The two-tower Westin Hotel is a downtown Seattle, WA, landmark and the flagship property for the Seattle-based company. The first tower, at the south end of the property, was constructed in 1969, and has 40 floors. The second tower, at the north end of the property, has 47 floors and was constructed in 1980, along with a four-story base building, which houses the lobby that connects the two towers.

Because renovation work had not been done on either tower since 1980, the glitz and sparkle of the public spaces' mirrored ceilings and brass columns were very much outdated. To bring the popular convention hotel up-to-date and even fashionable for years to come, Robert M. Clark, IIDA, principal of CLO Design in Seattle, began a phased renovation process in 1991. The overall design concept incorporated a combination of neoclassic styling with West Coast colors and details to create an environment that is immune to time.

The phases are as follows:

• the lobby;
• a test of 156 guest rooms in the south tower;
• the remainder of the south tower's guest rooms;
• all of the luxury suites;
• and currently the entire north tower, including guest rooms, hospitality suites and finally the restaurants and ballrooms.

The lobby was the first space to be renovated because of its all-important first impression on guests. Although the lobby was essentially gutted, the space was renovated in sections in order to keep it operational. According to Clark, several areas within the lobby were sealed for two to three weeks at a time in order to remove asbestos left over from the original construction.

The first section renovated was the front desk. The original desk was some 50 feet long, which made for an imposing and impersonal greeting to arriving guests. Clark, therefore, divided the new front desk into a soft arc of four check-in pods. The effect is more welcoming and approachable.

The remainder of the lobby is divided into two sections: the main floor and a raised portion near a wall of windows facing the Seattle monorail. The lobby had been one long, unbroken space, much like the front desk. Clark raised a small section near the windows to create an area for more intimate and quiet discussions.

Furnishings throughout the space are all custom designed to fit the overall motif that combines neoclassic and West Coast styling. For example, sofas and chairs have rolled arms combined with straight edges. Tables, lamps and accessories are predominantly made of stone, metal and hardwood.

The walls are covered in one of three papers. The first is a custom vinyl wallpaper that covers the majority of the lobby wall space. This softly colored and patterned paper provides a neutral background for the local artwork displayed in the lobby. Another wallpaper that simulates marble was used behind the front desk. And finally, a handmade paper with a crinkled effect was applied at focal points, such as in the raised seating area. Flooring in the lobby includes marble by the desk, a subtly patterned carpet on the raised section and a swirling floral in the central lobby lounge area.

To compensate for a rather low ceiling, Clark had coffered sections installed above seating groups. The coffers are trimmed in maple and have concealed incandescent lighting to enhance the raised effect. Different sections of the ceiling are painted in neutral shades of buttercream and taupe that seemingly raise or lower the height of the ceiling. Custom light pendants and chandeliers are suspended throughout the space.

Columns in the lobby are either squared or circular. The squared columns are structural and run through the entire four stories of the base building. In the lobby area, these are wrapped in maple with an inset of Italian marble, and have painted cornices at the base and crown. The circular columns are decorative, and are wrapped in a golden-toned birdseye maple veneer.

Guest Rooms in the Round
For the guest rooms in the south tower, Clark custom designed the furnishings. However, the intent was not so much to continue the motif established in the lobby as to make the furniture fit.

"The core of the south tower is rounded," explains Clark. "Therefore, the interior wall of each room is rounded and necessitated specially designing some of the furniture. For example, the headboards were custom made to fit in the corner where the curve of the interior wall meets the straight edge of a side wall. This way, the bed faces the window for a better view of Puget Sound."

Other furniture in the guest rooms-entertainment cabinet, desk and chair and a small seating area-also are situated to take advantage of the view, as well as to create interesting angles around the room. And although the furniture was designed for a smooth transition from the lobby's style, room furnishings are unquestionably warmer and more traditional in order to create a residential feel.

Yet despite the home-like atmosphere in the guest rooms, the materials and finishes are designed for the heavy use that hotel guest rooms must withstand. The carpet, for example, has a subtle striped pattern that blends several colors for ease of maintenance. The vinyl wall covering wipes down quickly.

Even with maintenance in mind, Clark was able to include luxurious touches in the rooms. New crown molding was added and the window treatments open and close with the touch of a button. Upholstery fabric and bedspreads were custom designed to complement the cherry, terra cotta and copper verde color palette and all are washable.

The suites, of which there are 12 in all, also have residential touches, but are obviously intended for entertaining small to mid-size groups of people. Each suite has a dining table that doubles as a conference table, a wet bar and kitchenette, television and sound system and plenty of seating. Bedrooms and baths are closed off from the hospitality space.

While the guest rooms are uniformly traditional in design, the suites are designed somewhat differently from each other for cross-sectional appeal. In the older south tower, Clark updated the suites, but kept much of the original elements. In the Crown Suite, for instance, Clark restored the 25-year-old cherry wood paneling, but refreshed the overall look of the space with a blend of contemporary furnishings and some traditional detailing.

For suites in the newer north tower, the look is wholly contemporary. Millwork is crafted from figured maple, counter tops are granite, silk wall panels soften the look and furnishings and accessories are distinctly contemporary with clean lines and sharp edges.

Related Articles » Good Design Is Good Customer Service » How Interior Design Improves Productivity » A New Experience for Home Offices » Design team creates new statement in a familiar place. » Art Deco Echo » What Does a Designer Actually Do? » Eco Design Matters: What's Green? » No More Great American Lunch Hours » Design for Disability » Understanding Disabilities