Guestroom Design and Review Checklist

Over the last few posts, we have been looking closely at the relationship between the guestroom and its surroundings.

We began with why the guestroom floor matters, how it shapes the hotel and why good planning has to consider both the guest experience and the realities of hotel operations.

We then looked at privacy, beginning with the simple principle. From there, we explored space, proportion and planning, natural light and views, and finally, we looked at balconies, outdoor living and the sense of place.

Each of those discussions looked at one aspect of the guestroom in some depth.

—how a guestroom can connect the guest to the destination rather than simply shutting the outside world away.

Before we move further, let us take a short detour.

The following checklist brings those ideas together into a practical design review. It is a way of asking whether the principles we have discussed have actually found their way into the plan.

You can use it while developing a concept, reviewing a design or simply testing a room that appears to be complete.

Put the narrative aside for a moment. Take a guestroom plan, sit down with it, and ask yourself a series of simple questions:

Have we thought about the things that will actually determine the guest's experience?

This checklist is not intended to replace operator standards, statutory requirements or technical design reviews. It is simply a way of looking at the room through the eyes of the guest.

The Five-Question Test

1. Privacy

• Does the guest feel protected from being seen, heard or disturbed?

2. Space

• Does the room feel generous, regardless of its actual size?

3. Light

• Does natural light make the room comfortable and alive?

4. View

• Does the room give the eye somewhere to go?

5. Place

• Does the room connect the guest to where they are?

If all five answers are yes, the room is probably working. But if one is missing, expensive furniture and finishes are unlikely to fully compensate for it.

A. Guestroom Floor Planning

1. Planning Fundamentals

☐ Is the guestroom module established in response to the operator's standards, structural grid, building footprint and room mix?

☐ Does the planning make efficient use of the available floor area without making the room feel compressed?

☐ Is the relationship between room area and room volume considered?

☐ Are column positions coordinated so that they do not unnecessarily compromise the room layout?

☐ Are service shafts and vertical risers positioned to support rather than compromise guestroom planning?

☐ Are wet areas rationally stacked and coordinated between floors?

☐ Have opportunities for acoustic buffering between guestrooms been considered from the planning stage?

2. Guestroom - to - Guestroom Relationships

☐ Are sleeping areas separated from neighbouring sleeping areas wherever practical?

☐ Where rooms are back-to-back, has acoustic separation been specifically considered?

☐ Are bathrooms and wardrobes being used where appropriate as acoustic buffers?

☐ Are bathrooms positioned to avoid direct acoustic conflict with adjoining sleeping areas?

☐ Have connecting rooms been identified and coordinated without compromising acoustic privacy?

☐ Are guestrooms appropriately separated from lifts, stairs, service rooms and other potentially noisy uses?

☐ Are guestrooms protected from noise generated by public areas and hotel operations?

3. Corridor and Arrival

☐ Does the entrance provide a clear transition from the public corridor to the private guestroom?

☐ Is the bed protected from direct view when the entrance door is opened?

☐ Can the bathroom, wardrobe or other functions help create an entrance buffer?

☐ Is there sufficient space immediately inside the room for arrival and luggage?

☐ Does the entrance create a sense of arrival?

☐ Is the first view into the room deliberate?

☐ Does that first view reveal something desirable—daylight, the room or the view—rather than exposing service functions?

4. Circulation

☐ Is circulation direct and intuitive?

☐ Are unnecessary corridors, corners and changes of direction avoided?

☐ Can guests move naturally between the entrance, wardrobe, bathroom, living or working area and sleeping area?

☐ Do furniture and doors interfere with circulation?

☐ Can luggage be moved easily from the entrance to the storage area?

☐ Does the room feel larger because of the quality of its circulation rather than simply because of its dimensions?

B. Privacy

5. Visual Privacy

☐ Can neighbouring buildings see into the guestroom?

☐ Can guests in adjacent guestrooms see directly into it?

☐ Can public areas, roads or pedestrian routes overlook the room?

☐ Can the bed, bathroom or toilet be seen from outside?

☐ Can private areas be exposed through reflections in mirrors or glazing?

☐ Does opening the curtains make the guest feel exposed?

☐ Are windows positioned to balance views, daylight and privacy?

☐ Are balconies and terraces protected from direct overlooking?

☐ Have screens, planting, balcony walls or other architectural elements been considered as part of the privacy strategy?

6. Corridor Privacy

☐ What can be seen when the entrance door is fully opened?

☐ Is the sleeping area shielded from the corridor?

☐ Are the bathroom and wardrobe positioned appropriately near the entrance?

☐ Does the entrance create a gradual transition from public to private?

☐ Most importantly, does the guest feel private rather than merely technically screened?

7. Acoustic Privacy

☐ Have room-to-room acoustic relationships been considered before wall construction is specified?

☐ Are sleeping areas protected from adjoining bathrooms and service spaces?

☐ Are connecting-room doors appropriately acoustically treated?

☐ Does the guestroom entrance door function as an effective acoustic barrier?

☐ Are door leaves, frames, seals, thresholds and automatic door bottoms coordinated?

☐ Are back-to-back electrical outlets avoided or properly treated?

☐ Are service penetrations adequately sealed?

☐ Are ducts prevented from becoming unintended sound pathways?

☐ Are pipework and equipment isolated to control vibration?

☐ Are access panels detailed without compromising acoustic performance?

8. Operational Noise

☐ Has the twenty-four-hour nature of hotel operation been considered?

☐ Are guestrooms protected from corridor traffic?

☐ Are they protected from housekeeping and service movements?

☐ Have luggage movement and trolley noise been considered?

☐ Are guestrooms sufficiently separated from lifts, stairs and active service areas?

☐ Has noise from rooms above and below been considered?

☐ Are mechanical systems selected and located with acoustic performance in mind?

☐ Does the guest experience the comfort provided by the building rather than the equipment providing it?

C. Space, Proportion and Planning

9. Spatial Hierarchy

☐ Does the room read as a logical sequence rather than a collection of furniture and functions?

☐ Is there a natural progression from arrival → storage → dressing → living/working → sleeping?

☐ Are public and private functions appropriately separated?

☐ Does each zone have a clear purpose?

☐ Can different functions coexist without interfering with one another?

☐ Does the room feel generous relative to its actual floor area?

10. Proportion and Volume

☐ Is the ceiling height appropriate to the room's dimensions?

☐ Does the ceiling create a comfortable sense of volume?

☐ Have unnecessary bulkheads and suspended ceilings been minimised?

☐ Are services coordinated so that they do not unnecessarily reduce perceived ceiling height?

☐ Does the relationship between floor area and volume feel balanced?

☐ Does the room feel compressed because of its vertical proportions?

11. Sightlines

☐ What does the guest see first upon entering?

☐ Is the primary view deliberately framed?

☐ Is the window visible from the entrance?

☐ Can the view be enjoyed from the bed?

☐ Can it be enjoyed from the seating area?

☐ Can it be enjoyed from the workspace where appropriate?

☐ Is furniture unnecessarily obstructing the window?

☐ Do internal sightlines create visual depth?

☐ Can the eye travel beyond the physical boundaries of the room?

D. Natural Light and Views

12. Natural Light

☐ Is natural light treated as a planning consideration rather than merely a façade requirement?

☐ Are the size and proportions of the window appropriate to the room?

☐ Does daylight penetrate sufficiently into the guestroom?

☐ Is the window positioned to support the room layout?

☐ Can daylight reach the principal areas of the room?

☐ Has orientation been considered?

☐ Have solar exposure and heat gain been considered?

☐ Has glare been considered, particularly at the workspace and seating areas?

☐ Can the guest control daylight through curtains or blinds?

☐ Does the shading strategy preserve the view while controlling solar exposure?

13. The View

☐ What is the primary view from the guestroom?

☐ Is it an asset, neutral or a liability?

☐ Has the room been planned to maximise the value of the available view?

☐ Is the view framed rather than obstructed?

☐ Can it be enjoyed from more than one position?

☐ Is there an attractive secondary outlook where the primary view is limited?

☐ If the outlook is poor, has the design created another visual focus?

☐ Does the view contribute to the identity of the hotel and its destination?

E. Balconies, Terraces and Outdoor Space

14. Outdoor Space

☐ Does this room type genuinely benefit from a balcony or terrace?

☐ Is outdoor space appropriate to the hotel type, climate and destination?

☐ Where outdoor space provides greater value, have premium rooms and suites been appropriately prioritised?

☐ Is the area large enough to be genuinely usable?

☐ Can guests comfortably sit, move and use the space?

☐ Is there sufficient privacy from neighbouring guestrooms?

☐ Is the space protected from excessive sun, wind or weather where appropriate?

☐ Is the transition between inside and outside carefully considered?

☐ Are drainage, lighting, power and operational requirements coordinated?

☐ Does the balcony or terrace enhance the guestroom rather than simply satisfy a planning requirement?

F. Storage and Everyday Use

15. Storage

☐ Is storage appropriate to the expected length of stay?

☐ Has likely luggage volume been considered?

☐ Is there sufficient hanging space?

☐ Is there adequate shelving?

☐ Are drawers provided where appropriate?

☐ Is there a practical luggage platform or luggage storage area?

☐ Is secure storage conveniently located?

☐ Can luggage be opened and accessed without obstructing circulation?

☐ Is storage accessible without conflicting with other room functions?

☐ Does the storage strategy help keep the room visually uncluttered?

G. The Guest Experience Test

Finally, put the drawings aside for a moment.

Walk through the room in your mind—not as the architect, designer, engineer or developer.

Walk through it as the guest.

Arrival

☐ What do I see when I open the door?

☐ Do I immediately feel that I have entered a private space?

☐ Is there a sense of arrival?

Movement

☐ Where do I naturally go with my luggage?

☐ Can I move through the room without having to think about the route?

☐ Do doors, furniture or other elements obstruct me?

First Impression

☐ Where does my eye go first?

☐ Do I see daylight?

☐ Do I see a view?

☐ Does the room feel larger than its actual dimensions?

Privacy

☐ Can I be seen from outside?

☐ Can I be seen from the corridor?

☐ Can I hear my neighbours?

☐ Can my neighbours hear me?

Comfort

☐ Can I control the daylight?

☐ Can I comfortably work, sit, sleep and move around?

☐ Can I store my belongings without creating clutter?

Sense of Place

☐ Does the room tell me something about where I am?

☐ Is the destination present without becoming theatrical?

☐ Does the room feel as though it belongs to this hotel and this place?


A checklist cannot design a good guestroom. But it can make us stop, look again and ask the questions that are surprisingly easy to overlook when drawings, dimensions, standards and coordination begin to dominate the design process.

Once you have gone through it, return to the plan.

You may see the room a little differently.



Following links will take you to the detailed explanations and narratives.

Hotel Guestroom Floor Design Principles

Privacy First Principle of Good Hotel

Hotel Design Space Proportion

Design Hotel Natural Light Views

Hotel Design Balconies Outdoor Living

© 2026 Suman Deb Ray. All Rights Reserved. The insights and perspectives shared here are my personal views based on my professional experience in the built environment. As the hospitality industry and development standards are constantly evolving, these observations should be considered reflective of the time of writing. No part of this publication may be reproduced or transmitted without prior written permission.

Hotel Design - Balconies, Outdoor Living and the Sense of Place

A good view can make a guestroom feel larger. But its value extends beyond the perception of space.

The view also connects the guest to the place they have travelled to experience.

This becomes particularly important when the room has access to an outdoor space. In the right setting, a balcony or terrace can transform the relationship between the guest and the destination, turning the room from an enclosed space into a private vantage point from which to experience it.

Balconies and Outdoor Living

Where the setting permits, balconies, terraces and other private outdoor spaces can become an extension of the guestroom rather than an accessory to it.

Guests may have breakfast outdoors, read in the afternoon, enjoy a drink at sunset or simply sit quietly and experience their surroundings. These moments can become some of the most memorable parts of a stay.

But the value of an outdoor space depends on how it can actually be used.

A narrow balcony may satisfy a planning requirement but offer little meaningful value. A slightly deeper terrace, with enough space for comfortable seating and unobstructed movement, can fundamentally change the relationship between the room and its surroundings.

Outdoor spaces should therefore be designed as extensions of the interior.

The transition between inside and outside should feel natural. Floor levels, materials, furniture, drainage, lighting, electrical outlets and weather protection all contribute to whether the space is genuinely usable.

And, as discussed earlier, privacy remains critical.

A beautiful balcony loses much of its value if the guest feels exposed to the neighbouring room, the hotel corridor or a public space. The design of screens, balcony walls, planting and orientation must therefore balance openness with a sense of seclusion.

Where Outdoor Space Adds Value

Not every hotel needs a balcony or terrace, and not every guestroom will benefit equally from one.

Their value depends on the nature of the property, its location, climate and the experience it is intended to provide. They are particularly valuable where the destination itself is part of the attraction—beachfront resorts, mountain destinations, hotels overlooking significant landscapes, and properties where the outdoor environment forms an important part of the guest experience.

Within a hotel, however, the question should also be one of priority.

If the project cannot provide meaningful outdoor space to every room, which rooms should receive it?

The answer should be driven by value rather than uniformity. Premium rooms, suites and guestrooms with exceptional views may benefit disproportionately from balconies or terraces. In such cases, a well-designed outdoor space can reinforce the hierarchy of the room and become an important part of its proposition.

Conversely, where the outlook is poor or the climate severely limits usability, the same investment may provide greater value when directed towards the interior experience.

The question should therefore not be:

Does every room need a balcony?

It should be:

Where does an outdoor space genuinely add value to the guest experience?

A Sense of Place

There is another quality that views and outdoor spaces can provide: a connection to where the guest actually is.

One of the criticisms frequently directed at international hotels is that their guestrooms can sometimes feel interchangeable. A guest could wake up in one city and struggle to remember whether they are in Singapore, Dubai or London.

International hotel brands quite rightly seek consistency in quality, comfort and service. But consistency should not mean anonymity.

A hotel should provide the familiarity of a trusted brand while allowing the guest to experience something unique about the destination.

The window is one of the simplest and most powerful ways to achieve this.

The changing colour of the sky, the surrounding landscape, local vegetation, architectural landmarks or even the rhythm of a busy street can remind guests where they are. Materials, artwork and furnishings can reinforce this relationship, but the view establishes the most direct connection between the guest and the destination.

A memorable hotel does not isolate guests from the place they have travelled to visit.

It frames it.

This becomes even more important in destinations where the surrounding environment carries a strong cultural, historic or spiritual identity. The guestroom should provide comfort and privacy without becoming a sealed environment disconnected from its setting.

Instead, it should allow the destination to remain present.

The Room and Its Place

The relationship between the guestroom and its surroundings is therefore not simply a question of providing a good view or adding a balcony. It is about deciding how much of the outside world should enter the guest's experience, and how deliberately that relationship is designed.

A room can provide privacy without becoming isolated.

It can feel intimate without feeling enclosed.

It can provide familiarity without becoming generic.

And it can offer a strong sense of place without compromising the comfort and consistency expected from an international hotel.

This balance is one of the enduring qualities of successful hotel design.

By now, the guestroom has begun to acquire its essential qualities. It protects the guest's privacy, uses its space intelligently, welcomes natural light, frames the outside world and establishes a connection with its destination.

The next question becomes more intimate.

Having created the right environment, how should we design the place where the guest spends the most important hours of the stay—the bedroom?

© 2026 Suman Deb Ray. All Rights Reserved. The insights and perspectives shared here are my personal views based on my professional experience in the built environment. As the hospitality industry and development standards are constantly evolving, these observations should be considered reflective of the time of writing. No part of this publication may be reproduced or transmitted without prior written permission.

Design Hotel - Natural Light, Views and the Sense of Space

A guest may forget the dimensions of a room, but rarely forgets the feeling it created.

That feeling is influenced by many things—proportion, colour, materials, furnishings and lighting—but few have a greater impact than natural light and the relationship between the room and the outside world. A room that welcomes daylight and frames an attractive view can feel more spacious, comfortable and inviting than one that is physically larger but visually enclosed.

Natural light is therefore not merely an architectural feature. It is an essential part of the guest experience.

For this reason, the window should be considered one of the first elements of the guestroom design rather than simply the final opening left in the façade.

Traditionally, guestrooms are planned by establishing the room module, locating the bathroom and wardrobe, arranging the furniture and then fitting the window into the remaining façade. While this may satisfy the structural grid and planning requirements, it can overlook the element that often contributes most strongly to the guest's perception of the room—the connection with the outside.

A more considered approach begins with a different question:

What should the guest experience when they enter the room?

Where should the eye naturally rest? What should become the focal point? How should daylight enter the room? What can the guest see from the bed, the desk or the seating area?

Once these questions are understood, the remaining functions can be organised to support that experience.

This simple change in thinking can transform an ordinary room into an exceptional one.

The Value of a View

Real estate professionals often say that people buy views.

The same principle applies to hotels.

Whether overlooking the ocean, a mountain range, a city skyline, a landscaped courtyard or simply a carefully designed garden, the view becomes part of the guestroom itself. It extends the perceived boundaries of the room and creates a visual connection with something beyond its physical walls.

Guests may spend only a few minutes actively looking through the window, yet the view remains present throughout their stay. They see it when they wake, when they sit down to work, when they draw the curtains in the evening and often in the final moments before they leave.

More importantly, views create memories.

Guests may not remember the exact dimensions of the wardrobe, but they may remember watching the sunrise, seeing the lights of a city at night or waking to a landscape outside the window. These moments become part of their memory of the hotel and, ultimately, part of its identity.

The view is therefore one of the room's most valuable assets, and the layout should be organised to celebrate it rather than obstruct it.

Where possible, beds, seating areas and workspaces should benefit from the outlook. Large pieces of furniture should not unnecessarily interrupt the visual connection between the guest and the window. The design should also consider the view from different positions within the room, rather than assuming that the guest will experience it only while standing.

Not every hotel enjoys a spectacular panorama. Many urban guestrooms face neighbouring buildings, busy streets or service areas. Even in these circumstances, the objective should be to create a considered outlook rather than a sense of enclosure.

A landscaped courtyard, a mature tree, a planted terrace or a carefully framed portion of the city can provide a meaningful visual experience.

The objective is not always to provide a dramatic view.

It is to give the eye somewhere to go.

Bringing Daylight into the Room

Natural light does more than illuminate a room. It reveals textures, enriches colours and changes subtly throughout the day in a way that artificial lighting cannot fully reproduce.

A room filled with daylight feels alive.

The size, position and proportion of the window therefore deserve careful consideration. Larger glazing can improve daylight penetration and strengthen the connection with the exterior, but simply increasing the glazed area is not always the answer. Depending on orientation and climate, excessive glazing can introduce heat gain, glare and increased cooling demand.

Good design lies in finding the balance.

The orientation of the room plays an important role. East-facing rooms may receive strong morning light, while west-facing rooms can experience intense afternoon sun. Other orientations present their own opportunities and challenges depending on the climate and location.

These factors should be considered during the earliest stages of planning rather than after the façade has already been established.

The window should also be considered from where the guest actually experiences the room.

Its sill height determines whether the view can be enjoyed while sitting or lying in bed. Its width influences the distribution of daylight. Its height and proportions affect the character of the interior. The position of the glazing can determine whether the room feels connected to the outside or merely has a hole in the wall.

Architects may think of a window as an opening in the façade.

The guest experiences it as a connection to the world outside.

Daylight and Comfort

More daylight is not necessarily better daylight.

Uncontrolled sunlight can quickly become a source of discomfort. Glare on a computer screen, excessive heat and fading of interior finishes can all diminish the quality of the guest experience.

The objective should therefore not be to maximise daylight, but to provide comfortable daylight.

External shading, recessed glazing, balconies, overhangs and landscape elements can help control solar exposure while preserving views. Curtains and blinds then give the guest the final degree of control, allowing the room to respond to different activities and times of day.

This is where architecture and engineering must work together.

A well-designed façade can improve daylight and thermal comfort while reducing cooling loads and operational costs. What begins as a guest-experience decision therefore has consequences for the environmental and economic performance of the hotel throughout its life.

The best solutions do not force the guest to choose between a good view and a comfortable room.

They provide both.

The Illusion of Space

Designers frequently speak about making a room feel larger than it actually is.

This is often associated with mirrors or light-coloured finishes, but the perception of space is much more complex.

It results from the combined effect of proportion, natural light, ceiling height, visual continuity, furniture placement and the ability of the eye to travel beyond the immediate boundaries of the room.

A continuous floor plane extending towards the window can make the room appear deeper. A carefully positioned mirror can reflect daylight and extend the visual field. Uninterrupted sightlines can connect different areas of the room, while restrained furniture placement prevents the space from feeling crowded.

But the most powerful device is the view itself.

When the eye can move beyond the window towards a distant landscape, city skyline or garden, the physical boundary of the room becomes less dominant. The outside becomes an extension of the interior.

This is particularly valuable in smaller guestrooms, where increasing the actual floor area may not be commercially viable.

The designer can therefore create a greater sense of space without necessarily creating more space.

Sometimes the most effective way to make a room feel larger is to give the eye more distance.

© 2026 Suman Deb Ray. All Rights Reserved. The insights and perspectives shared here are my personal views based on my professional experience in the built environment. As the hospitality industry and development standards are constantly evolving, these observations should be considered reflective of the time of writing. No part of this publication may be reproduced or transmitted without prior written permission.

Hotel Design - Space, Proportion and Planning

Once privacy has been established as a guiding principle, the design team can turn its attention to another characteristic that shapes every guest's perception of quality—space.

Interestingly, luxury is not always determined by the physical size of a room. Two guestrooms of identical floor area can produce completely different impressions depending on how they have been planned. One may feel generous, organised and comfortable. The other may feel cramped, cluttered and awkward, despite offering exactly the same amount of usable floor space.

The difference lies in perception.

And perception is rooted in planning.

Good planning is the art of making every square metre work harder—not simply by fitting more into the room, but by emphasising what is pleasant and diminishing the effect of what is not.

Every guestroom design begins with a room module. The module is influenced by the operator's standards, the structural grid, the building footprint, the desired room mix, local regulations and the economic objectives of the development. These parameters establish the boundaries within which the design team must work, but they do not determine the quality of the guest experience.

Quality emerges from what happens within those boundaries.

The guestroom is not a single space. It is a sequence of functional zones that should flow naturally into one another. The entrance, wardrobe, bathroom, sleeping area, workspace, seating area and window each serve different purposes, yet together they must form a coherent whole.

One useful way of thinking about the guestroom is to see it almost as a small apartment, with a logical progression from arrival, storage and dressing, through to living, working and sleeping.

The spaces may be compact, but the sequence should feel natural.

Successful planning ensures that these functions coexist without conflict.

The Arrival Sequence

One of the first decisions concerns the arrival sequence. For the designer, this is also the first opportunity to create a sense of arrival—and perhaps the first opportunity to surprise the guest.

Guests entering the room should not immediately encounter the bed. Instead, they should experience a gradual transition from the public corridor to the private interior. The entrance should allow a moment to arrive, orient themselves and put down luggage before entering the principal living area.

This transition can also accommodate access to the wardrobe, bathroom and workspace without allowing these functions to interfere with the bedroom itself.

The arrangement therefore serves several purposes simultaneously. It enhances privacy, improves functionality and creates a more deliberate transition into the room.

It also raises an important question:

What should the guest see first?

In many well-designed guestrooms, the answer is not the bed, the television or even the furniture. It is the room itself—and ideally, the world beyond it.

Circulation and the Perception of Space

When the total room area is limited, circulation becomes particularly important.

Circulation should be direct rather than wasteful. Every unnecessary change of direction, narrow passage or awkward corner consumes space without adding meaningful value. Poor circulation also makes a room feel smaller because the guest becomes more conscious of the boundaries of the space.

Well-planned guestrooms allow guests to move naturally between the entrance, wardrobe, bathroom, workspace and bedroom without crossing conflicting paths or encountering unnecessary obstacles.

The objective is not to eliminate circulation, but to make it feel effortless.

This is one of the subtle differences between a room that is physically small and one that simply feels small.

The Importance of Volume

Floor area often receives the greatest attention during planning, but vertical proportion is equally important.

A well-proportioned ceiling can create a feeling of openness that cannot easily be achieved by increasing floor area alone. Where the structure allows, even a modest increase in clear ceiling height can alter the character of a room by improving daylight penetration, strengthening views and creating a greater sense of volume.

Floor area and room volume should therefore be considered together rather than as independent variables.

This is also one reason why the design of the ceiling deserves more attention than it often receives. A room can have generous floor area yet feel compressed if too much of its volume is consumed by unnecessary bulkheads or suspended ceilings.

Wherever practical, services should be coordinated to avoid unnecessarily reducing the perceived height of the room. The objective is not simply to maximise the measured ceiling height, but to preserve the sense of volume experienced by the guest.

The Power of the Sightline

Sightlines are another powerful planning tool.

Have you ever wondered why the curtains are almost always open when you first enter a hotel room?

It is because the window and the view beyond it are often the room's greatest visual asset.

Upon entering, the eye naturally seeks the furthest point of the room. When that point is a window, a terrace or a view beyond, the room immediately feels deeper and more generous. The outside world becomes an extension of the room.

Whenever possible, this visual connection should remain uninterrupted.

Large pieces of furniture positioned directly in front of windows can diminish this effect. Even when they do not physically block the view, they interrupt the visual continuity between the interior and exterior and reduce one of the most valuable opportunities to create a sense of openness.

This is particularly important in rooms where the actual floor area is modest.

A carefully framed view can make a room feel considerably larger than its dimensions suggest.

The lesson is simple: space is not only what the guest occupies; it is also what the guest can see.

Storage: Designing for the Guest's Behaviour

Storage presents another seemingly ordinary planning challenge.

Guests arrive with different quantities of luggage and remain for varying lengths of stay. A business traveller staying for one night may unpack very little. A family staying for two weeks may arrive with several suitcases, children's belongings and considerably more personal possessions.

The objective is therefore not simply to maximise wardrobe capacity. It is to provide a variety of storage opportunities that support different patterns of use.

Hanging space, shelves, drawers, luggage platforms and secure storage each perform different functions. Their success depends as much on accessibility and location as on quantity.

A luggage platform, for example, is useful only if the guest can reach it comfortably and has sufficient space to open a suitcase. A wardrobe may have generous hanging capacity but still feel inadequate if there is nowhere to place folded clothing. Drawers may provide storage but become inconvenient if they are positioned where opening them conflicts with circulation.

Good storage anticipates where belongings will naturally go.

It prevents the room from becoming cluttered and, in doing so, protects the sense of space that the designer has worked so hard to create.

When Planning Disappears

The greatest measure of successful planning is that guests never need to think about it.

The room simply feels logical.

Every activity takes place where it naturally should. Nothing appears forced. Nothing interrupts the flow of movement. Every element seems to occupy the place where guests instinctively expect to find it.

That effortless quality is rarely accidental.

It is the result of countless planning decisions made long before construction begins.

In hotel design, good planning is seldom noticed. Poor planning, however, becomes immediately apparent.

A well-designed room does not necessarily need to be larger than its competitors. It simply needs to make better use of the space available—and, more importantly, make the guest feel that the space is generous.

That is one of the enduring lessons found in the finest hotels around the world.

Space is measured in square metres, but it is experienced through proportion, movement, sightline, light and the freedom to move without obstruction.

And that is why two rooms of exactly the same size can feel completely different.

One can feel like a room.

The other can feel like a destination.

© 2026 Suman Deb Ray. All Rights Reserved. The insights and perspectives shared here are my personal views based on my professional experience in the built environment. As the hospitality industry and development standards are constantly evolving, these observations should be considered reflective of the time of writing. No part of this publication may be reproduced or transmitted without prior written permission.

Boutique Hotels and a Few Other Hotels

How do you impress a traveler who has seen it all and had it all? Being pampered every morning is routine—it no longer excites him. To delight such a guest, you need to offer something beyond the predictable. Something more than the run-of-the-mill.

In 2008, I stepped away from my routine life in Kuwait and moved to the bustling city of Dubai. The brief was both exciting and unfamiliar—to be part of a team managing the design of a themed development. At the heart of that project was a boutique hotel—an equestrian-themed property envisioned as a destination for horse lovers and an experience for the adventurous.

It was then that I was confronted with a simple but fundamental question:
What exactly is a boutique hotel?

This question led me to explore what was then a relatively new concept—the “Boutique Hotel,” which first emerged in the early 1980s.

The first boutique hotel in the world opened its doors to guests in 1981: The Blakes Hotel in South Kensington, London. This was the creation of celebrity designer Anouska Hempel.

The second was the Bedford Hotel in Union Square, San Francisco. This later became part of a series of boutique hotels operated by the Kimpton Group, one of the most prominent players in this segment.

In 1984, Ian Schrager opened the Morgans Hotel in Murray Hill, New York City, which was designed by French designer Andrée Putman.

I shall attempt to describe boutique hotels the way I perceive them and, in the process, highlight what goes into the making of one of these.

Today’s travelers—business and leisure alike—expect more than simple comfort and convenience. More and more of them prefer to be “surprised” as part of their hotel experience, rather than encountering standard features defined in the design and operating manuals of luxury hotel brands.

One of the principal driving forces behind this concept is individuality. The individuality of the guest, the proprietor, the staff, and the hotel atmosphere itself. All of these are blended into the design of the hotel and reflected in its service and operations.

To put it another way, distinction, style, intimacy, and warmth are key elements that feature in the briefs sent out to architects and designers—and eventually find their way into the operating philosophy. These come as an added layer while still exceeding the expectations of any comparable premium, world-class product.

Many boutique hotels are based on specific themes. One of my earlier projects was an equestrian-themed boutique hotel, where the guest experience revolved around various aspects of horses and their interaction with humans. Undoubtedly, a place created to be a perfect retreat for horse lovers.

Many boutique hotels introduce different themes in each guestroom, as well as in floor lobbies and corridors—making every stay unique, even for repeat guests.

Innovative ideas go a long way in designing a boutique hotel and providing guests with a unique experience. Service is just as important as design.

One such innovation is the honesty bar, where you pour your own drink and record your own consumption. It is not only about pampering guests with what they need, but about involving them in the experience—making it interactive and memorable.

Boutique hotels rely heavily on word-of-mouth for their marketing.

Typically, boutique hotels began as unique properties operated by individuals or small groups. However, their success has encouraged large multinational hotel companies to enter this space and establish their own brands within this niche segment.

Following are a few uncommon hotel concepts:

Capsule Hotel, Japan

Cave Hotel, Turkey

Floating Hotel - Sweden

German Prison Hotel

Hotel made of Sand in England

Houses in Mexico

Ice-hotel, Canada

Jumbo Hostel, Sweden

Poseidon Undersea Resort, Fiji

Sewage Pipe Hotel, Austria

Tree House, India