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Its a contemporary space, with an international outlook but we strongly felt that elements of the interior needed to draw their cues from the building and square. Based in Amsterdam, she works as a freelance editor, writer and creative strategist and have worked for clients such as Gestalten, frame Publishers, Victionary, Holland Herald KLM and m, among many others. What are your thoughts on this? The 'grand hotel redefined for modern day life' was a theme running throughout the design process and because of this we want the hotel to feel like it has a legitimate place in the lives of Stockholm's citizens and visitors. . Contemporary art, classical Scandinavian design, and sophisticated, thoughtful interiors all come together at Stockholms newest luxury hotel, At Six. In keeping with the period of the building, we specified lots of 20th century furniture pieces including re-editions of classic Scandinavian pieces (chairs by Nils Otto Moller, Poul Kjaerholm alongside other classic European design: Perriand, Albini, Scarpa). He was Founding Director of baltic, the Centre for Contemporary Art in Gateshead, England and Director of Norways National Museum of Art, Architecture and Design. It has a more "global" look, so to say. Universal Design Studio specializes in materials - research and experimentation - and crafted details. . Do you have a favorite piece of art from the collection? 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. 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.

is the founder of Keen on Walls, a website featuring inspiring interiors, design and spaces. Is this a conscious decision? And what is the motivation behind these choices? Since 2006, he has been running Strawberry Art Design, Petter Stordalens ever-growing private art collection, and was responsible for sourcing the art for AtSix. Weve been told that there is nothing that comes close in terms of contemporary luxury hotels in the city which we are proud of but by the same token we feel we have successfully created a place that Stockholmers feel very at home. However right from the start we focused on building a hotel that had its own unique aesthetic and in terms of design felt befitting for an international city which Stockholm. What makes At Six special is that it stands out from the usual "Scandinavian design" interiors prevalent in Stockholm. The monochrome interior contrasts shades of warm grey and highly textured natural materials (sawn stone, blackened steel, fine timber and polished granite) as  soft furnishings and classic furniture editions. We kept a pretty constant dialogue with Sune Nordgren the curator* throughout the design process as we both wanted to build in a range of opportunities to showcase the art collection.


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In terms of function we wanted to public spaces to serve the local community of Stockholm workers/ creatives as much as hotel guests and tried to make the public spaces flexible, diverse and comfortable morning to night. I also really like the calming influence of Mar Whispering, Jaume Plensas.5 metre high marble head situated on our grand staircase. 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. Collectively we agreed on ideas for the larger scale pieces in the lobby and public spaces as we needed to make sure the architecture was accommodating but as far as the actual selection of specific works. All of the pieces are by artists already represented in the collection of Petter Stordhalen, the hotel owner so there is a personal connection. What materials were used in the hotel? We have also managed to balance diversity and coherence in the public spaces so the experience as a whole feels tied together all the while offering variety and contrast. We are very proud of the hotel in general. 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. We also needed to consider the scale of the head which was a special commission making sure that it worked for people viewing the piece from the ground floor, the first floor and how it felt to move around as people ascended the staircase. We also drew inspiration from the existing architecture of the square, in particular Peter Celsings 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. Even the simplest of standard rooms feel luxurious, considered and detailed. 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 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. How did the interiors and artwork interact?