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Dazzling G evokes sophisticated sixties
By Yao Minji |
August 16, 2009, Sunday
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Print Edition
Print Edition
BEIJING'S Sanlitun area is as famous an entertainment center as Shanghai's Xintiandi. Decorated with glorious and glitzy lights every night, the area is filled with trendy restaurants and clubs, adding a distinct and colorful layer to the capital city known for its traditional culture and customs.
And Hotel G dazzles right inside a small street in the area, with its signature window lights bursting into striking color combinations in the dark of night - pinkish purple, grass green, sky blue, light yellow.
All these bright colors are put together on a dark background, creatively and freely, like a huge magic cube playing tricks by combining all kinds of warm and cold colors. Guests in each of the 110 rooms are part of this color combining game as they choose the color of their window lighting.
On the outside, the boutique hotel looks more like a night venue that attracts passers-by to guess how many fashionable men and women are drinking and dancing behind the striking facade, blending well with other nearby venues.
Behind the energetic entrance are 110 comfortable rooms of three categories - good, great and greater. The names are simple and the interiors are chic and comfortable.
To those indulging in the vibrant nightlife, it is often a drag to transform from stylish clubs back to a standard hotel room, like a trip from a fantasy world to falling too rapidly to reality.
Talented British architect and designer Mark Lintott has turned an old building into the innovative Hotel G, which extends the chic style of nightlife and also offers a comfortable and spacious resting place.
Known for his interior design projects in many entertainment venues in Taiwan, Lintott has designed the rooms in Hotel G with a daring idea based on the concept of 1960s Hollywood movies and theater.
Extending the exterior glamor of the window lighting, the lobby also gives the sense of a dynamic theater, a bit muted with warm red sandstone walls and a central column finished in stitched leather.
The interiors of the 110 rooms are further muted from the luxurious exterior, the rooms spacious in the same 1960s-inspired designs - an artistic style easily understood rather than too sophisticated to look at.
The main tone is muted blue and grey with a velvet texture and abstract traditional Chinese details in the modern furnishings. Each aspect seems irrelevant when set apart, but Lintott has put them into the daring combination, creating a nostalgic sense of lacquer and free spirit.
And Hotel G dazzles right inside a small street in the area, with its signature window lights bursting into striking color combinations in the dark of night - pinkish purple, grass green, sky blue, light yellow.
All these bright colors are put together on a dark background, creatively and freely, like a huge magic cube playing tricks by combining all kinds of warm and cold colors. Guests in each of the 110 rooms are part of this color combining game as they choose the color of their window lighting.
On the outside, the boutique hotel looks more like a night venue that attracts passers-by to guess how many fashionable men and women are drinking and dancing behind the striking facade, blending well with other nearby venues.
Behind the energetic entrance are 110 comfortable rooms of three categories - good, great and greater. The names are simple and the interiors are chic and comfortable.
To those indulging in the vibrant nightlife, it is often a drag to transform from stylish clubs back to a standard hotel room, like a trip from a fantasy world to falling too rapidly to reality.
Talented British architect and designer Mark Lintott has turned an old building into the innovative Hotel G, which extends the chic style of nightlife and also offers a comfortable and spacious resting place.
Known for his interior design projects in many entertainment venues in Taiwan, Lintott has designed the rooms in Hotel G with a daring idea based on the concept of 1960s Hollywood movies and theater.
Extending the exterior glamor of the window lighting, the lobby also gives the sense of a dynamic theater, a bit muted with warm red sandstone walls and a central column finished in stitched leather.
The interiors of the 110 rooms are further muted from the luxurious exterior, the rooms spacious in the same 1960s-inspired designs - an artistic style easily understood rather than too sophisticated to look at.
The main tone is muted blue and grey with a velvet texture and abstract traditional Chinese details in the modern furnishings. Each aspect seems irrelevant when set apart, but Lintott has put them into the daring combination, creating a nostalgic sense of lacquer and free spirit.
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