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The building's lobby retains original features including a set of stairs, granite floor tiles, and wall tiles, as well as one of its original pieces of furniture: a polished granite reception desk, moved across the hall into a vestibule near an event space. [9] The hotel rooms are designed with contrasting grays and walnut wood.
As a result of the mid-20th-century modifications, the modern hotel's lobby is on the second floor, above the storefronts. [5] The lobby was described as having a double stair and a chandelier hanging from a Renaissance-style ceiling. [25] The Peninsula New York has a small lobby to discourage loitering. [26]
These features were removed during several subsequent renovations of the hotel. [12] The modern-day lobby includes modern furniture designed in an early 20th-century style, as well as original furniture from the same time period. The walls and columns are stained to resemble chocolate-ebony wood. [33]
Of all the Upper East Side’s elegant hotels, The Carlyle, a Rosewood Hotel, is the most legendary; a magnet for celebrities and royalty who have sashayed along the polished black marble lobby ...
The Fontainebleau. Morris Lapidus (November 25, 1902 – January 18, 2001) was an architect, primarily known for his Neo-baroque "Miami Modern" hotels constructed in the 1950s and 60s, which have since come to define that era's resort-hotel style, synonymous with Miami and Miami Beach.
The hotel's lobby was designed in the Adam style and is partially preserved as the modern residential lobby. The first basement had a grill room known as the Della Robbia Room, decorated ornately with Guastavino tile ; part of the room survives and is designated as a New York City interior landmark .
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