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Indoor pool Grand Hyatt Changsha

Grand Hyatt Changsha | HL Lim


A famous poem by the late Chairman Mao, widely regarded as the ‘father of modern China,’ served as inspiration for two paintings by renowned artists Fu Baoshi and Li Keran. They depict the crimson-hued mountains of Changsha and the grand riverbanks of the Xiang River. Interior designer HL Lim was similarly inspired by these artworks for the interior design concept of the Grand Hyatt Changsha.

This resulted in a contemporary yet timeless Chinese aesthetic. Shades of the symbolic red colour were used to give deference to the artists’ work and a significant sense of place. Various sculptures by contemporary artist Wang Rulin’s ‘Spirit Animals’ were placed in the lobby area, serving as venerated symbol of wisdom and power.

Interior designer HL Lim kept the double-height lobby of the Grand Hyatt Changsha purposefully open like the Xiang River, allowing guests to circulate through the hotel’s various function spaces easily and efficiently.

A central feature wall installation anchors the lobby space with vertically oriented, offsetting wave patterns in shades of ivory and red with textured and patterned motifs. The island reception and check-in area is tucked back from the double-volume lobby and defined by a bold back wall in embossed red leather and plush carpeting in contemporary patterns in red and white, visually drawing the guest inwards to the intimate reception upon entering the hotel.

The adjacent Lobby Bar is fitted with colourful traditionally patterned carpet of the indigenous tribe, complimented with red embossed leather wall panelling and muted yellow leather armchairs. The hotel’s F&B outlets each have unique design themes yet are still within the overall design language of the hotel.


The Grand Café is a cavernous triple-height dining space with leather banquettes and custom designed wrought iron lighting fixtures. The Chinese scroll ‘Qing Ming Shang He Tu’ depicts a typical bustling and thriving marketplace on the bank of the river. The design idea was to recreate the same sense of lively energy from the riverfront bazaar for the all-day dining restaurant. The open display kitchen showcases a wide variety of indigenous cuisine located centrally for the convenience of the guests. Adjacent to the interactive kitchen, an intimate dining area caters for the need of private functions or parties.

The Chinese Restaurant borrows the idea of traditional shop houses along a bustling street. Upon entering, guests are greeted by a tea reception lined with tea bricks and a collection of famous teas from different regens of China. Next to the Tea House is the Cake Shop.

Further into the restaurant, one would come across a Roast Duck Shop follow by a Dumpling Shop. The variety contributes to the excitement of the restaurant which uses various materials to identify each shop.

The Hotel’s Asian BBQ Restaurant mimics the styled houses of a fishing village along the Xiang River with an oversized Golden Carp and black lacquer mural as the backdrop for this rustic and casual dining experience.

Perched above the hotel’s podium, there is a hide-away chill-out venue featuring an energetic Jazz Bar.

An Italian Restaurant is attached with indoor and al fresco dining, which is adjacent to the hotel’s indoor swimming pool. A mezzanine space was created above the bar to allow additional seating and a VIP section overlooking the stage, rendered in upholstered acoustic panels with bronze mirror trim.

The Italian Trattoria flows from the bar area into the restaurant, maximising the dramatic double-story volume with reclaimed timber slats and locally fired brickwork on the columns and walls. The main dining room is further defined by an installation of custom ceramic floor tiles in shades of faded crimson and denim blue, a homage to mama’s kitchen.

The banquette hall with its nine-metre-high ceiling and plush crimson and grey patterned carpet, is made special with its ceiling design of ‘Mondriaan geometry’, lacquered panels and custom-designed crimson chandeliers inspired by Li Keran’s painting ‘Crimson Mountain’.

Shades of muted red are used to accent the neutral palette of the rooms and suites, including the small red painted lacquer tiles integrated into the wall covering, red ceramic tile bathrooms and padded leather headboard. Suites are executed in a more Chinese theme with gold leaf circular sun motif at the bed with custom-designed furniture and lighting fixtures.