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Studio

Los Angeles

19 septembre 2018

NoMad Los Angeles par be-pôles .

Los Angeles

19 septembre 2018

Studio

Vidéographie . Photographie

NoMad Los Angeles par be-pôles

19 septembre 2018

Le studio parisien be-pôles, créé par Antoine Ricardou & Clémentine Larroumet a fait appel à notre studio pour illustrer leurs différents projets, nous avons réalisé une série d’interviews avec les personnalités qui font la singularité de chaque projet :

Le groupe Sydell ouvre son deuxième hôtel « NoMAd » à Los Angeles, installé dans l’ancienne banque d’Italie en plein cœur de Downtown. L’architecture intérieure est signée Jacques Garcia et le Art Program mural est réalisé par Virginie Boulenger.

The Parisian be-pôles studio, set up by Antoine Ricardou & Clémentine Larroumet called upon our studio to illustrate their different projects, and we carried out a series of interviews with the people who make each project unique :

Sydell Group opens his second hotel  » NoMAd  » in Los Angeles, settled in the old bank of Italy, in downtown. The design interior was designed by Jacques Garcia and the Art Program by Virginie Boulenger.

The Parisian be-pôles studio, set up by Antoine Ricardou & Clémentine Larroumet called upon our studio to illustrate their different projects, and we carried out a series of interviews with the people who make each project unique :

Sydell Group opens his second hotel  » NoMAd  » in Los Angeles, settled in the old bank of Italy, in downtown. The design interior was designed by Jacques Garcia and the Art Program by Virginie Boulenger.

dyptique nomades
dyptique nomades

Direction artistique et Réalisation

Nomades Studio
en collaboration avec
le Studio be-pôles.

Lieu

Los Angeles – USA

Musique originale

Vous savez, pour nous l’avenir de l’hôtellerie et l’essence de Sydell sont deux choses distinctes. Tout d’abord il faut que ça fasse résidentiel. Vous devez avoir l’impression de rendre visite à des amis, et non pas de séjourner dans un endroit artificiel ou fabriqué. Les choses doivent sembler avoir pris forme naturellement, en quelque sorte.

Et c’est quelque chose que be-pôles apporte en trouvant et en affichant des œuvres d’art que vous n’avez jamais vues auparavant et en les présentant de manière inhabituelle, informelle, ou encore en utilisant différents motifs et différentes couleurs dans les chambres. Je pense que cela permet aux visiteurs de se sentir vraiment bien.

Mais le sentiment de voyager est également important. Il faut que les visiteurs se sentent à l’aise, comme s’ils étaient chez des amis, mais dans un endroit où ils ne sont encore jamais allés, un endroit qu’ils découvrent. Il doit y avoir un élément de découverte, qui vous dit que vous êtes dans une autre ville, que vous êtes ailleurs.

À L.A. par exemple, nous voulions que les œuvres rappellent un peu l’Italie, car le bâtiment, à l’origine, était la Banque d’Italie. Le plafond d’origine est d’ailleurs très spectaculaire. Et en même temps, nous voulions que certaines œuvres rappellent le Los Angeles urbain et le Los Angeles vu à travers son centre-ville, le Los Angeles brut en quelque sorte, pas nécessairement celui des piscines et des palmiers.”

Andrew Zobler
Fondateur & CEO

For us, the future of hospitality and really the, you know, the core of Sydell are really two things. One is that it should feel residential. You should very much feel like you’re visiting a friend’s house and not staying in some place that feels, you know, contrived, or produced. Rather it should feel like it sort of came together in kind of a natural way.

And that’s something that Be-poles really adds to the equation by hanging – finding different art, art that you haven’t seen before, hanging it in an unusual way, in a relaxed way, you know, going with different patterns and different colour ways in rooms, and I think that that makes people feel really comfortable.

But the juxtaposition to that, which is equally important, is giving people a sense of travel. And so as much as you want them to feel really comfortable, you want them to also feel like they’re comfortable at a friend’s house, in some place that potentially they’ve never been or that they’re discovering. And so there needs to be an element of discovery that tells you that you’re in another city, that you’re in another place.

So, for example, in LA, we wanted to have art that reminded you a bit of Italy, because the building was originally the Bank of Italy, it has a spectacular, historic Italian, ornate ceiling, and at the same time we wanted to have art that reminded you of urban Los Angeles, and Los Angeles looked at through the lens of, sort of, this downtown, you know, kind of, gritty rediscovery and not necessarily the Los Angeles of swimming pool and palm trees.

Andrew Zobler
Founder & CEO

For us, the future of hospitality and really the, you know, the core of Sydell are really two things. One is that it should feel residential. You should very much feel like you’re visiting a friend’s house and not staying in some place that feels, you know, contrived, or produced. Rather it should feel like it sort of came together in kind of a natural way.

And that’s something that Be-poles really adds to the equation by hanging – finding different art, art that you haven’t seen before, hanging it in an unusual way, in a relaxed way, you know, going with different patterns and different colour ways in rooms, and I think that that makes people feel really comfortable.

But the juxtaposition to that, which is equally important, is giving people a sense of travel. And so as much as you want them to feel really comfortable, you want them to also feel like they’re comfortable at a friend’s house, in some place that potentially they’ve never been or that they’re discovering. And so there needs to be an element of discovery that tells you that you’re in another city, that you’re in another place.

So, for example, in LA, we wanted to have art that reminded you a bit of Italy, because the building was originally the Bank of Italy, it has a spectacular, historic Italian, ornate ceiling, and at the same time we wanted to have art that reminded you of urban Los Angeles, and Los Angeles looked at through the lens of, sort of, this downtown, you know, kind of, gritty rediscovery and not necessarily the Los Angeles of swimming pool and palm trees.

Andrew Zobler
Founder & CEO

dyptique nomades
dyptique nomades

Je pense qu’il nous a fallu du temps pour nous faire à l’idée que nous allions faire un autre NoMad. L’enjeu était, pour une part, émotionnel. Nous avons investi tellement de temps, d’énergie et de passion pour en faire un lieu spécial et unique. Je pense que nous avons eu du mal à trouver comment refaire la même chose et comment, en quelque sorte, avoir cette même passion pour reproduire quelque chose que nous avions toujours imaginé être unique.

Donc je pense que NoMad est, était et sera toujours quelque chose de très précieux à nos yeux, et de très réfléchi. Et si l’on regarde comment d’autres marques se sont développées, nous nous sommes décidés bien plus rapidement à nous attaquer à la suite. Mais nous attendions le bon moment. Il fallait que nous ayons récupéré émotionnellement du premier pour pouvoir nous investir vraiment. Il fallait également que le bâtiment et l’emplacement soient vraiment spéciaux, comme l’est New York.

Je pense que pour toute personne qui visite le NoMad ici, il y a beaucoup d’éléments très beaux qui sautent aux yeux. L’entrée est spectaculaire, les chambres sont uniques, mais ce qui m’a vraiment attiré ici, c’est l’esprit du lieu, le sentiment que l’on éprouve au milieu des paysages de Los Angeles et du sud de la Californie. Et si l’on regarde au nord, la vue est magnifique.

Jeremy Selman
Président & Directeur général

So I think it took us a long time to get comfortable with the idea that we were going to do another Nomad. Part of it was just emotional. We spent so much time, energy, passion focusing on making that one place so special and so unique. I think we struggled with how, how do we, how do we replicate that and how do we, how do we, sort of, service our passion in a lot of respects with something that we never, kind of, thought of as being, you know, more than one.

And so Nomad is, was, I think will always be very precious to us. And very considered. And so if you kind of look at how our other brands have developed, we’ve been much quicker to go onto the next one. I think Nomad we were really waiting for that next moment that was special. And both a moment in time where we felt like we could really invest in it, you know, emotionally, where we have, sort of, recovered from the first one. But also the building and the place needed to be as special as New York.

I think, for anybody that visits the Nomad here, there’s a, there’s a lot that will be readily apparent as beautiful. The lobby is spectacular, the guest rooms are very unique, but what I, what I was drawn to here is really the sense of place that you get within the Los Angeles and also the Southern California landscape. So if you look to the north, you have beautiful vistas.

Jeremy Selman
Managing Partner & President

So I think it took us a long time to get comfortable with the idea that we were going to do another Nomad. Part of it was just emotional. We spent so much time, energy, passion focusing on making that one place so special and so unique. I think we struggled with how, how do we, how do we replicate that and how do we, how do we, sort of, service our passion in a lot of respects with something that we never, kind of, thought of as being, you know, more than one.

And so Nomad is, was, I think will always be very precious to us. And very considered. And so if you kind of look at how our other brands have developed, we’ve been much quicker to go onto the next one. I think Nomad we were really waiting for that next moment that was special. And both a moment in time where we felt like we could really invest in it, you know, emotionally, where we have, sort of, recovered from the first one. But also the building and the place needed to be as special as New York.

I think, for anybody that visits the Nomad here, there’s a, there’s a lot that will be readily apparent as beautiful. The lobby is spectacular, the guest rooms are very unique, but what I, what I was drawn to here is really the sense of place that you get within the Los Angeles and also the Southern California landscape. So if you look to the north, you have beautiful vistas.

Jeremy Selman
Managing Partner & President

dyptique nomades
dyptique nomades

Direction artistique et Réalisation

Nomades Studio
en collaboration avec
le Studio be-pôles.

Lieu

Los Angeles – USA

Musique originale

Ce qu’on essaie de faire sur les hôtels Nomad, c’est de raconter des histoires, comme on le fait avec la marque, en fait. C’est un prolongement de la marque. Donc, on part effectivement, d’un thème qui est donné par le client sur l’hôtel et pour le Nomad de Los Angeles, on est entre la Californie et l’Italie, avec des très jolis parallèles visuels.

Et donc, dans chaque chambre, on essaie de repartir de ce thème-là, avec des photos qui sont faites par des artistes commissionnés. Et puis, on part d’une photo et on se laisse porter par une histoire avec des choses qu’on a chiné, des dessins, des collages. Donc, on amasse toute cette quantité de matières en fait, et puis après, on prend chambre par chambre. On a une composition, en fait, qui est prédéfinie, de cadres, et là, on se laisse porter soit par l’environnement, soit par le lieu, soit par une couleur, et puis, on assemble.

L’encadrement, il est choisi d’abord en fonction de l’environnement de la chambre, donc, on essaie de choisir une gamme de cadres, qui soit respectueux de cet environnement-là qui a été prédéfini pour nous. Encore une fois par exemple, sur Los Angeles, on est allé sur des moulures beaucoup plus fines, moins baroques que ce qu’on avait fait sur le Nomad New York, Et puis, pour casser justement ce code de l’ancien, en fait, quelque chose de très vintage, on va l’encadrer dans quelque chose d’assez moderne.

Virginie Boulenger
Art Program Curateur

What we’re trying to do at the Nomad hotels is to tell stories, like we do with the brand, in fact. It’s an extension of the brand. So, we start off by using a theme that the client gives us for the hotel. For the Nomad in Los Angeles, we go back and forth between California and Italy, with some very pretty parallel visuals.

In each room, we try to develop this theme with photos that have been taken by commissioned artists. Next, we start from one photo and let ourselves be carried along by a story using things we’ve bargain hunted, using drawings and collages. So, we gather all this material and then go from room to room. Actually, we have a composition that has been predefined; we have frames. And then we let ourselves be guided, either by the environment or by the place or a color. Next, we assemble.

Frames are chosen first of all according to the room environment. We try to choose a range of frames that blend in with this environment, which we have previously defined. As an example, in Los Angeles we chose moldings that were much narrower and less baroque than those we used at the Nomad in New York. And then, to introduce a rupture with an older style, a style that’s very vintage, we’ll choose a more modern frame.

Virginie Boulenger
Art Program Curator

What we’re trying to do at the Nomad hotels is to tell stories, like we do with the brand, in fact. It’s an extension of the brand. So, we start off by using a theme that the client gives us for the hotel. For the Nomad in Los Angeles, we go back and forth between California and Italy, with some very pretty parallel visuals.

In each room, we try to develop this theme with photos that have been taken by commissioned artists. Next, we start from one photo and let ourselves be carried along by a story using things we’ve bargain hunted, using drawings and collages. So, we gather all this material and then go from room to room. Actually, we have a composition that has been predefined; we have frames. And then we let ourselves be guided, either by the environment or by the place or a color. Next, we assemble.

Frames are chosen first of all according to the room environment. We try to choose a range of frames that blend in with this environment, which we have previously defined. As an example, in Los Angeles we chose moldings that were much narrower and less baroque than those we used at the Nomad in New York. And then, to introduce a rupture with an older style, a style that’s very vintage, we’ll choose a more modern frame.

Virginie Boulenger
Art Program Curator

dyptique nomades
dyptique nomades

Studio

19 septembre 2018

NoMad Los Angeles par be-pôles

Photos et Texte:

Mathieu Lodin

Natacha Roché

Traduction:
Textmaster

Publié le
19 septembre 2018

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