담배공장 그리고 그 이전 텍스타일 공장이었던 역사적인 건물은 현대적인 감각으로 재구성된 호텔로 리노베이션 된다. 50년대, 60년대 레트로 디자인으로 부터 영감을 얻은 인테리어 디자인은 기존 공장 -제품 생산을 위한 가장 기본적인 요건만을 충족한 기능적 공간, 효율적 공간, 우리는 이를 통해 모던건축이 지향하는 지점을 찾아 볼 수 있다.- 이가 지닌 텍스쳐를 바탕으로 비비드한 컬러가 접목, 공간의 다양성과 산업문화의 절제된 기능주의가 한데 버무러진 퓨전스페이스로 완성된다. 기존 산업문화의 자취를 대표하는 노출된 적벽돌, 노출콘크리트와 대비를 이루는 글로시 또는 매트한 백색 마감재가 조화를 이룬다. 여기에 주요한 공간의 캐릭터를 정의하는 과감한 컬러는 호텔룸, 공용부위에 스틸그레이를 바탕으로 비비드 블루, 바이올렛, 그린이 사용, 호텔의 캐릭터를 분명히 한다.
reviewed by SJ
The Tobaco Hotel is located in the centre of Łódź,
among historic tenement houses and old factory buildings. The hotel is
part of the historic factory building complex. Since 1895, Karol
Kretschmer had operated a wool textile factory there. In 1932, the
National Cigarette Factory opened on the former textile factory
premises. Nowadays, the whole building complex has been modernised and
adapted to housing and hotel purposes.
Architects: EC-5
Location: Lodz, Poland
Architecture Project Team: Luiza Jodłowska, Martyna Nowak, Hanna Pietras, Piotr Płóciennik, Dorota Szafrańska
Year: 2013
Photographs: Michał Mazurowicz
The hotel’s interior has been designed by the “EC-5″ studio. The
interiors reflect the spirit of the 50s and 60s. The dominant colours,
both in hotel rooms and communal areas, are steel gray and vivid blue,
violet and green. The yellow colour constitutes the leitmotiv of the
whole complex. It appears in the corporate identity and in the
decoration. Many interior furnishings, as well as most furniture, have
been made of walnut veneer, the finishing of which is high gloss and
matt. Dark and vivid colours have been confronted with white walls,
floor and window decoration. Thanks to this technique, the effect of
bright and spacious interiors has been achieved.
The architects’ desire was to emphasise the industrial background of the complex. Brick walls and ceilings have been displayed wherever possible. The same goes with bare concrete that has been used in many places, for instance to build the reception counter. In addition, the wiring of the main hall’s ceiling has been left exposed.
from archdaily