AESTHETICS & DESIGN by African artists, half of whom were women, many from disadvantaged communities.
This evolution reflects a deeper story about hospitality, art and the guest experience.“ Local art, crafts, materials and manufacturing are the only way to ground a space in its place in the world, especially when architectural envelopes for hospitality venues are increasingly homogeneous,” says Bridgeford. This contextualisation not only has an aesthetic function; it also has a role to play in creating a sense of arrival, location, inspiration and aspiration for guests.
“ As designers we have a responsibility to consider the human in the space.”
Hospitality is about harnessing the specific sense of a place in every aspect of a hotel’ s design, from the crockery, cutlery, linen and guest amenities to the art, soft furnishings and materials. Yet today’ s guests arrive with a global visual vocabulary, inspired by perfectly curated posts on Pinterest and Instagram. The challenge for designers, says Bridgeford, is to anchor a space in its locality.
She describes the impact of this approach as“ a subliminal, subconscious sensation” that can affect a guest’ s sense of wellbeing throughout their stay.“ Arriving in a beautiful lobby, eating from wellmade crockery, or sleeping in a well-designed room invites dreaming, surprise, relaxation and delight. The experience becomes aspirational,” she says.
Thankfully, the nature of hospitality allows for experimentation. Bolder visions, increased competition and generous budgets encourage designers to push the boundaries of aesthetics, materiality and artistic expression. But the golden thread is the need to weave in the cultural, environmental, and social context of the place. The result is a celebration of the unique qualities of a space, and the adventurous minds that bring those qualities to life.
Paradigm Penthouse
While designing for trend-spotting algorithms carries risks, exposure to far-flung hotel destinations has bled into high-street retail. The aspirational is now accessible to all. The key is to draw inspiration from Pinterest boards, but instead of replicating the ubiquitous, to augment concepts so they fit naturally into their environment. This isn’ t a contradiction of the brief, but an evolution, explains Bridgeford.
And yet, there is a nuance to this approach, too, she cautions.
“ In South Africa, for example, not everything needs to represent a clichéd, cookie-cutter African aesthetic. The decision could simply be to source from local crafters and designers with a view to reflecting their individual ingenuity, artistry and innovation in an object, fitting or accessory.”
Finding uniqueness in a design requires careful designing to appeal to the five
senses. What does a venue sound or smell like? Is there a grand piano playing in the corner of the historic hotel lobby? Are the lights dim enough to cast a soft glow in the bedroom? At a beach bar, sand underfoot invites relaxation. Colour, texture and sensory influences matter profoundly, whether in the most opulent five-star establishment or a more casual outlet.
Understanding this underlines the difference between a skilled designer and someone simply chasing the latest trends. It’ s about having a deep awareness of the effect that design decisions have on the senses of the users.
“ As designers, we have a responsibility to consider the human in the space. Décor doesn’ t create a return journey,” Bridgeford explains.“ What brings people back is comfort, belonging and respect. Yes, something new encourages a first visit, but designing to formula lacks heart and soul.” TT
2026 / TRADE & TASTE 93