The De la Mer hotel, which opened about a year ago on Yarkon Street in Tel Aviv, was renovated and with the idea that the proper placement of a structure and its inner space directly affects quality of life. Architect and interior designer Michal Adler, who has studied feng shui, proposed to the owners a feng shui (literally wind-water) boutique hotel combining classical European flavor with Mediterranean warmth.
The owners were at first wary of taking a chance, and just to be on the safe side, signed a contract with Adler that would permit them to back out within two months. Their fears soon proved unfounded.
Thirty rooms were built in the hotel, including two suites, and one year later, it is a popular site for guests, some of whom are staunch believers in feng shui. One such guest is an American journalist who chose Hotel De la Mer "because I need an oasis of tranquillity and harmony when I come to Israel."
The building chosen for the hotel was very run down and for years had served as a hostel. However, because the building had been constructed in the Bauhaus style and marked for preservation, it was clear, says Adler, that except for renovating the facade of the building, the outer shell would not be touched. Consequently, the renovators were limited by quite a few restrictions. For example, the narrow corridor and bathroom locations were determined ahead of time, as were the windows' openings and room divisions. The result was a narrow corridor on each floor and rooms of varying sizes.
Adler says that the proximity to the sea, which can be viewed from the west wing, and its permeation into the building dictated the sand, sea and sky colors used in the rooms and the public areas. Feng shui also determined the creation of balances and "energetic corrections" in the building.
Adler tended to use natural or quasi-natural materials, and made extensive use of light, which according to feng shui, increases energy and enhances the sense of comfort and flow. In the passages to the corridor, corners were shortened and rounded, and low stone benches also provide a feeling of a much larger space. The furniture was meticulously chosen and placed in such a manner as to avoid sharp corners (to prevent interference with the flow of chi (energy).
Even in cases in which the location was not ideal, solutions were found. For example, the bed in a suite was placed opposite the door, which is clearly forbidden by feng shui principles, but the solution was to place something else at the foot of the bed, to provide a buffer between the bed and the door. Also, a large number of mirrors were used, one of the ways to create an "energetic correction," as well as to increase the feeling of space in the rooms.
In the area in front of the hotel, there is a flower box to block out the energies from the street and to create a sense of intimacy in the cafe space created. In the lobby, there is an aquarium with goldfish, which bring good luck and abundance. The sitting area is located far from the entrance, to prevent the passage of uncontrolled chi, while not blocking the view outside, as feng shui requires.
The reception desk is designed to resemble a bar and it stands on high legs made of solid wood. Adler explains that this creates a larger space, because the floor continues to flow underneath it. The desk and low chest behind were created from railroad ties burnished to a deep shine. The windows behind the reception desk look out on the back yard of a neighbor, which is why they were fitted with opaque glass sprayed with sand, and decorated with crystals in the middle. This way, natural light can enter, while keeping out the outside view from this direction.
