Latest news with #PhilippeStarck
Spectator
05-08-2025
- Automotive
- Spectator
Why truck stop cafés trump motorway service stations
There's something about motorway service stations that seems to encourage the very worst in human behaviour. They're places where no doubt usually responsible members of society have long decided that it's permissible to drop semi-industrial amounts of litter on to the verges, urinate all over the toilet floor and belch with impunity while queuing up for a Whopper at Burger King. For me, it was the full-to-the-brim child's nappy that someone had left on a chair in the revolting 'sit down café' at a services near Preston that made me decide that I would never set foot in a Welcome Break, Moto or Roadchef ever again. I'm lucky; I have a bladder that can tolerate journeys of four or five hours by car. My fiancée, however, is not equipped with such sturdiness. So, over the past few years, we've been seeking out alternative forms of respite from the road. Truck stops are, I always assumed, not the kind of establishment in which a journalist and an intensive care nurse on their holidays would be welcome. Perhaps like many people not involved in the heavy transportation industry, I assumed these were malodorous, members-only places where entry would strictly be restricted to men of a certain age who were covered in axle grease and wearing grimy hi-vis jackets with trousers that comfortably showed at least two-thirds of their backside at any given time. My pompous snobbery was duly kicked into touch when we stumbled across Skelmersdale truck stop café. The first thing to tell you about truck stops is that they are not hard to find, presuming you have a smartphone. Nearly always independently owned and typically situated in an industrial estate around ten minutes' drive from the motorway itself, the locations are frequently aesthetically unedifying. So far, so absolutely predictable, you might say. But what surprised us was the welcome that a couple in a 2014 Ford Focus attracted when pulling into these places. Firstly, there is always parking for cars, as well as articulated lorries. And secondly, there's absolutely no grumpy official telling you that the place is for Eddie Stobart employees only. Inside the café itself; well, the décor is not going to be to the tastes of Philippe Starck. But, then again, neither would the interior of a Welcome Break. Be in no doubt, truck stop cafés are greasy spoons of the type that you seldom see on high streets any more. There will be Formica. There will be a TV showing (silently) football highlights from Bosnia or Colombia. There will be several red-top newspapers discarded across the tables. But there will also be an invariably cheerful woman ready to take your order at the counter for a made-from-scratch cooked breakfast of outstanding quality, and at a price that wouldn't get you a Rustlers microwave burger at a petrol station. Last summer, my Skelmersdale trucker breakfast of two bacon rashers, two sausages, fried egg, black pudding, beans, mushrooms and two slices of toast cost £4. I didn't need to eat again for 12 hours. The typical truck stop café (and there are dozens and dozens of them around the UK) doesn't limit itself to fry-ups, either. Since then I've eaten cottage pies, Cajun wraps, chicken curry, asparagus soup and carrot cake. You'll seldom find a main course that costs more than a fiver and the tea usually comes in mugs that could comfortably hold a tenner's worth of 1p pieces. It's worth remembering the first table-service restaurant in the world was set up to cater for road users. Boulanger's, located near the present day Rue de Louvre in Paris, opened in 1765 to offer 'restoratives' to travellers, including meat broths and sheep's foot in white sauce. The truck stops of Britain today are doing little more than replicating the ethos of Boulanger's. The food isn't intended for, or marketed toward, the majority of the general public. It's simple, homemade, exceptionally keenly priced, and best enjoyed while engaging in low-level conversation with your partner about the road ahead and the likelihood of getting good reception for Radio 4 on the car radio once north of Peebles. The only worry I have about truck stops is that they're seldom very busy. No matter how many trucks there are in the vast parking areas, I've never been to a truck stop café that is anything more than 10 per cent full. It's gratifying after myriad experiences waiting in the festival-length queues for the toilets at a Moto. But I suspect that many of these homespun operations would actually welcome a few more diners who aren't behind the wheel of a ten-ton behemoth. Perhaps the truckers are only here to sleep in their bunk behind the wheel or simply use the shower facilities. But what's become clear to me since I began using truck stops is that it's not necessary to complain about the appalling state of our 'mainstream' service stations when there are so many superior alternatives which we car drivers simply don't use. I no longer gripe about the state of a typical Welcome Break. I just make for the Red Lion truck stop near Northampton (which even sells its own range of sweaters, T-shirts and other merchandise), the Bury St Edmunds lorry park (which is unusually well signposted) or the Lesmahagow truck stop in Lanarkshire, which offers superb views of the rolling hills of the Clyde Valley. Of course, you could just pack your own sandwiches, 'hold it in' and not stop at all on a long drive. But there's something about a cooked breakfast on the road that brings out the Jack Kerouac spirit in me. OK, I'm not jumping off goods trains in Colorado in the dead of night while wired on Benzedrine. But I am hungry. And a litre of tea and some fried bread in a truck stop café beautifully evokes the original itinerant elan of longer haul road trips. Truck stops are the places where the loners, the drifters, the riders of the night congregate for warmth and sustenance. And, as I'm now certain, they're eating better than anyone joining the queue at a motorway Costa.
Times
02-07-2025
- Entertainment
- Times
My stay in France's wackiest design hotel — in a region tourists ignore
As I gaze from the window of my sixth-floor hotel room in Metz, in eastern France, I spy three people in the car park below looking up at the building, transfixed as if under a spell. I'm looking down at them from an otherwise nondescript concrete tower block. But above me, on the ninth-floor rooftop, stands a 19th century-style zinc-turreted mansion, complete with trees, a veranda and some bold stained-glass windows. No wonder people are staring at the Maison Heler, a hotel with a concept as bonkers as its appearance. The rooftop house is based on Villa Salomon, a golden-stone mansion at 22 Avenue Foch in the city's Imperial district, built in the early 20th century when Alsace-Lorraine was annexed to Germany and Kaiser Wilhelm II turned Metz into his architectural plaything, all grand apartment buildings and an impressive railway station. The house is designed to look like the mansion — wood panelling, books and curios — and contains the hotel's main bar and restaurant. It's like nothing I've seen before. France doesn't usually need to invent its heritage — it has enough crumbling mansions already — but this is quite out of the ordinary. The bedrooms are in the grey tower block beneath and have a more industrial vibe, with exposed concrete, smooth marble, neutral tones and a sensational view of Metz. The brains behind this extraordinary hotel is Philippe Starck, the French designer known for everything from glamorous hotels to sleek multimillion-dollar yachts and chairs. It is an architectural marvel, adding to the city's others, such as the astonishing Centre Pompidou-Metz gallery, with its undulating curves and lattice wooden beams, and the city's imposing 500-year-old ochre-coloured cathedral. The hotel has a baffling backstory. To explain the hotel's concept, Starck wrote a surreal novella titled The Meticulous Life of Manfred Heler, in which its fictional protagonist is a lonely, mysterious inventor and the inhabitant of the rooftop house (called La Maison de Manfred, also the name of the restaurant). 'One day, Manfred is in his garden, daydreaming in an armchair when, suddenly, the earth begins to tremble,' Starck writes. 'Soon he is rising up into the air, along with his garden, his house and his armchair. He goes up and up and up, until the shaking stops. Then there's silence. Manfred is high above the city.' Throughout the hotel are a series of clues and features from the story woven into the decor. The concierge manager Alexandre Panorfio, who shows me around, encourages me to read the book to fully understand the place. 'The story explains why the house is on top of this monolith, which represents the earth,' he says, pointing to the rough concrete surface of the hotel's exterior walls as we stand on the sunny patio. 'The story makes you wonder whether Manfred Heler really existed or not, and is written so that every guest can add their own interpretation to the tale.' I wonder if I've made a faux pas in not having tracked down the book ahead of my stay (I later discover it is available from reception for £10.25, but I would argue you don't need to read it beforehand). • 10 of the most beautiful places in France (and how to see them) Without having done the homework, I can enjoy the place for what it is: a hotel with a beautifully designed and welcoming lobby, which leads on to the brasserie, La Cuisine de Rose. The otherwise monochrome decor has touches of soft pink in honour of Manfred's imaginary love, a milkmaid called Rose. 'It's Rose who is at the heart of everything that is comforting about Manfred's universe,' Panorfio says. 'And that's why you have touches of pink with the bar and glassware.' The restaurant is buzzing and when I eat there a day later, I enjoy a dish of cod with fresh garden peas and pea puree. It is tasty and homely, even if it takes a little while to arrive (small plates from £12). Elsewhere, the monochrome colour scheme strikes me as a contrast to Starck's style in other hotels, such as Brach in Paris and Lily of the Valley on the Côte d'Azur, where I loved the colourful ambience and warm tones. Here the corridors are moody, with dark wood and concrete. Outside each of the 104 rooms are back-lit black and white photos of mid-century science experiments, oddities and inventions taken from France's National Archives and its National Centre for Scientific Research. In the rooms, the walls are marble and concrete, with warmer beige tones in the soft furnishings. In the dressing rooms, the specially designed wallpaper acts as a Rosetta stone to help you decipher Manfred's hieroglyphics, a series of symbols engraved or stamped all over the hotel. In an idle moment I translate the symbols on a coaster, and it reads 'building castles in the sky'; I was hoping for more than a marketing slogan. • 10 of the best things to do in France for solo travellers There are flashes of familiar Starck colour in La Maison de Manfred itself, on the rooftop, where Starck's artist daughter Ara has created bold stained-glass windows that cast rainbows of light across the bar and dining room (mains from £13). The dining room has the feel of a gentlemen's club, with curios, vintage books, dark wood panelling and arches between the rooms. As I eat my evening meal, I'm surrounded by the well-heeled men and women of Metz. Families and groups of friends are out to enjoy the city's hottest new address, sipping cocktails and popping out for cigarettes on the terrace, where the sunset casts a rosy glow over the city and the nearby wooded Mont Saint Quentin. Despite being surrounded by so much storytelling, my fellow diners are just out to enjoy themselves, which lets me off the hook in trying to work out Manfred Heler and his nonsense. Free from my hotel homework, I explore Metz. It's an especially intriguing prospect because it isn't somewhere I've visited before, despite it being an easy journey from London. The train from Gare d'Est, a few minutes' walk from Eurostar's Gare du Nord terminal, takes an hour and 20 minutes. Metz's ornate station is an attraction in itself, with its own water tower from the days of steam engines. Kaiser Wilhelm II brought in the country's best architects and the result was a quartier deliberately designed to feel ancient, with curved streets and leafy squares. Elsewhere, there are little gems of Renaissance architecture, such as the Maison des Têtes, which dates from 1529 and has five detailed busts above its leaded windows; and Place Saint Louis, with its stone arcades that was a hub for money-changers in the 14th century and is now a buzzing square with cafés and restaurants. The city's central attraction is its cathedral, which has 6,500 sq m — only slightly less than the size of a football field — of stained-glass windows, the largest expanse in any single religious building worldwide ( Some date from the Renaissance, others more recently, by Marc Chagall and the Korean artist Kimsooja, and each tell familiar stories from the Bible. Its nave is a towering 41m — the third-highest in France. • France travel guide The oldest part of the city is a criss-cross of streets in ochre Jaumont stone buildings, where French high-street shops and independent cafés and restaurants surround the buzzing Place Saint Jacques and Renaissance architecture hides between more recent additions. The star attraction, though, is the Centre Pompidou-Metz, just a few minutes from Maison Heler on the site of a Roman amphitheatre (£11; It's an extraordinary gallery that, with the five-year closure and renovation of its Parisian counterpart from September, is the best reason to come to Metz. To celebrate its 15th anniversary a new exhibition, Dimanche Sans Fin (Endless Sunday) brings together some of the very best pieces from Paris alongside works by the Italian artist Maurizio Cattelan, including a whole room dedicated to his banana taped to the wall. I am shown around by one of the curators, Zoe Stillpass. 'Maurizio Cattelan came up with the idea of a never-ending Sunday and so we started looking at the collection and picking works in relation to that,' she says. There are more than 400 pieces including some great works: Picasso's Little Girl Jumping Rope; a feature wall from the surrealist André Breton's studio; and Francis Bacon's Three Figures in a Room. They are punctuated by Cattelan's own works, including Felix, a 6m-high skeleton which at first glance looks to be a dinosaur but turns out to be a huge domestic cat. 'Illusion is a really important entryway into the show,' Stillpass says. 'There's always a work by Cattelan that makes you think, 'Oh, it's not what I thought it was.'' It's a good principle to embrace, and so I return to Maison Heler with a renewed sense of curiosity, determined to get my head around Manfred's musings. On the train home I read the book, which makes no sense whatsoever. In the third chapter, Manfred designs a homemade wimple — a headdress worn by nurses and nuns in days gone by — to cut out the noise of the trains outside his home. Only it transmogrifies into a pet, which gives birth to nine baby wimples. I put the book down and stare out of the window as the countryside flashes past and accept that, sometimes, art just isn't meant to be understood. This article contains affiliate links that can earn us revenue Carolyn Boyd was a guest of Maison Heler, which has room-only doubles from £144 ( Metz Tourism ( and Eurostar, which has London-Paris returns from £78 (
Tatler Asia
15-05-2025
- Entertainment
- Tatler Asia
Y2K aesthetic revival: Decoding the millennium design trend making a comeback
2. Philippe Starck Louis Ghost Chair for Kartell Above A rainbow of transparent Philippe Starck Louis Ghost armchairs, including pink, yellow, black, blue, green and clear versions, showcasing versatile modern dining chair options for contemporary interiors This iconic armchair masterfully blended historical Louis XV style with futuristic Y2K materials. Created by Philippe Starck for Kartell, the 'Louis Ghost' chair is made from transparent or colored injection-moulded polycarbonate, giving it an ethereal, almost invisible quality. Above Designer Philippe Starck's transparent polycarbonate Ghost dining chairs are styled with a mid-century modern table and natural plant decor Above Philippe Starck's Louis Ghost armchair for Kartell is made of crystal clear polycarbonate. It is a millennium design piece that revolutionised single-mould production and became a staple of the Y2K interior style revival Its transparency was a nod to the era's fascination with new plastics and a playful, modern take on classic forms, becoming a daring example of single-mould production and a staple in contemporary interiors seeking a touch of Y2K's innovative spirit. Don't miss: 7 family-led design brands you should know 3. Ron Arad Tom Vac Chair for Vitra Above Ron Arad Tom Vac Chair for Vitra with wave-like organic shell, stackable polypropylene construction Ron Arad's "Tom Vac" chair, developed with Vitra, evolved from a 1997 sculptural installation into a mass-produced icon of Y2K design. Its distinctive wave-like, organic polypropylene shell provided both comfort and a dynamic visual. Originally conceived in vacuum-formed aluminium, the production version offered an inexpensive yet stylish seating solution suitable for indoors and outdoors, embodying the Y2K interest in bringing avant-garde, flexible forms to a broader audience. Read more: 7 iconic cantilever chairs that shaped modern furniture 4. Marc Newson Nimrod Chair for Magis Above Marc Newson Nimrod Chair for Magis with low-slung enveloping form, rotational-moulded polyethylene base and vibrant upholstery showcasing retro-futurist millennium aesthetic revival (Photo: Magis) Marc Newson, a highly influential designer of the Y2K period, created the Nimrod chair for Magis, showcasing his signature biomorphic and futuristic style. Characterised by its low-slung, enveloping shape, often realised in rotational-moulded polyethylene with contrasting upholstered elements, the Nimrod chair has a distinct space-age influence. This piece resonated strongly with Y2K's retro-futurist tendencies, offering a comfortable and visually striking statement that captured the era's love for smooth, flowing lines and innovative materials. See also: What goes into great hotel design? 5. Zaha Hadid Moon System sofa for B&B Italia Above Zaha Hadid Moon System Sofa for B&B Italia has a sculptural fluid form, monolithic curves and an integrated structure embodying late millennium digital design innovation (Photo: B&B Italia) Designed by the late architect Zaha Hadid, the Moon System sofa for B&B Italia is a powerful example of Y2K's later-stage fascination with sculptural, fluid, and monolithic forms. Appearing as if sculpted from a single block, its dynamic, curvilinear shape embodies parametric design principles. With its integrated backrest, seat, and armrest, this sofa-sculpture challenged traditional sofa typology and reflected the era's embrace of complex geometries made possible by digital design tools. Don't miss: Bordallo Pinheiro and Esporão's Olival collection: Where art meets olive oil 6. Alessi Anna G corkscrew by Alessandro Mendini Above Alessi Anna G Corkscrew by Alessandro Mendini is a chrome-plated zamak wine opener with an anthropomorphic smiling figure (Photo: Alessi) Above Alessi Anna G Corkscrew by Alessandro Mendini is a cult object embodying the millennium aesthetic revival's playful approach to household items (Photo: Alessi) While designed slightly before the Y2K boom, Alessandro Mendini's Anna G corkscrew for Alessi became a cult object whose popularity and playful spirit were quintessential to the era. Its smiling, anthropomorphic figure, crafted from chrome-plated zamak, brought personality and joy to a utilitarian household item. This approach of infusing everyday objects with wit and character perfectly aligned with the Y2K sensibility, making Anna G a beloved and recognisable icon in many homes. Read more: 7 Chic Cutlery Sets with Design Pedigree Above Marc Newson Dish Doctor for Magis is a Y2K design classic with a glossy green biomorphic form and innovative draining system (Photo: Magis) Marc Newson's Dish Doctor for Magis is a prime example of high design meeting everyday utility, a hallmark of the Y2K era's playful approach to household objects. Made from injection-moulded polypropylene, this dish drainer features Newson's signature biomorphic, smooth flowing lines and was available in vibrant, often translucent, colours. Its chic and functional design, which even considered the packaging, made it an instant hit, embodying the Y2K desire for aesthetically pleasing yet practical items that brought a sense of fun and modernity into the kitchen. NOW READ How 'interiors disruptor' Alex Alonso embraces colourful maximalism in summer homes Le Creuset at 100: How enamelled cast iron cookware conquered culinary culture 7 distinctive mid-century modern hotels in Asia for design lovers
New Indian Express
04-05-2025
- Business
- New Indian Express
Crystal Clear
Back in the 1860s, the Maharajas represented Indian swish, and the ultimate in OTT luxury: think the Cartier bejewelled pet tortoise of the Maharani of Pudukottai. When it came to crystal it had to be Baccarat. The Bombay store of the legendary French crystalmaker was frequented by the Who's Who of the British empire until it closed. The brand is back with a bang with its brand-new flagship store at The Chanakya in New Delhi. Exquisitely sparkling vases and candle stands. Magnificent chandeliers. Opulent cutlery. Striking keepsakes. All made in the finest glass, in signature hues of clear crystal and red (obtained by fusing clear crystal with 24k gold). The clarity and cut of the crystals ensure a unique play of light in every piece. Limited edition selections include Baccarat's collaborations with globally renowned artists and designers for pieces such as Philippe Starck's 'Talleyrand', Virgil Abloh's 'Crystal Clear' collection, Arik Levy's 'Tuile de Cristal', as well as striking creations from Baccarat's 260th anniversary collection 'New Antique' made by Marcel Wanders. 'With over 260 years of heritage, Baccarat represents the pinnacle of French craftsmanship and luxury,' says Alexandrine Reille-Linyer, Baccarat Export Director. The new boutique offers an immersive experience where this centuries-long tradition of glassware meets cutting-edge innovation.
Khaleej Times
28-04-2025
- Business
- Khaleej Times
How 'Durar Group' is Leading Real Estate Innovation
The company has built a reputation as one of the UAE's most trusted and innovative property developers, creating iconic masterpieces that elevate the real estate industry When it comes to luxury, quality, and innovation in property development, Durar Group stands at the forefront of the UAE's dynamic real estate landscape. Founded over 90 years ago in the Kingdom of Saudi Arabia, the Group has since expanded and flourished in the UAE, redefining the standards of excellence and creating world-class communities that reflect a legacy of trust and vision. From the cutting-edge design of J One in Business Bay to the luxurious Masa Residence by YOO with Philippe Starck, Durar Group continues to make waves across the region. With a portfolio featuring prestigious collaborations with globally renowned brands such as Elie Saab, Missoni, YOO, and Philippe Starck, the company delivers projects that seamlessly blend visionary architecture, elite craftsmanship, and sustainable innovation. A Legacy of Vision and Innovation Durar Group's journey started in Saudi Arabia, where a dream to shape the real estate landscape took root. With an acute understanding of the region's evolving needs and a commitment to high-end quality, Durar quickly became a recognised name in property development. As demand for innovative, modern living solutions surged, Durar expanded its vision into the UAE - a market that offered new challenges, opportunities, and a diverse, multicultural population. Jasmine Lane by Elie Saab, nestled within the prestigious Jumeirah Golf Estates, stands as a testament to Durar Group's commitment to luxury and refinement. Building on this legacy, Durar has expanded its footprint with visionary developments such as Moonstone and Trio Isle Interiors by iconic Missoni designs in Ras Al Khaimah, and the recently launched Masa by YOO, designed in collaboration with the legendary Philippe Starck. Today, Durar Group is not only known for building structures but for crafting vibrant, sustainable communities that redefine modern living. Their innovative approach and bold architectural vision have earned them the distinction of being the largest developer on Marjan Island in Ras Al Khaimah in terms of size, solidifying their leadership in the region's dynamic real estate landscape. Strategic Partnerships Driving Success Driven by a shared commitment to innovation, excellence, and aligned goals, Durar Group's remarkable success is strengthened through strategic partnerships with some of the region's most respected entities. Among these is Ali & Sons Holding LLC, a renowned Abu Dhabi- based conglomerate with a diverse portfolio spanning real estate, oil and gas, the automobile industry, and several other key industries. Established in 1979, Ali & Sons brings decades of expertise and a legacy of trust, contributing significant value to Durar's bold and forward-thinking vision. Another key partner is RKM Group, a property investment and development giant founded in 1985 by Sheikh Rashid Khalifa Bin Saeed Al Maktoum. With a vast portfolio of over 1,500 units across the UAE, RKM brings years of expertise, scale, and a shared commitment to quality in every project. Together, these collaborations have empowered Durar Group to not only deliver exceptional developments but to also contribute significantly to the region's growth. Redefining Luxury Living Durar Group's prestigious projects are more than just buildings - they are a testament to the company's unwavering commitment to quality, innovation, and client satisfaction. Each project is an experience, designed to meet the diverse needs and aspirations of the UAE's dynamic population. J ONE, BUSINESS BAY J One, situated in the heart of Dubai's vibrant Business Bay, is a striking architectural landmark inspired by the rich heritage of the emirate's oldest traditional trade - the pearl harvesting business. Reflecting this legacy through its fluid, shell-like design, J One seamlessly blends cultural symbolism with modern elegance. Offering panoramic views of the iconic Dubai skyline, this high-end residential development exemplifies Durar Group's unwavering commitment to luxury, quality, and innovation. JASMINE LANE BY ELIE SAAB Designed by renowned fashion designer Elie Saab, Jasmine Lane in Jumeirah Golf Estate is the embodiment of sophistication and style. With meticulously crafted interiors and an unbeatable location, this project offers an unparalleled living experience that appeals to the discerning elite. MASA RESIDENCE BY YOO WITH PHILIPPE STARCK A collaboration with one of the world's most renowned designers, Philippe Starck, Masa Residence by YOO in Dubai is the epitome of stylish, contemporary living. Known for its bold design and unique aesthetics, this project combines innovation with luxury to create a truly exceptional living experience. Ras Al Khaimah plays host to two of Durar Group's most extraordinary projects: Moonstone and Trio Isle by the iconic Italian fashion brand Missoni. These projects bring together timeless elegance with modern flair, ensuring that every resident can experience the height of luxury living. The infusion of Missoni's bold design style with Durar's architectural expertise has set new standards for premium living in the UAE. Giving Back to the Community Durar Group's commitment to the UAE goes beyond creating luxurious developments. The company understands the importance of corporate social responsibility and has made a significant impact through its Dh10 million contribution to the Fathers' Endowment campaign. This initiative is a testament to Durar's dedication to supporting the local community and contributing to the welfare of families across the region. A Vision for the Future Looking ahead, Durar Group remains steadfast in its mission to deliver world-class developments that not only meet but exceed the expectations of its customers. The company's vision of creating modern communities with unparalleled amenities continues to inspire its team, partners, and a focus on sustainability, innovation, and quality, Durar is well-positioned to contribute to shaping the future of the UAE's property development sector. Whether through groundbreaking new projects or continued partnerships with industry leaders, Durar Group is paving the way for the next generation of luxury living.
