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We wanted every room to feel like a suite so even in the smallest of standard rooms we have clear hallway, sleeping and living zones. 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 picked by curator Sune Norgren) and a mix of local and international elements and design. 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. The hotel is large - 343 rooms in total and so the brief also asked us to look at a number of typologies and colour ways to create contrast and variation across the floors. We wanted to make a hotel experience that feels unique, distinct and memorable and but also at ease in the building and in Stockholm. The building, a brutalist high-rise structure, was originally designed in the 1970s by Swedish architects Boijsen & Efervgren, and in our design we tried to humanise the imposing architecture, while also making its unique qualities part of the project. 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. What was the brief for At Six Hotel's interiors? And how did you implement this? We spoke with Hannah Carter Owers of Universal Design Studios about the design motivation for the brutalist space, how they redefined the grand hotel concept for modern life, and how Stockholm and its citizens play a central role in its grand designs. Contemporary art, classical Scandinavian design, and sophisticated, thoughtful interiors all come together at Stockholm’s newest luxury hotel, At Six.
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