32 THE WORLD OF HOSPITALITY
GODDARD
GUESTROOMS AND CORRIDORS
geometric or abstract prints with a deliberately
‘worn-in’ look to the textile pattern. The bench
The hotel features an Imperial Suite, together
with eight other suites and 149 executive and
standard rooms. Linking corridors are inset-
carpeted with timber borders in light oak and
carpet runners, with a bordered bespoke design
in a subtle colourway running from greys to
varying shades of blue, so that it seems to fade
at the border, made specially for the project
by Brinton’s. Walls are in a pale off-white wall
covering from Muraspec. Room numbers are
announced via bespoke wall lights in a brass
finish, with layered bronze plates announcing
the room number via a cut out number in the
front plate, visible against the second plate
thanks to a subtle shadow. These were made to
Goddard Littlefair’s design by Dekor.
The design feel of all the rooms is light and
fresh, with classical clean lines and a refined
and elegant colour palette of blues and silvers,
plus the sparing use of pale pinks. Flooring is a
natural light oak, supplied by a local company
in Dubrovnik and arranged in a herringbone
pattern. Each room features a bespoke
Axminster rug from Brinton’s, with two used for
the suites. The rugs in the suites are in a pattern
that suggests the Middle East, with a whipped-
edge border and the colour palette inverted
from one to the other in blues, turquoises and
ivories, with a touch of gold, whilst the standard
room rugs have a more abstract, floral pattern.
In the guestrooms hang a combination of
prints by Raul Percic and another local artist,
Branka Ridicki. Hanging squarely above the
bed, Branka’s paintings imagine townscapes
in abstract composition and were selected
for their success in capturing the feeling of
Dubrovnik’s winding streets and undulating
roof-scapes. Photos and prints of Dubrovnik
centre on the sea and seaside life, with blues and
oranges giving way to some hints of orange. The
pictures hang in pairs with brass picture lights
above, whilst the suites feature four works of
art each.
is in a pinkish blush faux leather with tufted
buttons and piping details, whilst the stool is in
a turquoise faux leather with a turquoise top
and piping and a base upholstered in a sandy
colour. The armchair is upholstered in sky blue
velvet, with ribbing to the inside of the back
with a double-layered rear detail.
Curtains are a mix of white sheers and a
silver-grey material, with a very slight sheen
to the material to aid reflection. They hang
the full length of the wall behind the ceiling
soffit, so that the header area is disguised.
Quite a lot of the rooms also have balconies
with window-swing doors to the front-facing
rooms. Wallcoverings, by Muraspec, are in an
off-white and all ceilings are white.
The Imperial Suite contains a living room,
dining room, bedroom and bathroom and has
great views out from the front second storey
of the hotel, overlooking the town’s famous old
fort and the sea.
The beds feature full-height panelled
headboards with the panels arranged in a
single ‘bird’s beak’ pattern, with a blue-painted
frame and upholstered in a soft gold silk-linen.
The bed linen is all in white and the bedside
tables alongside are oval-shaped, with a small
inset drawer and open shelf, in dark-stained
timber with a timber top and drawer, along a
laminate body in grey with a linen texture and
timber plinth. The bedside lights are fixed to
panels and are in a geometric leaf print on linen
with antiqued brass, made by Dekor. A floor
light has a metal base and is finished in bronze
and a softly-curved geometric four-section
shade in ivory linen. Some rooms alternatively
feature a fully-metal, slightly shorter floor light
with a demi-globe rounded head. The hotel
bathrooms were also lightly refreshed in the
scheme, with new wall-lights, mirrored panels
and decorative mirrors with brass frames and
leather-hooked top detail.
For this and other suites, the design treatment
links to the standard rooms, with subtle
differences, including a marble-print fabric for
the wall-lights, for example, and headboards
with a padded chevron treatment in a light
blue faux leather and a brass trim between the
upholstery and the framing timber surround.
Curtains in the suites uses the same fabric as
the wall lights, coupled with white sheers. All
suites have applied moulding and panelling
featuring a pale grey wallcovering and a white
paint surround.
All the suites also have sofas, upholstered
in a very light off-white linen-type material
with arms that splay outwards and a long and
loose back cushion. Armchairs in the suites
are slipper-style. upholstered in duck-egg
blue velvet with a contrast trim. Bedroom
armchairs are curved with vertical piping detail
to the interior of the back panel that looks like
Circular dining tables/desks are in timber
with a bell-shaped solid wood pedestal and
additional gilding at the pedestal neck. The
minibars are rectangular and panelled with
chamfered edges, finished in dark-stained
timber, together with a lacquered, low-sheen
turquoise finish, with circular pulls for the
drawer handles in a dark metal. Furniture
in the rooms also includes an armchair and,
depending on the room, a mix of other items
including a stool, chaise or bench. The chaise,
where present, is upholstered in a textured
grey fabric with a ribbed back, a bolster and
scatter cushions, which are made up of a
variety of silk and linen materials with either
WEBSITE: www.goddardlittlefair.com
ribbing and are upholstered in a grey woven
material, whilst a rectangular ottoman features
a turquoise faux leather top and fabric sides
that match the textile used for the armchair.
Lighting for the suites includes four-armed
chandeliers, suspended on a chain, with a linen
shade. A table lamp has a faux-leather wrapped
brown base, a linen shade and a contrast trim
to the top and bottom in dark brown. A coffee
table has a Carrara marble top and timber legs,
whilst two side tables are black-lacquered
demi-lunes. Bedside tables are in a linen-effect
laminate with brass legs and handles and a
timber trim.