{"id":73393,"date":"2020-05-15T19:53:41","date_gmt":"2020-05-15T23:53:41","guid":{"rendered":"https:\/\/magazine.tablethotels.com\/en\/?p=73393"},"modified":"2023-03-29T10:50:07","modified_gmt":"2023-03-29T14:50:07","slug":"chain-reaction","status":"publish","type":"post","link":"https:\/\/magazine.tablethotels.com\/en\/2020\/05\/chain-reaction\/","title":{"rendered":"Chain Reaction"},"content":{"rendered":"

\"Thorngrove<\/p>\n

When it opened in 1984, Thorngrove Manor was a response to the bland and banal chain hotels of the day. As boutique hotels in 2020 march further into the mainstream, the mission is much the same for this eccentric castle in South Australia.<\/em><\/h4>\n

Today, boutique hotels are the norm. But before the big chains got into the game and blurred the lines, tossing \u201cboutique hotel\u201d right into the mainstream, those two words conjured images of rebellion and quirky individuality \u2014 hotels that were auteur-driven labors of love, more art than accommodation.<\/p>\n

Hotels like Thorngrove Manor in Australia\u2019s Adelaide Hills.<\/p>\n

Thorngrove Manor<\/a> \u2014 towered, turreted, and filled with layer upon layer of architectural and design detail \u2014 is a glorious, gilded throwback to the era when the very first boutique hotels were beginning to sprout up throughout the world, each one an intensely personal reaction to an industry that was a wilderness of monotony.<\/p>\n

Hotels like Thorngrove are the reason we\u2019re here today \u2014 the reason you\u2019re where you are right now, reading this story on this website. In the 1980s, they took the risks and pioneered the formats that led to the proliferation of unique and interesting hotels that we’re all so familiar with in the 2000s. Nydia Lehmann, co-owner of Thorngrove with her husband, Kenneth, explains the hospitality landscape in 1984 as she saw it: most hotels were standardized. They were replicable. They were \u201ccookie-cutter.\u201d<\/p>\n

Thorngrove Manor is anything but. Actually, it\u2019s a Gothic-style castle filled with handcrafted designs and one-of-a-kind antiques. It is, by the very nature of its contents, impossible to duplicate.
\n

<\/div>\n

The Exterior<\/h2>\n

“Fairytale is a tad cringeworthy for us.”<\/em><\/p>\n

\"Thorngrove<\/p>\n

\"Thorngrove<\/p>\n

\"Thorngrove
From top: the manor at magic hour; an outside view of the appropriately named “Tower Room”; hedged gardens amidst elm trees.<\/figcaption><\/figure>\n

People will always use the word \u201cfairytale\u201d to describe Thorngrove Manor. The architecture and design defy strict placement in a single era, and it\u2019s only natural that the turrets and towers evoke childhood fantasies. Charitably, Nydia accepts whatever label attracts guests to their life\u2019s work. Still, she\u2019ll admit, \u201c\u2018fairytale\u2019 is a tad cringeworthy for us.\u201d<\/p>\n

First of all, the Lehmanns didn\u2019t pull the architecture from picture books. Although you might not expect Gothic castles in the construction heritage of South Australia, their concept is at least partly rooted in the setting.<\/p>\n

\u201cOf our two neighboring properties,\u201d Nydia points out, \u201cone has a Scottish baronial tower and the other a stone belltower.\u201d<\/p>\n

That\u2019s because the early colonists, as one local writer explained<\/a>, quickly took to the notion that \u201cnothing succeeds like excess.\u201d Nydia elaborates: the settlers \u201cbrought with them the tradition that a mark of success was the ownership of a large impressive country house.\u201d They were out to succeed, and to succeed ostentatiously, \u201cdesigning imposing, baronial, and gothic-influenced residences\u201d to impress one another.<\/p>\n

Thorngrove, then, was meant to be an \u201cexpression in architecture\u201d of those high aspirations.<\/p>\n

It isn\u2019t a fairy-tale castle \u2014 it\u2019s a uniquely South Australian one.
\n

<\/div>\n

The Interior<\/h2>\n

“Timelessness is a challenging concept.”<\/em><\/p>\n

\"Thorngrove<\/p>\n

\"Thorngrove<\/p>\n

\"Thorngrove
From top: the Observatory; decorations in the King’s Chamber, including one of several antique clocks on the property; the Queen’s Chamber.<\/figcaption><\/figure>\n

But if it does a disservice to the exterior, ascribing \u201cfairy-tale\u201d to the interiors is a capital offense. The time, effort, and consideration that\u2019s gone into the aesthetic is the opposite of magic: it\u2019s elbow grease. The Lehmanns have built it all, designing ornaments from scratch or curating antiques with names so impressive, so full of adjectives and hyphens, that they require a deep breath before you can begin to say them aloud.<\/p>\n

\u201cThe basic idea was to create architectural art, a place that could be both viewed and experienced, unlike the current art hotels that hang pictures on the wall, often with a view to sell.\u201d Certainly, the treasures inside are not for sale. In one story, a visitor found himself admiring Thorngrove\u2019s (breathe now) four-meter, four-panel, 1860s leadlight artwork originally commissioned by the House of Lords.<\/p>\n

A Scot himself, he asked if he could buy it back.<\/p>\n

Not a chance. Each piece in Thorngrove contributes to the singular narrative the Lehmanns seek to convey to the visitor, an attempt to \u201cto touch people\u2019s humanity and imagination\u201d through the timelessness of the curated environment.<\/p>\n

\"Thorngrove
The Castle Chamber<\/figcaption><\/figure>\n

How to achieve this lofty goal is a point for the auteur-driven boutique. After working on their property for over thirty years, the owners-slash-architects-slash-designers \u201cknow instinctively what suits\u201d each space, whether it\u2019s a vintage clock or a silk embroidery. They\u2019re guided too by the philosophy of William Morris, the 19th-century artist and founder of the Arts and Crafts movement, who believed that the designer of an item should handle its manufacture as well.<\/p>\n

To that point, many of the most jaw-dropping items in Thorngrove were crafted by Kenneth himself. Among his most impressive creations? A false ceiling in the Queen\u2019s Chamber, \u201cmade of 3,600 individually cast pieces of plaster, every single one of them made, and replicated\u201d by his own hand.
\n

<\/div>\n

The Suites<\/h2>\n

“Antique hero pieces are often difficult to fit into existing rooms.”<\/em><\/p>\n

\"Thorngrove<\/p>\n

\"Thorngrove<\/p>\n

\"Thorngrove
From top: each suite has its own private entrance; carved heraldic lions, antique cassolettes, and the handmade false ceiling in the Queen’s Chamber.<\/figcaption><\/figure>\n

The combination of the owner, architect, and designer into one (or in this case, two) has perhaps its most particular advantages at the outset of the hotel design process. Whereas in standard construction, the architect might have different aims entirely than the interior designer, here their visions are inextricably together.<\/p>\n

That\u2019s helpful, since Nydia and Kenneth had big plans for big pieces in each of the five suites. And since, as Nydia puts it, \u201cantique hero pieces are often difficult to fit into existing rooms.\u201d<\/p>\n

Knowing what they wanted for those rooms before finalizing construction, the design and architecture could proceed in tandem. The August Moreau statue in the Tower Room could be hoisted inside before a pesky window (as of then unbuilt) could get in its way and spoil the fun. The wall columns in the Queen\u2019s Chamber could be built to perfectly accommodate the antique court cupboard. And in the King\u2019s Chamber, it’s no coincidence that the prized Ballantine stained glass \u2014 Nydia\u2019s favorite treasure of them all \u2014 fits perfectly into the window.<\/p>\n

When you ask Nydia about their process, she emphasizes that all this careful construction isn\u2019t about fitting as many gems as possible into the building. There\u2019s space between the pieces, and there\u2019s room for you to breathe. Nor is the aim to show off the design, but to invite the guest to consider how it affects them. It\u2019s to evoke a \u201csensory journey\u201d as you move within it.<\/p>\n

Texture, light, shadow \u2014 all deeply considered, all put together to meet the aims of the auteurs: to \u201cachieve an end which is aesthetic, functional, and artistic.\u201d
\n

<\/div>\n

Constant Evolution<\/h2>\n

“The challenge is to find the perfect piece.”<\/em><\/p>\n

\"Thorngrove<\/p>\n

\"Thorngrove<\/p>\n

\"Thorngrove
From top: the fire screen and Ballantine stained glass window in the King’s Chamber; the Tower Room and its antique Auguste Moreau bronze statue.<\/figcaption><\/figure>\n

No matter how perfectly tailored, it\u2019s a testament to the owners\u2019 boundless creativity that the interiors are living and breathing, always subject to change as Nydia and Kenneth scour the globe for more items that excite them. The \u201cnon-negotiables\u201d are few, and besides Kenneth\u2019s handcrafted creations and the antique beds, they\u2019ll swap out anything they feel necessary.<\/p>\n

\u201cIt is a slow and time-consuming process,\u201d says Nydia. \u201cThe challenge is to find the perfect piece.\u201d Fortunately, Kenneth and Nydia have a few tricks William Morris lacked. They use online resources to the fullest and when they do select something, they often work with a government agency called Artlab<\/a> that helps them restore and properly conserve the historic items.<\/p>\n

Their last import was in 2019, when they bought a French gilded demi-lune table from an antique dealer in Lincolnshire. These days, they\u2019re excited to work a French 1820 silk suspension clock into the mix, one that amazed even the horologist, as well as a silk embroidery from the same year, the restoration of its frame delayed by the closing of the lab as a nonessential business.<\/p>\n

Even in the midst of a slowdown by COVID-19, Nydia and Kenneth are not discouraged, instead using the time to complete illustrated booklets about the contents of each suite, filling them with research about each piece and striving as always to enlighten their guests and \u201cexpand the experience\u201d of staying in a room at Thorngrove.
\n

<\/div>\n

Still Standing, and Standing Out<\/h2>\n

“There is a lot of sameness in boutique accommodation.”<\/em><\/p>\n

\"Thorngrove
Not all entrances are created equal.<\/figcaption><\/figure>\n

But while evolution is a given, it\u2019s never in service of a trend. When the Lehmanns first opened Thorngrove, their property jutted out like a jagged mountaintop in the flat, bland plateau of the \u201ccookie-cutter\u201d chains. Today, the boutique revolution has remade that landscape \u2014 it\u2019s more colorful, more varied, with peaks and valleys to suit any preference.<\/p>\n

And still, Thorngrove stands out as much as it ever did. As boutique hotels proliferate around the world, Nydia observes that \u201cthere is a lot of sameness in boutique accommodation.\u201d To her point, there are massive boutique hotel mega-chains that are “boutique” only in the sense that they don’t strive for complete inoffensiveness. Even the smaller, more tasteful chains are more and more committed to building a brand that translates across the globe.<\/p>\n

Meanwhile, Thorngrove isn\u2019t striving to fulfill a brand. It could never have locations around the world. And it couldn\u2019t be replicated, not even once \u2014 not even if you brought William Morris back to life and raised him in Adelaide. Somehow, Thorngrove exists simultaneously as a reaction to both the lack of boutiques of yesterday, as well as to the flurry of them today. It stood out then, and it stands out now. The only explanation is that it\u2019s timeless.<\/p>\n

<\/div>\n","protected":false},"excerpt":{"rendered":"

When it opened in 1984, Thorngrove Manor was a response to the bland and banal chain hotels of the day. 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