Maxx Royal Kemer opened this summer in the wonderful landscape of Kiriş, on the Turkish coast in Antalya Province.
The resort nestles at the foot of a rocky headland that divides a long, sandy beach and two sheltered bays. The buildings lie on the bottom of the slopes and the flat area below, with 291 rooms spread across a series of variously sized suites and villas. The design favours privacy for guests and making optimal use of the key landscape features. The greenery on the roofs and lawns acts as an extension of the wood covering the rocky slopes. The artificial lagoon, and the private and shared pools for the villas provide alternatives to the beaches as well as producing reflective surfaces filled with the surrounding colours of nature.
Wood and stone are the dominant building materials, offering an additional reference to the surrounding hues. GeoID, an interdisciplinary designing co-operating office in partnership with GeoMim, was responsible for the room and communal interiors, undertaking a detailed study to define the hotel brand in an amalgam of the four elements. 24 exclusive patterns are used repeatedly in wall, fabric and floor decorations, in four colours to reflect the elements: light blue (water), bronze (earth), emerald (air) and tangerine orange (fire). Each setting has its own specific features, but forms part of the more general hotel design, creating a specific, recognisable identity. The different colours of the walls contrast with the use of a single colour for the floors for the rooms, suites and villas, all done in Fiandre porcelain stoneware. The 120x60 cm slabs from the Quarziti collection clearly add uniformity, but also a faint touch of structure that, combined with the reflective material in the ceramic mixture, adds luminescence to the slabs when touched by sunlight. Fiandre’s porcelain stoneware was the perfect match for the durability and stain and abrasion resistance required of floors in such a resort.
The excellent professional relationship between GeoID and GranitiFiandre was central to ensuring productive exchange between the architect and the company. It produced an upward cycle in which the designer’s input influenced production and the company sought to produce an ever more refined product suited to the project.