Lopota Lake Resort & Spa

Telavi, Georgia

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Photography:

Grigory Sokolinsky

Set among the vineyards and forests of Kakheti, in Georgia, Lopota Lake Resort & Spa, a family-run, 60-hectare retreat has renewed its reception area and gift shop with the local architecture studio Studio Gypsandconcrete, founded by Lado Lomitashvili. True to the practice’s approach, the new spaces explore the dialogue between materiality, light and the surrounding landscape.

Conceived as the first point of contact for guests, the new entrance adopts a refined design language that reflects the resort’s identity as a nature-led destination, rooted in place, heritage and craft. Housed within a glass structure reminiscent of a greenhouse, the reception blurs the boundary between inside and out through expansive glazing. From the moment of arrival, the space draws visitors towards the landscape and invites a sense of immersion. Plant life plays an active role rather than acting as a backdrop. Daylight moves freely across the interior, shaped by curtains inspired by the motion of water, which soften the geometry and add a gentle rhythm. Stone and timber elements, in turn, bring warmth and calm, establishing an organic, tactile link between building and territory.

The interior concept, along with its colour and material palette, takes cues from the site’s past as a rose plantation. Rosewood veneers wrap the walls and bespoke cabinetry, while blush-toned copper surfaces highlight key elements throughout. These are not decorative gestures as such, but careful choices that anchor a contemporary design in the specificity of the place. Alongside this, a selection of pieces sits comfortably within the restrained architecture including the Fonda suspension system. Designed by Gabriel Ordeig in 1994, Fonda scales up the repetition of multiple points of light, allowing compositions to be tailored to each space. It is a design that feels concise and generous: modular, traditional in spirit, and quietly uniform, a simple tubular structure that emits light on a single plane.

Here, twelve linear, architectural luminaires appear to float just above the reception desk: a large monolithic block of locally sourced marble that acts as the room’s anchor, offering a sense of permanence within so much transparency.

Sistema Fonda 1990, Gabriel Ordeig.

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A place and a light carefully considered, a project shaped by its context, materials and memory.

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