Seattle is one of my favourite cities. It is very American West Coast, very high tech (home to Boeing, Microsoft and Starbucks) yet is set in the midst of the most spectacular scenery. For an airplane buff such as me the Boeing Aerospace museum is an enormous draw, as are the tours around the Boeing factory to see the 747 production line, which is as breathtaking in its grandeur as any continental cathedral. The city is growing and developing all the time and has become something of a battleground for hotel groups in recent years, although much of the running is being made by independents. This focus on the hotel industry in the construction sector (new ‘one’ from ‘W’ inspirer Barry Sternlicht, new Kimpton, new Four Seasons etc.) has encouraged the development of many hotel specialist architecture and design practices, and leader amongst them is the Directory Company, Dawson Design.

Interestingly the leader of the practice, Andrea Sheehan, has made use of pattern and colour in a way that presaged the changes we are now seeing in many hotel interiors as we move away from the all pervading bleakness and beiges of the minimalist era. In fact the strong use of colour and pattern has become a hallmark of the practices work in hotels. Hotel 1000 started construction intended to be an office block and the decision to make it an hotel was made well along in the construction process, and colour was one of a number of tools the designers used to combat the nature of the architectural spaces that they were given.

The narrow lift lobby has been remodelled so that it works as a reception space for both the hotel and the apartments that are part of the complex. To the rear of this space is the staircase to the mezzanine public and conference spaces above, whilst downwards it accesses the small cramped spa and an exercise room. To create a feeling of space in the lobby, lighting has been cleverly used, high lighting the reception desk area and lift doors with spotlights whilst behind reception is another dramatic wall of light both highlighting it and also adding light into the reception work areas. Most effective however is the aqua lighting of the staircase wall which creates the illusion of a waterfall, enticing the eye into the space and preventing any tunnel effect from the narrow long dimension. The mezzanine lobby above to which this leads overlooks the entrance lobby area to the hotel. The front of the lobby is lit by a large chandelier and houses a small concierge desk. The area gives access to both the guest lounge and the hotel restaurant.

The whole is characterised by strong dark colour, strong accent lighting and pattern, all of which is as effective by day as by night. The large picture windows to the guest lounge are partially obscured by semi transparent stretched material sheets which have a slightly Japanese screen effect providing privacy from pedestrian passers-by – and Seattle is a city that people walk. The lounge itself is dominated by a large fireplace around which the seating is arranged making both a comfortable informal meeting area as well as a relaxation area. This space is used by the hotel as a breakfast area as an alternative to the restaurant space.