Contract - July/August 2014 - 115

The Parisian-themed
Berners Tavern (above)
is lined with 185 pieces of
artwork. Chandeliers inspired
by ones in Grand Central
Terminal in New York hang
from the high ceiling. The
lobby and Lobby Bar (opposite
two) are furnished with
a mix of unique pieces inspired
by iconic British design.
Leather-upholstered wingback
chairs flank the fireplace,
and Donald Judd-inspired
sofas upholstered in bright
green velvet invite guests
to relax or work within
the space.

Step inside the lobby of the London EDITION hotel and it's easy
to see why it was a favored social venue among London's elite in the
early 1900s. A landmark structure formerly known as the Berners Hotel,
its grand interiors-marble walls and floors, ornate balustrades, and
richly carved moldings-served as a fitting backdrop to the gatherings
of King Edward VII, Peter Carl Fabergé, and other luminaries who
frequented the hotel at the turn of the last century, when its reputation
was at its peak. Today, however, thanks to the conceptual acumen
of visionary hotelier Ian Schrager and an interior revamp by design firm
Yabu Pushelberg, the hotel now attracts a broader swath of habitués.
"It's as appealing to a middle-aged tourist as it is to an
international fashionista or a local teenager with tattoos," says Glenn
Pushelberg, who, along with George Yabu, collaborated with Schrager's
design team to inject the hotel with shots of contemporary zip while
preserving the best of its original character.
The designers began working on the project in 2010, after
a prior renovation of the luxury hotel had languished during the
economic downturn. Schrager and Marriott International took over
to recast it as a flagship property in the emerging EDITION brand for the
hotel chain. A design approach that would attract a diverse clientele
was part of the plan from the start.
"It was important to restore the ornate public spaces, but also
to add a layer of modernity with furnishings and art as a juxtaposition
to the traditional frame," Pushelberg says. "Mixing new elements into
the aesthetic palette allows people to appreciate the original structure
without feeling like they're in a museum and keeps the audience from
being narrowed."

Refreshed and reimagined public spaces
First constructed in a classical style as five adjoining townhouses
in 1835, the structures had been combined and converted into a luxury
hotel in 1909. Given the hotel's landmark status, the designers' first
step was to restore the faded luster of the common areas-including
the extravagant lobby, two bars, a restaurant, a dance club, and various
meeting rooms-while updating them and weaving them into the
present. "We thought about the moldings and wondered, 'Do we paint
them, gild them, color them?'" Pushelberg recalls. "Finally, we made
the decision to keep them neutral and paint them a soft clay color."
Once the historic backdrop was refreshed, the designers set
a bright tone in the public spaces with modern touches. "We decided
early on not to put tricks, like voluminous drapes, into the interiors,"
Pushelberg says. "We also wanted to distill the elements and carefully
considered how much English character to include," he adds. "It's easy
to get into a contextual trap."
Pristinely edited contemporary strokes pepper the historic
common areas with the unexpected wit that Schrager's properties are
known for. Most notable is the massive silver egg-shaped chandelier,
designed by German lighting designer Ingo Maurer, in the lobby. Other
energizing elements include Donald Judd-inspired sofas upholstered
in bright green velvet, black metal lighting and tables by Christian
Liaigre, leather-upholstered wingback chairs, and Salvador Dalí-
inspired 24-karat gold floor lamps.
In contrast to the history-infused common areas, the 173
guestrooms and 2,077-square-foot penthouse are fitted out as purely
contemporary cocoons. Walnut- or oak-paneled walls set off

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Contract - July/August 2014

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