The Rock Spa at The Hard Rock Hotel and Casino, Punta Cana, Dominican Republic

Submitted by Jennifer Kleen

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Client: All Inclusive Collection

Location: Punta Cana, Mexico

Completion date: 2010

Project Team

Interior Designer

Jennifer Kleen and Jeremy Jones

FODA Design

Other

Jay Pecotte and Dale Hipsh

Artist

Jan Hale

Industry Resource

Clark Scott

Alger Lighting

Overview

Several years ago, All Inclusive Collection struck a deal with Hard Rock Hotels torebrand their properties. Punta Cana was first on the list, and FODA was contracted to do the Rock Spa, and numerous other areas in the vast property. The spa was never completed, painted all white and had 52 treatment rooms and nearly 100,000 sf of space. FODA was tasked with adding a layer of Hard Rock for less than $250,000, after all construction was completed. We had to do something bold and over the top to accomplish this seemingly impossible feat.

Goals

Our goals were simple: to take spaces that were thoughtfully planned and make them feel like a Rock Spa. Because of the scale of the spaces, we began to play with paint colors, switching them from light colors in public areas to dark chocolate in the treatment corridors. The transition turned out to be key. Using the Hard Rock Tribal Tattoo, we customized it to accomplish a color transition, and had Jan Hale make custom stencils. Each tattoo required 45 stencils that were used to make these 13 dynamic color transitions, each 15’ high and hand painted.
We also needed a lighting fixture that could shield the back of the reception desk from the actual entry to the spa while creating an experience to greet the guests. FODA contacted Alger Lighting, and commissioned them to create a 33’ long elliptical chandelier of capiz shell, rope, fabric and metal that also formed the needed backdrop. These items were the keys to evoking the feeling of Hard Rock on a very tight budget.

Process

Working with Jan Hale is a familiar process for FODA. We created drawings showing how we wanted the transitions to occur. We’d get on the phone and describe to her what we were envisioning and answer her questions. We’d work with her on price, and once signed, she’d send us finish samples for approval. She in turn figured out ways to do these complicated installation on curved walls, over door openings and wall niches. In addition, she did gold foil applique in miniature of the same tattoos on the columns at the reception area. She and her team spent several weeks on site creating these “mega-graphics”
For the fixture with Alger, we developed 12 pages of shop drawings just to get our ideas across and had probably a dozen conference calls with Clark Scott at Alger and Eric Klem our sales rep. Alger would then send back their drawings with questions, and we went back and fourth till finally we felt they had this correct. They flew into the job site with the product and coordinated the installation to ensure the client was satisfied.