A place for handling criminal cases, divorces and family disputes, courthouses can develop negative connotations, but when Martin Goddard, one half of London- and Porto-based design studio Goddard Littlefair, first visited the building set to be the location for Mandarin Oriental’s newest landmark hotel, the vibes were purely positive. He was taken by the architecture – built in the early 20th century by Austrian architect Alfred Keller, and by the ideals of the Viennese Secessionist movement (the city’s unique take on art nouveau).
‘We had this idea of law and order – bringing joy to the strictness of the building,’ explains Goddard. ‘There was a beautiful magnetism between the two concepts: to conform or to rebel. They pulled and pushed one another at the same time; it felt like sparks might fly.’ One of those sparks is the chandelier, crafted by Austrian form 2F Leuchten and inspired by the pop of a Champagne cork, that now greets guests as they enter the lobby. ‘Maybe you were accused and you got away with it; maybe you didn’t get divorced,’ suggests Goddard playfully nodding to the note of celebration the addition lends this once serious property.
Part art installation, part functional design, the chandelier is just one of the many bespoke pieces commissioned for the hotel, all of which are informed by Goodard and Littlefair’s extensive research into the building, the city and its artistic past.
Chalky white plaster, marble, flashes of metallic, gold leaf and antiqued brass speak to the palette of the Secessionist movement, while a more muted palette of bluey-greys and soft pinks reference the architecture of the surrounding neighbourhood. When it came to original details, however, those were few and far between. The courthouse had been stripped right back, but Goddard Littlefair chose to restore key architectural elements – the ceilings, main staircase and certain wall finishes, while nodding to others. The carpet that lines the corridors leading to the 138 rooms and suites (including the exquisitely appointed Mandarin Suite and Royal Suite) was influenced by the border on the floor of the courthouse’s hallways.
‘A true compliment would be for the guests of the hotel to question what is new and what was existing,’ says Goddard. ‘The contrast between old and new is deliberately gentle, and we hope the result feels as though it has always been there.’
From the lobby to the rooms, the feel is residential and inviting – a mood that is intensified by Goddard Littlefair’s decision to retain the historic footprint of the building, resisting the temptation to knock down walls and instead leaning into the orderly structure of the spaces, which wrap around a central courtyard. Throughout, art and craft are unifying threads.
Patterned trims were commissioned to adorn curtains – taking motifs from the work of Secessionist artists Koloman Moser and Josef Hoffman – and bespoke joinery and furniture was commissioned to bridge the gap between the historical influences and the modernity of the Mandarin Oriental brand.
It was modernity that was also the focus for art consultant Minda Dowling, who has curated a collection of works that are, she explains, ‘inspired by the radical creativity of figures like Hoffman, Moser, Loos and Wagner – that feel like a living love letter to Vienna’s artistic legacy but also reframe that legacy through a more contemporary, feminine lens.’ Of the 25 artists featured in the hotel, 14 are women.
Head down to the spa and swimming pool and the accents of gold and marble continue. It’s an aesthetic that is both serene and glamorous. Again, that beautiful friction between order and rebellion. Do you commit to wellness or order a glass of Champagne from your lounger? Both are equally acceptable paths. Rooms from approx £524 per night, mandarinoriental.com
