Looking down onto the Bad Moos Dolomites Spa Resort in the Drei Zinnen Dolomites

The little-known area of Drei Zinnen, in the German-speaking Italian Dolomites, offers a cultural, culinary and slopeside experience like no other, as Darius Sanai discovers

‘Atmosphere’ has become an almost meaningless word when describing a place. A hotel describes its bar as “atmospheric” as a matter of course. But a real atmosphere, in terms of travel, is not about a room, or a building, or even a town. It is about a sense of place that is imparted by the location, the light, the scenery, the buildings, the weather, people, detail… Everything.

Some places simply don’t have an atmosphere, and cannot create it however luxurious the hotels, restaurants and facilities they create. Other places have elements of an atmosphere – spectacular views, fascinating buildings – but they do not add up to a whole.

Follow LUX on Instagram: luxthemagazine

And some places have an atmosphere that is more than the sum of its parts, that envelops you as soon as you arrive and increases in intensity the longer you stay.

Drei Zinnen is one of those places. Step out of the car that has whisked you there on a relatively easy drive from Innsbruck airport, and there is the sense of being somewhere quite apart from the rest of the world, yet not secluded, claustrophobic or shut away.

Crunching the few steps in the snow to the door of the hotel Bad Moos, you are in the middle of a wide, high, tree-lined bowl, lined with crannies, streams and villages, and backed by the dramatic fingers of the Dolomites.

The gothic dining room at Bad Moos. © Hannes Niederkofler

Inside the hotel, the atmosphere is only heightened. This is an exquisitely tasteful, contemporary take on Alpine (or specifically, South Tyrolean) chic. Rooms have lavish wooden floors, fabulous wool throws, beautiful modern fireplaces, glass-walled bathrooms, and finishes and details (the furry slippers!) that puts many more hallowed luxury Alpine hotels to shame.

Read more: Auctioneer & Collector Simon de Pury on curating the Waldorf Astoria’s art collection

A wooden-lined tunnel leads to a spa zone that is split between equally large indoor and outdoor pools, and swimming through the divide that leads outdoors into the moonlit night, surrounded by snow, in winter, there’s that word ‘atmosphere’ again. Lie on the long (everything is done generously here) hydro massage rack at the far end of the pool, look down the broad open valley to the peaks of the Tre Cime mountains in the distance, spot planets and stars overhead above the gently forested slopes, and there is more of a sense of place than in many Alpine resorts.

A ‘Tre Cime’ Junior Suite. © Hannes Niederkofler

Wonderful as these facilities are – particularly for a hotel not classified as one of the region’s official palaces, and all the better for it, having none of the pomp and intrusiveness of staff looking down on you – the best part of the Bad Moos experience is in the dining room.

It’s a big area that manages to be spacious (all the best for social distancing this winter) and atmospheric at the same time, split into three broad rooms at slightly different levels. The picture windows have views out over the snow fields and over to the village, a couple of hundred metres away across the bottom of a piste.

The service is a kind of perfect concoction of the best of the Alps. The South Tyrol, where the hotel is located, was part of Austria until the end of the Habsburg Empire at the end of the First World War, just over 100 years ago. It was then taken over by Italy, and has remained in Italy ever since, albeit under an autonomous government. Like everyone else in the area, staff speak both German and Italian. There is an Austrian cosiness, a Germanic efficiency, an Italian sense of style and gastronomy – and generosity of spirit. If delicate Italian fish dishes and perfectly ethereal pasta finished with home-made Austrian strudels and tarts are not your idea of culinary perfection, perhaps a choice of some of the greatest wines of the northern Italian Alps or alternatively an icy Austrian Pilsner beer, is. The cuisine and ambience are simply transported outside onto a generous terrace at lunchtime at the bottom of the piste.

The outdoor pool at the hotel’s spa. © Hannes Niederkofler

Ah, the pistes. It’s easy to forget about the skiing as you enjoy the originality and brilliance of the hotel, but the tree-lined slopes above and around the hotel are deceptively extensive. This is one of the most serious ski areas in the Alps, and the black run descending directly to the hotel terrace via a twist in the mountainside is officially classified as the steepest black run in the Italian Alps. The gondola to send you to the top is located directly outside the terrace; at the top you emerge onto a mountain pass, just above the tree line, with a boggling view of the Dolomites, a range that looks like it has been transported to Europe from another planet.

Read more: Artist Shezad Dawood on the endless potential of virtual reality

From here, you have a choice of entertaining red runs to take you down to a variety of excellent runs on the other side of the huge valley junction; or you can head in the other direction, and set off on the Unesco World Heritage ski trail. This tracks gently across and down the mountainside, through forests and past lakes, with a series of mesmerising views unfolding, seemingly miles from inhabitation or any lifts. You arrive at a small hotel on another mountain pass, with a couple of lifts to take you up, and from where you ski away along the mountain trail again, ending up in a long traverse at the far end of a huge meadow, in a village, Padola, that is not only in a different ski area, but in a different province of Italy, where they speak no German at all. To get back, there is a regular ski bus – although it operates with a more Italian than German concept of regularity, and it would be worth checking this season how it will operate if there are social distancing requirements still in place.

The panorama restaurant. © Hannes Niederkofler

If you’re looking for a replica of Courchevel or Verbier with sushi bars and nightclubs, and dancing till dawn, Drei Zinnen is not for you. And if you’re looking for a place to take the family and friends on an easy ski holiday with everything immediately at hand, then it’s probably not for you either – try Meribel. Which may sound strange, but let me explain. On our third day, as the sun was heading towards the crest of the mountains after another day of blue sky and deep snow, I headed, in my moon boots, across the kilometre-wide field separating the hotel from the little village of Moos. (I could have taken the bus, but that would’ve defeated the purpose.) Walking across the field you are surrounded by a 360° amphitheatre of the Dolomites. Such a view in just one of those directions would have been impressive; it was replicated in every direction, and this is at the bottom of the valley, let alone the top.

After 15 minutes, I found myself on the village High Street, and walked past a bakery into what appeared to be a mountain accessory shop but which also had a supermarket sign on it. This was the ‘everything store’ of the village, selling a unique selection of local products (south Tyrol jams, embroidery, cloths) along with high-tech ski gear, and an excellent wine selection, from tiny producers in the local area that sommeliers in Europe’s metropolises would fight over, and local hams and cheeses. Everything was in two languages, German and Italian, and their lack of similarities can make for extra fun: the wine was from the Alto Adige, Italian for Sudtirol (South Tyrol); cured ham was both Speck and Prosciutto; even the area is alternatively called Drei Zinnen or Tre Cime, and the mountain above the village (housing the main ski area) was called Helm until 1918 (and on half the signs) and Monte Elmo since 1918 (and on the other half).

Walking back to the hotel, wine bottles weighing me down, I felt that I had discovered a striking cultural and geographical part of Europe on holiday, and, just coincidentally, enjoyed some of the best and most interesting skiing in the Alps. It is a unique combination, and not for everybody, but true atmosphere rarely is. A place for intermediates, experts – travellers, and connoisseurs.

Drei Zinnen, Italy

We travelled to Drei Zinnen via Innsbruck and a private transfer, with Crystal Ski Holidays, which offers a week’s half board at the Bad Moos Dolomites Spa Resort from £1,165 per person when booked online (based on two adults) including flights from London Gatwick to Innsbruck and transfers. Transfer time from Innsbruck airport is around 90 minutes via an easy, mainly motorway, route.

For more information visit: dreizinnen.com

This article originally appeared in the Autumn/Winter 2020/2021 Issue. 

L’oscar is named after and inspired by writer Oscar Wilde. The hotel sits in the heart of London’s historic literary neighbourhood Bloomsbury

Jacques Garcia is the master of decadent design. His portfolio includes the likes of Hôtel Costes in Paris, La Mamounia in Marrakech and NYC’s NoMad. Now the French designer is bringing a touch of Parisian style to London with luxury boutique hotel, L’oscar. He talks to LUX about Oscar Wilde,  alluring atmospheres and the importance of low lighting

LUX: How did you come up with the concept from L’oscar? What’s your creative process like?
Jacques Garcia: Although I’ve had many proposals to do concept design projects in London, L’oscar is only my second public project in the city after Ronnie Scott’s. What particularly seduced me about this project is the fact that the building has a history, it was a former [Baptist Church]. I had to think of ways to work with the structure of the existing building and its history, whilst incorporating modernity through colours and fabrics.

Follow LUX on Instagram: the.official.lux.magazine

So for the decor, I imagined that I was Oscar Wilde. Twenty years ago, I created Hotel des Beaux Arts, where I imagined Oscar Wilde’s last bedroom when he was living in Paris. I imagined it as if he lived in a very nice apartment, although in reality he was very poor at the end of his life. I was interested in showing the paradox of the writer’s glory and achievements, and the way he was treated by people for his personal convictions at the time. I returned to the story of Oscar Wilde for this hotel because he is someone that I am continually drawn to – the name of the hotel, of course, is in his honour: L’oscar (the Oscar).

Jacques Garcia in L’oscar

LUX: Did the building present any design challenges?
Jacques Garcia: Yes, it was very difficult to work with and it took a long time. It was like doing a hotel in New York. London and New York are two of the most difficult cities to for hospitality projects, especially when you’re working with buildings that are listed or historical. But when I like a project, I’m like a kid and even if it takes 9 months, I still love it at the end.

Read more: Wandering Paris with Moynat’s Artistic Director, Ramesh Nair

LUX: Why do you think Parisian style is so desirable?
Jacques Garcia: For a very simple reason: no one ever speaks about the sexiness of the London girl, but everyone always talks about the sexiness of the Parisian girl. This is because the Parisian girl is an attitude, whereas there’s a certain rigidity to the English and also an elegance that the French don’t have. But the English, in my opinion, are missing the attitude. That’s the allure.

LUX: You once said that “before everything, I am a creator of atmosphere.” How do you go about creating an atmosphere?
Jacques Garcia: Personally, I am not a big fan of public spaces. I am very lucky to have an extraordinary house and friends who have extraordinary houses so in my personal life I have no real reason to go to public spaces like a hotel – unless it is to meet and to be seduced by people. People go to public places meet other people, and for me, that’s the starting point when considering atmosphere. I create places where people can meet and seduce. That begins with choosing comfortable chairs, the right lighting. People look better in dim light, always.

LUX: Your designs often incorporate opulent fabrics – where do you source your materials?
Jacques Garcia: I used a lot of fabrics in L’oscar particularly, but since the peacock was the emblem of Oscar Wilde, I wanted to utilise that pattern and used special fabrics sourced from England and France. Mixing colours, especially unusual colours, was very important for me in this project, which is difficult to do, if you do it wrong, you risk the design becoming kitsch. It’s a very thin line, much like a haute couture collection – sometimes it can just work, it can be incredible and sometimes it doesn’t.

Read more: Sassan Behnam-Bakhtiar’s mesmerising art opening on Cap Ferrat

LUX: How much of a consideration is sustainability when designing?
Jacques Garcia: I recently went on a trip to Saudi Arabia. I was in the middle of the desert and there was air conditioning, but a natural system of air conditioning that was used in the old desert houses of 12th century: windows! And of course, the way the house was structured to keep it cool. The projects I work on are different to this. For example, I use a lot of fabrics. Think of my older hotels like the Costes or the NoMad. People are coming into those hotels from 7am to 3am, they are using the seats for working or socialising 20 hours a day and so the fabric wears out and you have to change the upholstery. In that way, it’s not really sustainable. I would love to be more sustainable, but there are also regulations I have to consider such as fire. Plastic treatment on silk is unfortunately mandatory. To use real silk or real corduroy would be more ecological, but unfortunately we have to have the fabrics treated. I hope that businesses will integrate sustainability into their day to day operations once the project is complete. L’oscar, for example, have started by avoiding the use of plastic straws.

The walls and ceilings of the Café L’oscar are lined with mirrors, gold panels, and original art.

LUX: Which hotel design(s) are you most proud of?
Jacques Garcia: As well as L’oscar, my favourites are The Mamounia and La Réserve in Paris. My house, the Chateau du Champ-de-Bataille, is also one of my favourites!

LUX: And can you tell us about your upcoming projects?
Jacques Garcia: I have a hotel opening soon in Singapore, a private house in Rome, there’s a hotel in Rome as well. There’s a very big hotel in Doha. Private residences in the Gulf. A new NoMad has recently opened in Los Angeles. There are a lot of projects going on!

LUX: What’s your favourite city in the world?
Jacques Garcia: Paris. Why? Because the Parisians.

L’oscar opens in Bloomsbury, London on 17th September. To make a booking visit: loscar.com
To view more of Jacques Garcia’s work visit: studiojacquesgarcia.com

Render of a project for a confidential client in China by Design Haus Liberty

London-based architecture and interior design practise Design Haus Liberty might be a relatively new name in the industry, but it has already developed a reputation for creating unique atmospheres in residential and commercial properties across the globe. LUX Editor Kitty Harris speaks to founder Dara Huang about her fascination with pottery, sustainable design and the importance of place

Dara Huang

1. What’s inspiring you at the moment?

I have been really inspired by pottery lately, it sounds strange, but I find the medium of clay, porcelain and the art behind how it’s made and formulated incredibly interesting. The different ways you can finish, heat or perform pottery in multiple ways is inspiring. I am mostly inspired by the volumetric forms and natural colours it comes in. There is a really nice LOEWE show at the Design Museum that really highlights some gorgeous pieces.

2. How important is sustainability to your design approach?

I think sustainability is such an important issue to think about when you are designing something. It is not always as superficial as where the materials are made out of, or the ratings of the installation. At Design Haus Liberty, we think about the direction the wind blows, the pattern the sun sets and how that effects the way the architecture passively sits in its environment. This is to ensure that the occupiers are as comfortable as possible.

Follow LUX on Instagram: the.official.lux.magazine

3. What are some of the challenges you face when refurbishing existing properties/developments?

Definitely everything you can’t see. Opening up a building to refurbish it is a can of worms as you never know what is going on inside. You will find rotting structure, asbestos and leaks. It is usually the most difficult to refurbish grade listed buildings. We have had to replace old timber inside floors which needed reinforcements on either side.

Design Haus Liberty and House of Sui Sui project: Hampstead Manor in London for residential interior refurbishment, for client Mount Anvil – completed 2017

4. What makes good design?

Balance. I don’t really practice Feng Shui but I do think that it doesn’t feel right when the design is off balance. I use my intuition for that rather than a calculated metric. Once the design feels balanced, the way you live in the space will too. Some of these principles do coincidentally correlate with Feng Shui but I think it’s common sense. It can be in colour, objects, the direction doors open or where they face, placement of furniture or art etc.

Read more: andBeyond CEO Joss Kent on creating luxury in the wilderness

5. Do you believe that contemporary architecture should reference the past?

I believe all good architecture should reference the context whether it’s a nod to the history, the urban planning, or the cultural references. Architecture should tie in with the place and not be 100% foreign. With that said, it is not that it needs to look like its surroundings, but it should have a concept derived from the place.

Design Haus Liberty Mercury installation in the penthouses at South Bank Tower, for client CIT – completed 2015

6. What’s your favourite building in London and why?

Good question! It would have to be something historical. I don’t particularly have one building in mind but I do love St Paul’s Cathedral. I love spaces more than buildings such as Carlos Place, Mayfair and Regent Street, for the grandeur of buildings enveloping you. It is quite breathtaking. The more contemporary work in London has been a disappointment compared to its past.

For more information and to view Design Haus Liberty’s full portfolio visit: dhliberty.com