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We wanted every room to feel like a suite so even in the smallest of standard rooms we have clear hallway, sleeping and living zones.All standard rooms incorporate a full length marble credenza that doubles up as desk with a lounge seating area comprising a custom designed sofa and well stocked minibar and drinks area. Working within a period building we felt it important to establish an interior that felt authentic in character and felt like it was built to last.
We discovered parc de la Ferté-Vidame by chance, with the magnificent ruin of the castle that appears to be made of cardboard when you look at it from the side.
We also had the existing building and a new rooftop extension to work with where the quality of spaces were really quite different demanding room concepts that could flex, scale and be modified to suit various architectural scenarios.
When we got into the detail we had to work though requirements for each room type, incorporating a mixture of traditional luxury elements (for example a wardrobe long enough to house a Nobel-prize gala dress) contemporary art (hand picked by curator Sune Norgren) and a mix of local and international elements and design.
Where possible we used local suppliers and makers from the city.
We also drew inspiration from the existing architecture of the square, in particular Peter Celsing’s stone clad Riksbank, and the ancient geology of the city when it came to selecting stone types for the floor and wall cladding of the public spaces.
The castle is mirrored in the surrounding lake; a facade of lost romance perfect to celebrate the melancholy of the season.
You can't help yourself fantasizing about the rustling of leaves and skirts strolling in the park in a secret rendezvous after the ball ...
Tatjana Quax Photography family of Studio Aandacht; Ben Raf Lambers Zara Arif Tatjana Quax art, classical Scandinavian design, and sophisticated, thoughtful interiors all come together at Stockholm’s newest luxury hotel, At Six. The brief asked us to create a desirable, vibrant destination, appealing to both locals as well as international guests, with the aim of becoming the best contemporary luxury hotel in Stockholm.
We spoke with Hannah Carter Owers of Universal Design Studios about the design motivation for the brutalist space, how they redefined the grand hotel concept for modern life, and how Stockholm and its citizens play a central role in its grand designs. The building, a brutalist high-rise structure, was originally designed in the 1970s by Swedish architects Boijsen & Efervgren, and in our design we tried to humanise the imposing architecture, while also making its unique qualities part of the project.
Can you tell us more about the Stockholm elements in the design?
Some elements tie the hotel to the city and local area more literally – For example the Swedish leather from the Tarnsjo tannery to the north of the city wrapped around the staircase handrail and on the restaurant banquettes, the bespoke lighting by Swedish lighting company Rubn whose standard range of contemporary fittings evoke a sense of quintessential Stockholm design and the commissioned table in the wine bar carved from a single Stockholm Elm tree by local artist Lies Marie Hoffman.
The food in the woodfire warmed five table restaurant comes straight from the kitchen garden and from surrounding producers who often deliver their regional dishes exclusively for their kitchen.