The design experience begins as one crosses the threshold from
the busy thoroughfare into a ground-floor foyer wrapped in warm
and welcoming hues of brown, bronze and soft gold. Entering
the lift, panels of brown and bubble-filled blue glass evoke a
sense of fluid motion. As one travels upward, the lighting shifts
subtly from blue to white, the only indication of movement
in the silently ascending vessel, heralding guests’ arrival at the
22nd-floor sky lobby.
At the reception area, taking centre stage is an objet d’art that
draws from the Japanese ensõ. It was designed by Korean artist
Bahk Seong Ghi and this outstanding artwork combines Avant-
garde form with earthy charcoal. The ensõ, known traditionally
as a circle hand-drawn in an uninhibited brushstroke to express
spontaneous freedom of expression, is reinterpreted using
suspended fragments of charcoal. Where an ensõ circle is typically
either closed or incomplete, in the former case it is done so in
order to represent perfection, whereas in the latter it symbolizes
the never-ending quest for improvement. Nevertheless, Bahk’s
masterpiece allows for multiple perspectives. This union of
venerable philosophy and modern innovation characterises the
design approach to Ascott Marunouchi Tokyo.
In the lounge, Shinnosuke Tojo’s triptych of copper plates
highlights calming colours, fluid strokes and deliberate rusting
of the metal plate to reflect the passage of time. The artwork’s
constantly evolving patina is a perfect allegory for the Japanese
concept of ‘Mono No Aware’, or the ephemerality of existence.
The artists who have contributed to the artistic direction of
Ascott Marunouchi Tokyo come from a myriad of nationalities,
from Korea to Brazil. This diversity does indeed reflect the
cosmopolitan character of Tokyo, while all of these artists share
solidarity in paying homage to the Japanese minimalist aesthetic.
Another pervading theme is the perpetual dialogue between Man
and Nature. This theme is deeply ingrained in the local culture
and, when it comes to the hotel, it comes into play gently folded
into the guest experience. The double-height ceiling lobby unfurls
towards a million-dollar view of the city that is framed by lush
greenery. In the entire residence, guests can sense a sublime and
refreshing aroma of jasmine and tangerine that permeate the air.
Furthermore, the subtle shifts in colour and imagery that can be
seen throughout the hotel evoke the characteristics of the four
seasons - Spring on the 23rd and 24th floors, Summer on the
25th and 26th, Autumn on the 27th and 28th, and Winter on
the top floor.
The apartments are decked out with a taupe and cream
palette, silk Pierre Frey cushions, contemporary fittings and
ultra-modern kitchens, complete with all the paraphernalia
necessary for a comfortable extended stay. Bellagio marble tiles
lather the bathrooms in cream. The ceiling is embellished with
abstract photographic prints, creating the impression of gazing
through both foliage and skyline. The graphics manipulate the
proportions of both elements, blurring the lines between where
the buildings end and nature begins.
