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.
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.
The castle is mirrored in the surrounding lake; a facade of lost romance perfect to celebrate the melancholy of the season.
You can't help yourself fantasizing about the rustling of leaves and skirts strolling in the park in a secret rendezvous after the ball ...
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.
All standard rooms incorporate a full length marble credenza that doubles up as desk with a lounge seating area comprising a custom designed sofa and well stocked minibar and drinks area. Working within a period building we felt it important to establish an interior that felt authentic in character and felt like it was built to last.
The food in the woodfire warmed five table restaurant comes straight from the kitchen garden and from surrounding producers who often deliver their regional dishes exclusively for their kitchen.
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...
We also needed to consider the scale of the head which was a special commission – making sure that it worked for people viewing the piece from the ground floor, the first floor and how it felt to move around as people ascended the staircase.