Interview with Réda Amalou
In physics, perpetual motion refers to a motion that continues indefinitely, but the tricky part is that it does so without any source of external energy. This phenomenon can also be applied to, although slightly modified, to architect Réda Amalou of AW2. The work of Amalou, along with business partner Stephanie Ledoux seems to perpetually moving and evolving the possibilities of architecture, but with of course great creative energy from the duo. Having trained in London, Amalou and Ledoux boast a distinguished career working in over 35 different countries, and continuing their work with new projects across the globe.
Their works have included projects like Suresnes House – a mid century milestone house transformed into a contemporary house, or the redevelopment of a Finnish marina. But their work in parts of South East Asia led them to the work on the Design Hotels™ property, Phum Baitang in Cambodia.
Reminiscent of traditional houses commonly found in the Cambodian countryside, Phum Baitang accommodates 40 suites surrounded by lushly landscaped gardens. The natural timbers, cottons and stone renders lend an air of tranquillity that can be hard to find in a hotel. The property also saw architect and designer Mr Johan De Groote involved in its initial masterplan and architectural concept.
We spoke to internationally renowned Amalou about AW2’s history, the creation of Phum Baitang, reinvention, and how architecture can celebrate a country.
fluoro. How have you and AW2 evolved over the years?
Réda Amalou. I founded AW2 in 1997 in Paris. In 2003 Stephanie Ledoux joined me as a business partner. We have since evolved into an international design firm, with a fair number of successes. This is particularly true of our hotel designs. Since our first resort opened – The Nam Hai in Vietnam – we have worked with many of the best luxury hoteliers all around the world. I believe we have now worked in over 35 different countries! The international acclaim and awards our projects have won over the last few years has also been important in our development.
Our work has also evolved into a complete design office. We are architects, but today, we are commissioned to design projects from masterplan, architecture through to interiors … in some cases we design the door handles! This capacity to understand all scales is essential to us. We enjoy the control, but also the challenge.
f. Is there a certain approach you take to each project no matter where they are in the world?
RA. This is a crucial part of what we are. We believe that it is the approach that defines us, rather than a ‘signature’ design. We have developed a true process on how we approach projects. This is based on context and idea. A project is shaped by a multitude of layers. These are what we define as ‘context’ when they are linked to a location or a project type – such as climate or building type, and ‘idea’ when they are linked to our own choices, such as light or materials. This approach can be called contextual, but context has to be taken in its widest possible meaning. It is not about copying, but about understanding and reinventing. We believe this gives a sense of location, but more importantly, meaning. It also allows us to work in a great number of locations with a singular language in each location. This is also very exciting for us, as we have to question our architecture every time.
f. You work across Asia substantially. Why do you have this attraction to the continent?
RA. We have started working in Asia right from the start of AW2. I am naturally attracted to Asia. It has the energy of a young continent, challenges feel easier there – even though they are not in reality. The culture, the tradition and the architecture are also major elements that I feel close to. The symmetry, the balance of elements, the materials, the subtle way in which buildings and landscape are thought of as one, the attention to details in construction … are all exciting to an architect. Even though I don’t know if I went to Asia because of the architecture or if I love the architecture because I went to Asia! It’s one and the same now.
f. How did the partnership with Phum Baitang hotel come to life?
RA. Phum Baitang approached us directly. Our projects in Vietnam and our understanding of design in South East Asia probably spoke for us at the time. Working with them was interesting as they are both investors and operators, but also because this was only their second operation (and first new build). So there were fewer constraints in a way and more ‘trial and error’ working process.
f. What were the major considerations when designing the hotel?
RA. The first consideration was linked to the site conditions: a very flat site, which, in the raining season, is flooded (as most of the area). So the masterplan is organised with clusters of buildings around a vast rice field open area. We then reshaped the land contours to make the rice fields a water retention zone, which connects to the network of open rainwater ways outside. This guided our design, but we used this also to create perspectives and views across the site. The other main consideration was trying to create a sense of place. Phum Baitang means ‘village’ in Khmer. The architecture and site arrangement takes this into account. The accommodation clusters are organised in a similar manner to the local village but also to orientate views and privacy. Other elements are the two-slope roofs and stilt construction, raised above the ground level and high waters of the raining season. The outdoor living concept is also strongly developed to enhance the guest experience but is taken directly from the outdoor balconies and spaces that are found in traditional houses.
When designing, we were very careful to produce something that held true. So we avoided creating anything that was only a copy of the local ‘style’. We reinvented each item by giving it a new use, in line with expectancy of a high-end resort. Each aspect has meaning. This is the only way to avoid pastiche.
f. How did you celebrate Cambodia’s ancient culture within the design?
RA. Our project here was more to do with Vernacular and trying to reuse the elements generally found in the Cambodian countryside rather than taking directly from the high architecture of the temples. Also I knew Cambodia and more generally the Indochina region – with Lao & Vietnam – from my many trips there, as I have been going several times a year in the region for the last 18 years. So it wasn’t really about ‘discovering’ the Khmer culture, but more about defining what we wanted to use as a reference. This deep understanding of the local traditions makes it easier to understand why things are done the way they are. The way of life, but also the climate has a very strong influence on construction techniques.
This all informed our design process. We wanted an understated architecture, with a strong landscape that would part of the experience. The guests are immersed into the Khmer culture in a subtle way, with the use of the locally sourced materials, the site organisation, the use of the outdoor areas and gardens.
The only area where we used temple architecture as part of our design is in the Spa. The reception building is stone faced, with subtle and delicate carvings. The windows bear no glass but are adorned with spindle columns. The tall ceilings of the reception are clad in hand craved timber panels. This ‘glimpse’ of temple elements is again kept to a single moment, as you walk through the building and enter into the spa garden, with its treatment pavilions nestled in the landscape.
f. What projects are on the forefront for 2016?
RA. Our latest project, AniVilla Dikwella in Sri Lanka opened its doors late 2015. We are busy working on several exciting hotel projects at the moment: A ski resort in Switzerland, an Island resort – Silversands – in Grenada, a desert and beach resort in Oman… and we will be starting the design of a new resort in Vietnam early this year…
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As the perpetual motion machine that is Réda Amalou of AW2 keeps moving, we see how the work of a true innovator and creative offers a rare glimpse into a creative process which delivers work that is truly innovative. The work of Amalou also shares with the world the specific beauty of a certain culture, although slightly interpreted, yet remains true to the original. With the future looking productive for Amalou, we can likely rest assured that his contributions will continue to delight.
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