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Where possible we used local suppliers and makers from the city.We also drew inspiration from the existing architecture of the square, in particular Peter Celsing’s stone clad Riksbank, and the ancient geology of the city when it came to selecting stone types for the floor and wall cladding of the public spaces.Can you tell us more about the Stockholm elements in the design?Some elements tie the hotel to the city and local area more literally – For example the Swedish leather from the Tarnsjo tannery to the north of the city wrapped around the staircase handrail and on the restaurant banquettes, the bespoke lighting by Swedish lighting company Rubn whose standard range of contemporary fittings evoke a sense of quintessential Stockholm design and the commissioned table in the wine bar carved from a single Stockholm Elm tree by local artist Lies Marie Hoffman.Tatjana Quax Photography family of Studio Aandacht; Ben Raf Lambers Zara Arif Tatjana Quax art, classical Scandinavian design, and sophisticated, thoughtful interiors all come together at Stockholm’s newest luxury hotel, At Six. 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.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. 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 best news is that this place is to be visited until after the New Year's Eve while the rest of Basse Normandie seems to be hibernating...

Sune Nordgren has worked as a cultural commentator and art curator for over 40 years.

He was Founding Director of BALTIC, the Centre for Contemporary Art in Gateshead, England and Director of Norway’s National Museum of Art, Architecture and Design.

The aim was to reinterpret the brutalist aesthetic of the building and the immediate architectural landscape of Brunkebergstorg Square in a way that felt relevant, comfortable and contemporary. Collectively we agreed on ideas for the larger scale pieces in the lobby and public spaces as we needed to make sure the architecture was accommodating but as far as the actual selection of specific works went, it was all on Sune who did a brilliant job.

Upon first look, you can see that art clearly plays a big role in the space. With the large sculpture on the staircase there was a fair bit of coordination as we needed to make sure that the materiality and detail of the staircase worked with the head (there was structural plinth cast into the stair to take the marble case of the head) and that the art lighting was correct.

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