W Prague by AvroKO: Official Interior Project
W Prague occupies the former Grand Hotel Evropa on Wenceslas Square, where an Art Nouveau landmark meets a new elliptical wing. Announced in late 2024, the hotel brings together AvroKO’s London studio, Benoy and Chapman Taylor, with DAM responsible for the new building. Marriott’s opening account records 161 guestrooms and suites. The interest of the interiors lies in how they carry movement, colour and ornament between architectural settings with very different histories. [1]
AvroKO describes sinuous lines as a recurring link to the building’s Art Nouveau character. That starting point is visible at several scales: an arch in the inherited architecture, a rounded seating group, a mirror with an elongated outline. The studio’s approach gives the hotel a recognisable vocabulary while leaving individual rooms free to vary in intensity. Its historical reference is therefore useful as a means of organising transitions, as well as decoration. [2]
An arrival framed by light
The reception photograph brings that relationship into focus. Pale arches rise above timber panels and a long desk, while the stair balustrade introduces a darker, more intricate edge. A multicoloured W sits beyond the counter. The room retains a clear architectural order, and the brighter object gains emphasis through its position within that restrained framework. [4]
Preciosa Lighting identifies the W as a resin piece whose colours were added progressively during casting. The manufacturer also documents its collaboration with Chapman Taylor’s Pavla Doležalová on the hotel’s bespoke lighting. In the atrium, hand-blown glass, crystal rods and fused glass form an installation below the historic dome. The project connects a contemporary lighting programme with an existing surface rich in stucco and illustration. [3]
Different scales of gathering
The W Lounge establishes a more open social arrangement. AvroKO places a central bar among separate seating areas and describes a palette of blues, greens and terracotta. In the photograph, the fluted columns widen as they meet the ceiling, while curved banquettes gather smaller groups around low tables. The bar remains legible from these varied positions; furniture shapes create degrees of intimacy within the larger room. [2] [4]
Elsewhere, the photographs register a change in mood. A long dining table sits beneath a broad light in the private dining room, enclosed by timber panelling. The two Minus One views move from a vaulted space with green upholstery to a more saturated composition of red, blue and gold. These rooms use enclosure and colour to give each gathering place a distinct scale. [4]
Continuity across the old and new
Marriott describes the passage between the heritage building and the contemporary wing as a garden narrative, developed through Adam Ellis Studio’s botanical imagery and Preciosa lighting. The opening account also places restored beams and arched windows within the WOW Bohemia Duplex. Such details show that the design brief extends beyond a single public room to the connections and accommodations around it. [1]
Taken together, the images suggest a hotel organised through shifts in atmosphere. Some rooms concentrate attention around an architectural axis; others arrange loosely grouped seats around a luminous bar or a planted wall. The consistent use of curves helps these changes feel related. W Prague offers a precise example of how a historic building can accommodate a varied hospitality programme through furniture, colour and light, while its inherited spaces remain legible. [4]
Comments