­tion. Glen blended his designs with the many pre­served, orig­i­nal features of the ho­tel, in­clud­ing the lobby’s tiled mo­saic arched ceil­ing and a mar­ble stair­case that runs from the rst oor to the roof. The ren­o­vated lobby features sleek new check-in sta­tions and a ca­sual seat­ing area ac­cented by warmly-toned wood shelv­ing and trim pieces. Ad­ja­cent to the re­vamped en­try­way is The Li­brary, which boasts the same eye-catch­ing, mid-cen­tury de­sign scheme that be­gins in the lobby and serves as com­mu­nal workspace. The 114 gue­strooms in­cor­po­rate mod­ern and timeless el­e­ments with a re­freshed chic colour pal­ette that evokes a sense of calm and peace.

Fun King­dom When Shin­segae, South Korea’s largest re­tail oper­a­tor, hired Colum­bus, Ohio-based global de­sign agency Chute Gerde­man, the brand’s goal was to cre­ate a trend­set­ting de­sign. As the company looked to add an en­tirely new brand and re­tail cat­e­gory to its portfolio, Shin­segae cre­ated Toy King­dom, an ex­pe­ri­en­tial toy store. The playful ex­pe­ri­ence be­gins at the en­trance, where colour­ful light bal­loons pour from the ceil­ing and spill into the mall. Kid-sized tun­nels with in­ter­ac­tive floor­ing im­me­di­ately en­gage chil­dren, beck­on­ing them to be­gin their un­for­get­table jour­ney. This kids-only en­try point cre­ates a con­nec­tion be­tween the child and the char­ac­ters of Toy King­dom. Dis­tinct play ar­eas—con­nected to each char­ac­ter and a type of play—serve as larger-than-life bea­cons on the perime­ter of the store. The in­tent was to get prod­ucts out of the box and cre­ate mo­ments that em­brace the spirit of play, mo­ments that could be cap­tured by par­ents and shared via so­cial me­dia. The Wacky Track, Fun Tun­nel and Lego zones are key points of in­ter­ac­tion that get kids hands-on with the prod­ucts and time spent con­nect­ing with spe­cific brands. Ap­pre­ci­at­ing Et­tore Sottsass One hun­dred years af­ter his birth, and a decade af­ter his death, Aus­tro-Ital­ian de­signer Et­tore Sottsass is nally get­ting his due. Et­tore Sottsass:De­sign Rad­i­cal is an ex­hibi­ta­tiom, which is on view at the Met Breuer, seeks to con­vey the full breadth of his work, which nav­i­gates six decades of de­sign his­tory. The ex­hibit is for the most part or­ga­nized chrono­log­i­cally, although it de­parts at mo­ments to main­tain group­ings by medium. Af­ter his ear­lier work, the show segues into Sottsass’ cor­po­rate de­sign for Ital­ian ma­chine and elec­tron­ics man­u­fac­turer Olivetti, where he made his­tory for de­vel­op­ing the de­sign for the rst all-tran­sis­tor main­frame com­puter, Elea 9003, in 1959. As the show tran­si­tions into Sottsass’ work from the late 1960s and early 70s, the pieces be­come more con­cep­tual. There is the 1966 Su­per­box, a stand­alone, phone-booth sized cab­i­net made of plas­tic lam­i­nate-coated ply­wood de­signed for Poltronova—a con­tem­po­rary fur­ni­ture and prod­ucts man­u­fac­ture known as the “rad­i­cal fac­tory,” where Sottsass was artis­tic direc­tor. De­signed in re­sponse to an in­creas­ingly mo­bile so­ci­ety, the Su­per­box was de­vised as an allin-one stor­age unit that could be taken off the wall and pre­sented as a piece of Min­i­mal­ist sculp­ture—an in­ten­tion made more ro­bust by its place­ment in the mid­dle of the gallery, jux­ta­posed with a 1968 ver­ti­cal stack sculp­ture by Don­ald Judd.

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