Tony Chi, together with his New York team, was responsible for the restyling that involved the rooms ant the hall of the Park Hyatt Hotel Washington DC, already in 2006 subject to an important and complex restructuring intervention.
The new project sought to revitalise the connection between tradition and modernity through the revival of the native aesthetic typical of the American Shaker style and an impeccable taste for innovative design that gets its best inspirations from Made in Italy. And in this mix of expressions and trends one also finds place for reference to nature, history and art, with a plethora of decorative effects.
Park Hyatt Hotel Washington DC, room
Already at the entrance, the famous flowering cherry trees of Washington are celebrated in the photographic installations of Amanda Weil that, captured on the large glazed surfaces and thanks to the play of light that filters from the branches, contribute to rendering the lobby large and airy. American modernism and classicism emerge in the combination of details and finishes, among which readily finding placement are glossy glass, stainless aluminium and warmer wood cladding.
Flexiled by King & Roselli
The 216 rooms have been renovated by borrowing from the brilliant, spring-like colours of the American city. It is the vibrant palette that goes from denim blue to caramel, redefining the identity of the private spaces and spreading to the customised materials, surfaces and elements, from the headboards in leather to the photographic prints by Weil on glass that reprise, here in a reduced format, the cherry trees.
Park Hyatt Hotel Washington DC, bagno
Participating to the setting of the rooms and bathrooms, giving them more comfort, aesthetic yield and atmosphere, are also the lighting objects by Contardi. The Flexiled wall lamps, now an icon designed by King & Roselli for the Italian brand, appear from behind the headboards to illuminate evening reading with their flexible, synthetic and sensual design. While on the walls of the bathrooms cladded with basalt tiles, the choice was for squared forms that, in the simplicity of their lines, express themselves through the fabric of the lampshades to embellish the environments.
