25HOURS HOTEL HAFENCITY
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HOT DEALS AND NEW HOTELS
ARCHITECTURE / DESIGN
Böge Lindner Architekten
Stephen Williams Associates
Conni Kotte Interior
When dreaming up the HafenCity project, 25hours CEO Christoph Hoffmann explains, “We didn’t want to involve an interior architect, who creates too mathematically, too structurally, who creates rooms but not an atmosphere. Instead, we brought a team of creative minds together that comes from, and truly understands Hamburg.”
Responsible for 25hours HafenCity’s interior design concept is the multi-disciplinary firm Stephen William Associates in cooperation with the full-service creative agency Eventlabs. Nikolaus Gelpke, founder of the acclaimed sea-focused periodical Mare, lends his hand-curated sailor portraits to grace the hotel’s gallery.
Film set designer Conni Kotte known for her “rooms with character” (räume mit gesicht) scouted flea markets for vintage furniture and naval accessories to complement the re-imagined sea chests that grace each cabin and serve as a desk and mini bar. The beds are designed as sleeping berths, the bookshelves are based upon a classic rope ladder, and the rooms’ bespoke wallpaper is illustrated with adaptations of classic seafarer tattoo art.
Award-winning architectural firm Böge Lindner Architekten has created a space that includes a “Radio room” business center with computer stations housed in phone booth cabins, and a “Club room” lounge where guests can enjoy a beer over a game of pool. A “Vinyl room”—a redux of the typical grand hotel’s library curated by the owner of local record shop and archive Groove City—is dedicated to rare, classic, and local grooves. The harbor sauna and exercise room perched on the roof offer a terrace and views of Hafencity’s ever-changing skyline.
The hotel also is inspired by Hamburg novelist Joachim Ringelnatz’s 1920 classic Kuttel Daddeldu, a funny, ironic text that concerns itself with an anarchic sailor living within the harbor’s underbelly. CEO Christoph Hoffmann and creative force Ardi Goldman both admired the work its humor and authenticity of voice, which, Goldman says, is “so real because he speaks in the language of sailors. Each sentence is layered in tradition, influenced by the fact that Ringelnatz was not a writer first, but worked in a pub and as a sailor. So our idea was to make a real sailor story: our hotel is not a Disney version of a harbor.”