EVOKING THE EMOTIVE
Denniston’s Principal Designer Jean-michel Gathy shares his musings on the philosophies of design and its role in hospitality.
“Making a beautiful hotel is about orchestrating a dance between the landscape, the architecture and the interiors. There’s this wonderful chemistry when it finally works,” says the renowned design visionary Jean-michel Gathy, Principal Designer of Denniston, which he founded in 1983. Global citizens would be familiar with his work on iconic hotels such as The St. Regis Lhasa Resort in Tibet, Chedi Andermatt in Switzerland, Aman Venice, and the iconic rooftop and pool at Singapore’s Marina Bay Sands. His ingenuous touch in these properties and more have lent them international fame as venues of monumental proportions.
It’s about comfort
His design musings start from one basic premise – comfort. It’s the word he uses to qualify a good hotel, and the process begins with the environment. The location, social norms and the underlying culture in each destination trigger the design instincts that lead Jean-michel to create spaces that he defines as a success. “If it’s not comfortable, it’s not a good hotel. It can be gorgeous but if it’s not comfortable, it’s not well-designed. When you design a hotel, it’s a home away from home. You want to feel comfortable. But you never question why it’s nice.
You like the place, but you don’t know why. Actually it’s because the architect addressed all the components that fulfil your feelings and sensations. Noise, light control, spacing — everything is important,” says Jean-michel.
He elaborated that he designs from the heart and evokes a style that is charismatic and selfless. “It’s not an ego trip like the architects who design for themselves. I design elements which are a composition of dramatic effect; I create large and dramatic space, in opposition to intimate areas, so the space is always dynamic. Secondly, I design for the sensation you get out of it. I want every space in the hotel to be comfortable and for my clients to come back and say, I like this space. Sometimes they don’t know why they like it, but if they walk in and feel good, I know I’ve succeeded.”
Beyond the emotive response to a space, Jean-michel also believes a successful design is about service, space and time, which together bring about exclusivity. “You must feel that you are ‘the one’. It flatters the ego. You also need to feel there’s lots of space — the foot of the bed isn’t two feet from the window; the loo is separate to the bathroom. However, you can use the best materials in the world, and it can look gorgeous. But if the experience isn’t pleasant; if you are not made to feel that your time there is valuable and important; no one will come back.”
His passion for his craft is relentless, spurred by a vitality that fuels project after project. “Every day, I comment on drawings and redesign things. I work 18 hours a day. I’m an absolute maniac — I never stop. I love what I do,” asserts Jean-michel.
The new face of hospitality
With the pandemic affecting the global hospitality industry, the new norm for travellers and the way they experience their hotel stays will be vastly different, yet expectations for a luxe experience will no doubt remain high, with the need for a prestigious experience that is also pristine and meticulous in hygiene. “Following the pandemic, it is important that architects and designers stay health sensitive in all aspects of design. We may start seeing new materials being used for interior features such as doorbells, key controls in the rooms, and seats, as well as better air-conditioning filters, and different treatments for the water in the swimming pools,” says Jean-michel.
“Future designs will involve things like antimicrobial surfacing for everything from lobbies, to side tables, to the restaurant back-of-house, self-check-in kiosks and limits on how many people can ride in an elevator. Basic rooms will give way to more studios and suites with kitchens and laundry to reduce housekeeping and room service interactions. Within five years, I predict that all these things will be standard in the hotel industry, especially at the highest end,” he shares.
Celebrating culture at Four Seasons Hotel Tokyo
His latest design for Four Seasons Hotel Tokyo at Otemachi makes a statement with its blend of Japanese traditions and European aesthetics. Tokyo is a city of contrasts; its vibrant nightlife and anime obsessions juxtaposed against its strict work culture and business etiquette. Otemachi continues the contrast with a skyline of high-rise glass façade buildings next to the traditional Imperial Place surrounded by the lush forest.
I design elements which are a composition of dramatic effect; I create large and dramatic space, in opposition to intimate areas, so the space is always dynamic.
Located on the top six floors of a 39-storey tower adjacent to the Imperial Palace, the hotel features 193 guest rooms and suites, a spa, a 20m pool on the highest floor and four F&B concepts. Guests stepping through the hotel entrance and into the lobby immediately get a dramatic sense of Japanese aesthetics, with an entryway resembling a traditional Japanese redorange lacquer box with solid timber panels.
Jean-michel says: “To replicate the Japanese aesthetic, I have personally curated a defining art collection to celebrate the distinctive craftsmanship and artistry, which embody the traditional foundations of the country. Distinct examples can be found in the combination of the Japanese floral art Ikebana, hanging natural fibre/fabric artwork and the timbre panel featured at the entrance to awaken the overriding strength of connection between east and west.”
The art of reception is perfectly executed in the lobby, with a sense of occasion created by the 6m-high ceiling and cosy nooks and crannies that inject an air of intimacy. Jean-michel elaborates: “We wanted to bring these mixed senses, traditional yet contemporary Tokyo feeling into our design. We used design items that are commonly used in European homes, like the pendant lamps design, cabinet design etc, but we translated them in a contemporary way, making them over scale to match these high-volume areas. This design translation of items makes the design more contemporary and dramatic in the space. And the items commonly used in European homes make the space homely, together with curtains that are hung from high ceilings for a softer and warmer feel, and at the same time, making the space more dramatic.”
Distinct cultural accents continue in the guest rooms, which feature the bespoke fabric artwork of award-winning photographer Namiko Kitaura as a backdrop, contrasted by modern light fixtures to reflect the nightlife glamour of Tokyo. “The rooms and suites are tailored for intimacy with an open plan layout allowing for natural light to illuminate the room. Japanese elements throughout the design respect Japan’s culture, traditions and heritage, while incorporating the finest elements and absolute DNA of Four Seasons,” shares Jean-michel.