Even when entertainment budgets are falling, the search for good acts continues as clients become more exposed to all types of shows through increased travel and social media. TTGmice finds out how event management companies are meeting the challenge head on.

Source: Mirror Fantasy; Jabu Events

ACT 1
THE CURTAIN RISES

We’ve all been there. Attended product launches, corporate functions and gala dinners. Sat through the entertainment, which was a ‘wow’ rarely, decent frequently, predictable mostly and downright cheesy occasionally.

Why can’t it be the other way around: a ‘wow’ mostly, predictable rarely and never downright cheesy?

The answer, according to event management companies (EMCs), is not rocket science. When corporates think ‘entertainment’, their immediate concern often is cost, not the quality or the relevancy of the entertainment to the intended audience. Small priority and budget given to entertainment cannot possibly translate to class acts, EMCs pointed out.

The fact is, corporates want big entertainment but are willing to pay only a small amount for it. Many do not understand that good acts do not come cheap, whether the event is in Singapore or Indonesia.

In Singapore, a highly-sought talent costs more than S$10,000 (US$8,122), according to Kelvin Wong, manager, Dynamite Productions. But the corporate’s budget is half that. “Finding the second best to suit that budget is a challenge,” said Wong. “We have been advising all clients that they have to pay for what they want.”

In the Philippines, costs vary from 50,000 pesos (US$1,222) for a small act to 15 million pesos for a grand one, said Vaugh Anthony Aquino, vice president and COO of Icon International Events Productions Corp.

In Malaysia, a 30-minute local aerial dance performance costs between RM12,000 (US$4,023) and RM15,000, while a similar performance by overseas talent costs between RM30,000 and RM80,000, according to Francis Cheong, Apxara Travel & Events managing director. “Corporates with small budgets usually use their in-house talent to entertain,” Cheong said.

Entertainment prices are rising. “Performers are charging more for their services nowadays,” noted Thanate Kienpotiramard, managing director, BIC Phuket. “Most performers are based in Bangkok, so costs are higher when they perform in places such as Phuket and Chiang Mai.”

Andrew Koh, managing director of Events Architects, Singapore, agreed that clients have small budgets but expect big performances. “The problem today is, clients have a bigger appetite for entertainment but do not understand the actual costs involved. So we have to manage their expectations. An example is when they see a big performance overseas and expect to get the same entertainment here (although they don’t have the budget for it). So we will counter-suggest local ones that might not be as big but are of a similar genre and suit their budget.”

Said Micky Ng, events manager, Above Creative Events Malaysia: “When the budget is small, we will propose a less lavish entertainment. For example, if a seven-piece band costs RM10,000, we would propose a two- or a three-piece band costing about RM3,000 to RM4,000.

“Companies should set aside at least RM3,000 for entertainment. This could be a stand-up comedian, a two-piece band or a 10-minute to 15-minute steeple dance performance.”

Smaller budget for entertainment, in fact, has become a bigger challenge today amid continued world economic uncertainty and sensitivity among corporates towards conspicuous consumption.

“The budget for many of our clients has gone down by a lot,” said said Alvin Oon, director of Encore Showstation, Singapore. “In the past, we have corporate clients who are willing to spend half a million dollars on a dinner and dance. But now it is not possible. My guess is that many of them have to cut their budget on such one-off events.”

Pacto Convex Indonesia business development/social event officer, Ruhadi Wirawan, explained: “The challenge for us is not so much on getting ideas for entertainment, but how to meet the budget and get maximum impact from it.

“Many clients let us come up with the ideas, but press the cost down or demand more than the budget could meet. So we just work around it. For a colossal show like the Ramayana epic, for example, we cut down on the number of performers and keep the main characters. But sometimes, it’s not as simple as that. Clients sometimes think they know everything about a venue through the site inspection. An open-air venue like Garuda Wisnu Kencana in Bali, for example, needs a minimum of 30,000 watt sound system; some clients think 10,000 watt is sufficient. That power is enough only for an indoor event.”

Another big challenge facing EMCs today is that event attendees are more exposed to unique acts through more frequent travels, YouTube and social media, thus are harder to surprise with unique entertainment.

Corporate groups, too, are now looking for events that blend entertainment with participation, but it’s an area countries like Thailand still lack, said Montana Yodjug, Optimum Group’s conference manager who also manages events.

“Furthermore, with more Asian groups coming into Thailand, there is an increasing demand for emcees and performances in other languages other than English. Thais’ proficiency in languages other than English, especially Mandarin, has to be ramped up. Occasionally we get requests from clients for emcees to host in other languages, or for bands to play songs in their own languages as their group wants to sing along during the event,” she said.

Thailand has a good mix of acts, its EMCs say. Source: Optimum Group

ACT 2
ENOUGH ACTS?

EMCs across major South-east Asian destinations with the exception of those in Malaysia said they are satisfied with the range and quality of entertainment available.

In the Philippines, whose tourism tagline revolves around ‘fun’, the choice of entertainment is simply rich. Said Joy Gador, CEO of Megareach Public Relations and Marketing Communications, which also does event management: “We have a broad base of world-class talent and a rich and diverse culture to showcase to a vast and widely segmented local and global audience. The superiority and versatility of our local talent, be it in music, performing arts, hosting, stand-up acts, are endemic and deeply rooted in our culture. There are many more undiscovered talents out there to make our MICE entertainment even richer, yet more affordable. We just have to find them.”

As well, EMCs in Thailand, where sanuk (fun) is also taken seriously, find a good mix of acts to cater to the destination’s geographically-diverse clientele mix.
“Asian groups generally prefer dynamic events that allow participation from the audience and with a touch of sanuk, such as cabaret shows or performances with glitzy costumes and ample photography opportunities.

“Our Western clients, on the other hand, are more into culture-driven acts instead of fusion acts that blend East and West cultures, and they are also more interested in cultivating an ambience, having good music bands and ample social interaction opportunities during the event,” said Optimum’s Montana.

Kritidech Srabua, founder/CEO, Oriental Events, wished that Thailand has better music bands.

He said: “We need more variety. Jazz bands are often requested for, as are rock DJs, but bands must be able to perform a wider variety of pieces from different eras. Foreign bands can produce their portfolio when requested – an area that Thai bands need to improve on.

“Performers should take the initiative to spread the word about themselves and their work. However, this comes at a disadvantage. Often, when performers become famous, their prices go up and we have to engage their services through their managers instead.”

BIC Phuket’s Thanate gives Thailand a three-star rating for entertainment choice. “I think what’s available in Thailand today is still okay. We always try to use local acts in each locale, for instance, Phuket performers for a Phuket event, Bangkok performers for a Bangkok event, and so forth. But we have a high return rate for clients, so we constantly need new acts in order to keep our entertainment fresh and original,” said Thanate.

Over in Indonesia, EMCs said they are blessed with musical talent, traditional performances and dramas that can be played out to impress audiences.

“Musicals and dance dramas are growing in Indonesia,” said SixProduction general manager, Inre Suryokusumo, whose clients are in insurance, electronics, banking and finance.

“Matah Ati (a colossal Javanese dance epic in the tradition of the Mangkunegaran Palace, Solo) or the Laskar Pelangi musical (adapted from the popular Indonesian novel by Andrea Hirata) are among the successful ones.

“Some companies want to create spectacular events, which set the benchmark for other companies, and they are willing to pay more to achieve the goal,” said Suryokusumo.

“The challenge we face usually is the short timing to prepare for a show and changes in the event date. This is a challenge because we are dealing with many parties such as the venue, the musicians, the dance workshop, etc.

“And while we have many local talents to create spectacular events, we don’t have venues such as The Esplanade by the Bay in Singapore to host such events.”

Added Pacto Convex’s Wirawan, who spearheads the social functions of the company’s clients: “The social functions of international conferences (gala dinner, award night, etc) usually include performances. We come up with the event concept. Traditional performances with a modern twist or modern performances with traditional elements are well accepted.

“Indonesia is rich in traditional performances which we can package for events. An example is Wayang Pasir (sand puppet), where the puppeteer tells his story through drawing on sand, which is spread on a glass table and projected onto the LED screen. He can tell a story related to the event, such as the company’s history.

“I have also worked with Ayu Laksmi, a Balinese singer, songwriter, dancer and theatre performer, and her musical group, Svara Semesta, in creating a modern dance drama about a traditional Balinese story.”

However, Cakrawala Production director Nafriwan cautioned that some of the epics and folklores are just too heavy for corporate events and must be refreshed to suit today’s audience.

“Instead of the Mahabharata story and characters, for example, we show the real, living characters such as Indonesian politicians or celebrities.”

EMCs in Malaysia wish they are as blessed as their Indonesian counterparts with local talent.

“A lot of good talent goes to Singapore or elsewhere as the pay is higher and it is easier to get jobs,” said Apxara’s Cheong.

Above Creative Events’ Ng added that the local talent also perform the same routine, posing a challenge to repeat clients who want something new and do not want to pay for overseas talent.

Singapore, meanwhile, has no shortage of good acts but few that really ‘wow’, according to EMCs interviewed.

Said Encore Showstation’s Oon: “We have the usual stand-up comedians, the local singers and magic shows which are acceptable – but they do not have that ‘wow’ factor that takes everyone’s breath away. The market is growing, with more local performers and musicians (to choose from), but their standard is pretty much the same.”

That said, Dynamite Productions’ Wong observed that the entertainers do try to improve themselves and come up with new choreography, which helps to cater to new client preferences.

On how guest preferences are changing, Oon said local clients are more “mature” now, so belly dancing or pole dancing is seen as a form of dance, instead of being viewed as raunchy.

Source: An Icon International Events Production

ACT 3
SOURCING FOR ACTS

Commonly, EMCs source for entertainment through word-of-mouth from clients, friends and “friendly competitors in the business”; local competitions such as Thailand’s Got Talent or TalentQuest in Malaysia; local television shows; YouTube and social media channels; and overseas contacts for foreign acts.

Dynamite Productions’ Wong said: “One of our directors was in the entertainment scene and has a network of contacts with some agencies. Nonetheless, we have a team who is always on a lookout for potential acts to promote and groom, like a pre-audition/selection, before proposing to our very own Simon Cowell.

“We don’t get many requests for overseas performers because clients know they have to fork out a big budget. But if there are requests, we will be able to source for them. For instance we once flew in Wang Lee Hom for a private concert but that was just a one-off request. There are just too many hidden costs with overseas acts, such as accommodation and flight transfers.

“Local performers are good enough for our clients and in Singapore it is quite easy to get the contacts because the industry is small.”

Said Oriental Events’ Kritidech: “Anything and everything can yield entertainment ideas for me, from TV shows like Channel 3’s Star Stage to magazines to hotel visits.

“I’ve got a funny brain – I always think out of the box. You need to have a good imagination in the events field.”

However, EMCs could do with better channels of sourcing.

Ahem Ideas Malaysia managing director, Aloysius Wee, pointed out a problem: “I source through social media such as Facebook and YouTube. I read reviews from clients who have used these talents in the past. But some performances may appear good on the video posted on You Tube or the video they give to me, but on the ground, their performance may not be as good. Performing to a camera is different from performing to a live audience.”

Agreeing, BIC Phuket’s Thanate said: “TV shows, especially Thailand’s Got Talent last year, are a source of entertainment acts. We went on to contact some of the performers after watching their performances on TV. Despite the rave reviews these performers got during the competitions, due to the Thai-oriented content, clients sometimes do not appreciate their performances. Therefore, modifications are still needed. However, sources from the TV have declined since this year, probably due to the smaller pool of talent and lesser original content available for tapping in subsequent seasons of Thailand’s Got Talent.”

Finding overseas talent is not an issue, according to EMCs, and is only done when there is a budget for it.

Optimum’s Montana said: “We only source overseas upon special requests, for example, acrobatics performance from overseas. Occasionally, some groups will also bring their own celebrities to add on to their programmes in Thailand – so far, we have encountered this for Chinese and Mexican groups. Otherwise, I think Thailand has a ready stable of entertainment ideas. Our creative team will brainstorm the ideas and then explain them to the choreographer, who will in turn recruit the necessary performers required for the event.

“Thai performers are skilled and talented, but they need to be more professional and have ready a portfolio to display their capabilities whenever the opportunity calls.”

Ahem Ideas’ Wee also sources for regional and overseas acts if there is a bud-get for them. “Usually I look to neighbouring countries such as Indonesia, Singapore and Australia. Australia is able to provide the artsy stuff and come out with something really different from what Asians can do. Most professional MCs are based in Singapore. Again, we will only use them if there is a budget for it.”

Megareach’s Gador said a consolidated MICE directory of talent and their managers will help. Apxara’s Cheong suggests that convention bureaus such as MyCEB could include a database of local entertainers and a corporate entertainment website where performers can post their video clips of past performances.

Entertainers themselves should have their own websites which should also include videos of their past performances, added Above Creative’s Ng.

How to be a show-stopper

1 Know thy audience, since the act must suit their taste, advises Alvin Oon, director, Encore Showstation, Singapore. “If they are (the stiff upper lip type), a stand-up comedian who cracks the wrong jokes will cause problems,” said Oon.

“One of the most mismatched performances I experienced was when an entertainer performed with knives in front of a family crowd. There were many kids aged from five to eight years.”

Vaugh Anthony Aquino, vice president and COO of Icon International Events Productions Corp., Philippines, recalled an act that was downright wrong. “For the 2012 conference of a maritime agency attended by foreign and Filipino investors, businessmen and top executives, a sexy star was chosen as the host and entertainer. It proved inappropriate for such a conference and the delegates, mostly men, became distracted.

Aware of its mistake, the company hired us and became an early booker for its conference (last month).”

“Most of the time, the organising committee members try to satisfy themselves or their bosses but not the audience,” slammed Ahem Ideas Malaysia managing director Aloysius Wee.

2 Know and protect the corporate image. You may like a particular type of performance but it may not fit well with your corporate image. “Sometimes we advise against an act because we know it is wrong but they are just too stubborn. So my advice is, be open to our advice and see things from our point of view because we have the experience and know which acts are best-suited for the types of corporate image,” said Dynamite Productions Singapore manager, Kelvin Wong.

3 Know what you want. Be clear about what you want from the beginning. “Some clients are fickle and want to change a performance at the last minute which is a big problem,” said Wong.

Added Joy Gador, CEO, Megareach Public Relations and Marketing Communication, Philippines: “We will strive to provide the most suitable acts for our clients, but first they have to give us a clear agenda, objectives and what they need for each segment, in order for us to give the best recommendations.”

4 Focus on objective, not cost. “Corporates and even some event management companies are concerned with the cost of entertainment without looking at the quality,” Icon’s Aquino said. “They are concerned whether the entertainment is too expensive or even too cheap. When we suggest good bands with good prices, they think the entertainers aren’t good. Then there are the clients who think entertainment is cheap and thus are not willing to pay for it.”

5 Provide a clear brief. “Corporates need to provide a clearer and better brief – for instance, what entertainment style is preferred by their clients, what makes them tick, etc – in order for us to choose the most suitable act. If the decision-makers are Westerners but they are planning for a mixed group of Asians and Westerners, then they need to take into consideration the cultural preferences. The reactions from the audience can vary across different geographical groups,” said Thanate Kienpotiramard, managing director, BIC Phuket.

Added Montana Yodjug, Optimum Group, Thailand conference manager: “Is the audience comprising people from management level, overseas clients or factory workers? If a lot of them are factory workers, we would propose something that has slapstick or dance.”

6 Work closely with the agency and make sure it knows your requirements. “We are here to service and conceptualise everything. So communication is very important as it is where everything begins,” said Andrew Koh, managing director of Events Architects, Singapore.

7 Avoid a one-man act. A mistake a company with a small budget makes is to hire a singer to entertain for the whole night. Said Micky Ng, events manager, Above Creative Events Malaysia.“We would suggest interactive sub-activities for the audience to get involved in. Have game booths, caricature artists and close-up magicians who go table to table to perform.”

8 Have a DJ or a good compère who can control the flow of the programme. Recalled Wong: “We once arranged an award ceremony and it got so uncomfortable when there was a moment of silence. It would be good to have some music or moving spotlights to take away such awkwardness. “We had one performance which involved performers breathing fire out of their mouths. It grabbed everyone’s attention and made them talk about it afterwards.”

New acts, hot acts
Compiled by Xinyi Liang-Pholsena, Lee Pei Qi and S Puvaneswary

Name of act The Beatles
Date launch 1996
Origin Australia
How it entertains The Beatles performs music by The Beatles in a two-set show, a Black & White set (1962-1965) and a Psychedelic set (1966-1970). Its performers wear a variety of costumes and play instruments that reflect the era in which the songs were recorded.
Types of event it is good for Corporate and dinner events
Cost Around S$30,000
Contact
Tel: (65) 6384-3181
Email: alvin@encoreshow.com
Website: www.beatles.com

Name of act Luminance by JimmyJuggler
Date launch 1999
Origin Singapore
How it entertains The show is an engaging blend of colourful juggling, amazing stunts and comedy which engages the audience from beginning to end. The finale features fire juggling.
Types of event it is good for Corporate events, dinner events,
launch events and family-friendly events
Cost Upon enquiry
Contact
Tel: (65) 9730-8342
Email: contact@jimmyjuggler.com
Website: www.jimmyjuggler.com

Name of act The Shanghai Swingers
Date launch 2010
Origin Singapore
How it entertains The Shanghai Swingers, an old-school Oriental jazz band, plays the music of old Shanghai. Reflecting the Western-influenced days of glamourous cheongsams and rustic splendour, this East-meets-West concept captivates audiences with its authentic depiction of the time.
Types of event it is good for Corporate and Shanghai- or oriental-themed events
Cost From S$1,600 for two sets of 45-minute acts
Contact
Tel: (65) 6735-3269
Website: www.shanghaiswingers.info

Name of act Urban Drum Crew
Date launch July 2005
Origin Singapore
How it entertains This arts and drum performance group is touted as the “definite showstopper whenever and wherever they perform”. They are able to rouse the crowd by playing many rhythmic instruments and music with a creative blend of innovative ideas.
Types of event it is good for Large outdoor events
Cost S$3,400 & up
Contact
Tel: (65) 9199-7740
Email: boon@urbanlegend.com.sg

Name of act The Main Wayang Singers
Date launch 2009
Origin Singapore
How it entertains These five colourful performers will provide a Peranakan culture introduction with a Singapore representation, while delivering vocal harmonies of folk songs, original Baba Nyonya songs, golden oldies and latest pop songs – all with a Peranakan touch.
Types of event it is good for Corporate dinners and events, weddings and anniversaries, birthday parties and cultural events
Cost S$3,200 for two sets of 30 minutes
Contact
Email: peranakan@mainwayang.com

Name of act HypnoTWIST
Origin Australia
How it entertains HypnoTWIST fuses elements of hypnotism with surprise entertainment ‘hoaxing’, resulting in an interactive surprise. The European hypnotist selects three volunteers from among your guests; excitement builds as the volunteers perform increasingly amazing feats under hypnosis which then continues to escalate to a finale of hilarious show-stopping hits. Only at the end do the actors reveal their identities.
Contact
info@thethreewaiters.com
www.thethreewaiters.com.au

Name of act Celebrity impersonation
Origin Malaysia
How it entertains To impersonate legends such as Elvis Presley, Michael Jackson and Mr Bean in dancing, acting and singing.
Types of event it is good for Dinner parties
Cost RM5,000 and above
Contact
Above Creative Events Malaysia
Email: mickyng@creativemalaysia.com
Website: www.creativemalaysia.com

Name of act Modern dance performance
Origin Malaysia
How it entertains To perform a dance routine with a special theme to suit clients’ needs
Types of event it is good for Product launches, corporate dinners and exhibitions
Cost From RM4,000 to RM12,000
Contact
Above Creative Events
Email: mickyng@creativemalaysia.com
Website: www.creativemalaysia.com

Name of act Mid Air Circus Art
Date launch August 2011
Origin A cross-country collaboration between Australia, New Zealand and Thailand
How it entertains Providing professional aerial circus acts and entertainment, as well as aerial bartenders/champagne pouring and fire performers
Types of event it is good for Corporate functions, gala dinners, product launches, weddings and VIP cocktails
Cost Varies depending on complexity of the event with regards to equipment and rigging requirements as well as the specific acts chosen, but more suited for entertainment budgets of 100,000 baht and above
Contact
Ben Martin
Tel: (66) 8 6954 0699
Email: info@midaircircus.com
Website: www.midaircircus.com

Name of act Mirror Fantasy
Date launch 2011
Origin Europe
How it entertains Lights and specifically lasers are used to reflect off the costumes to create a magical experience. LED lights and other props are also used to enhance the act. The futuristic costumes go very well with brands in sectors such as telecommunications, computers, technology and electronics.
Types of event it is good for Corporate gala dinners, product launches and press conferences
Cost From US$8,000, plus travel and boarding expenses
Contact
Vishal Sood, Jabu Events
Tel: (66) 8 5666 5504
Email: info@jabuevents.com
Web: www.jabuevents.com

Name of act Muay Thai Kickboxing Reality Performance
Date launch No date in particular as this have been around for a long time
Origin Thailand
How it entertains This performance enables corporate groups, particularly those from overseas, to watch a real Muay Thai match live at any hotel ballroom, complete with boxing ring set-up accompanied by live traditional music, experienced Muay Thai fighters, a referee, three judges, a boxing ring girl to display fight rounds, as well as trophy and champion belt.
Types of event it is good for Welcome dinners, gala dinners and openings for conferences
Cost 100,000 baht
Contact
Jeffrey Soh, director of events – Thailand, Conceptual Events
Tel: (66) 9 0978 3882
Email: sales@conceptualevent.com

Name of act Exotic Percussion
Date launch 2001
Origin Thailand
How it entertains Exotic Percussion uses a combination of musical instruments, everyday objects like dustbins and chairs, as well as dances and body movements to create a theatrical performance. One of the finalists on reality TV series, Thailand’s Got Talent, this group offers a wide variety of performances and are very flexible with concepts to suit events.
Types of event it is good for Grand openings, corporate functions and beach parties
Cost Upon enquiry
Contact
Thanate Kienpotiramard, managing director, BIC Phuket
Tel: (66-76) 355-781
Email: thanate@bicphuket.com
Website: www.exotic-percussion.com and www.bic-phuket.com

Name of act Viva!
Date launch December 2010
Origin Thailand
How it entertains Lauded as Thailand’s first pop opera group, VIVA! consists of five good-looking, classically-trained singers whose eclectic repertoire ranges from traditional opera to contemporary pop classics like Prayer in the Night, You Raise Me Up and Unchained Melody. The quintet also sings in English, Thai, Italian, Spanish, French and even Swahili.
Types of event it is good for Christmas parties, year-end celebrations, festive events and gala events
Cost Upon enquiry
Contact
Colin Law
Tel: (66-2) 6103-915
Email: colinlaw@afroasiaevents.com
Website: www.vivapopopera.com

Additional reporting from Mimi Hudoyo, Lee Pei Qi, Xinyi Liang-Pholsena, S Puvaneswary, Rosa Ocampo

What happens when architects and designers cross over design and construction, and  become owners of the hotels themselves?

Soo K Chan,
award-winning architect and principal, SCDA Architects, Singapore, and owner, Alila Villas Soori, Bali

What made you want to own hotels?
I wanted to be able to design a hotel holistically and have a part in crafting the guest experience. I also enjoy hospitality, as it encompasses lifestyle aspects.

In designing Alila Villas Soori, what were your main considerations?
The design had to have a strong sense of place, be sustainable environmentally and socially, and consistent in its language – from the architecture, landscape, interiors and down to the details.

Alila Villas Soori, Bali

What are the pros and cons of designing a hotel you own than one that is commissioned?
With your own hotel, it is more intense as you are fully responsible for the product. The level of engagement is different as you are involved in the management and financial aspects of the project.

Pros: Quicker decision-making, more design control, more consistent design language.

Cons: You have to oversee the budget and financial aspects of the project.

What’s your view on hotel design and how should it evolve?
There needs to be a new typology for hotel design, as the large chains are creating too many sub-brands and it is becoming harder to create a differentiation.

The green agenda and the luxury idea also need to be repositioned.

Is it hard to innovate the villa product?
It is getting to a point where the villa product has become archetypical. For example, one expects a private pool and an outdoor shower if it is in the tropics. But it has become formulaic as more and more large chain hotel brands and city hotel brands roll out villa products.

What do hoteliers need to understand about architects, and vice versa?
Architects need to understand hotel operations, including back-of-the-house and sales and marketing of the product.

They also need to understand the brand ethos of different operators and to have stayed at many hotels to get a clearer understanding of hospitality.

Ideally, they need to be able to design the interiors as well.

Hoteliers need to give experienced architects some room to rethink the guest experience rather than merely coming up with standard hotel operating manuals – they should have a strong design director that can articulate the brand design direction.

How has owning Alila Villas Soori changed your perspectives of hotels?
I understand better how a brand can push its brand ethos even though the benefits are more for the brand than the owner. That there are features that are necessary while others that can be scaled back without compromising the experience.

That as brands proliferate, many of the brand’s design managers are fairly junior architects with hotel experience.

What’s your pick of the dream places in Asia to build a hotel?
Bali, Bhutan and the Maldives because of their strong and distinctive locale and culture.

Will you own and build more hotels?
I would not discount that. I’m currently developing Soori High Line in New York, a serviced condominium with some F&B (www.soorihighlineny.com).

(Alila Villas Soori is the first hotel which Chan owns. The hotel is managed by Alila and the name Soori combines his first name, Soo, and his wife’s Javanese name, Sri.)

Melanie Hall,
designer and owner, Luna2 Private Hotel and Luna2 Studios, Bali

What made you want to own hotels?
I have always had a passion for design, and was very much inspired by my father, Alan Chambers, who was an architect in the 50s and 60s. He instilled in me a love of modernist architecture and interiors. I am afflicted with his eye for design and love of high-end travel. Additionally, I worked in fashion for many years, lastly as head of creative for cK Calvin Klein for South-east Asia. To me, fashion, food, architecture, interiors are all co-dependent, so entering the hotel business is a natural progression.

Tell me about your hotels.
Several years ago, while living in Jakarta, I identified a niche for jetsetters seeking more privacy and a higher level of personal service than perhaps a more regular five-star hotel. This led me to create Luna2 Private Hotel in Seminyak in 2007, which offers the super-star service of an exclusive hotel with the intimacy of a private home. This exclusive-use five-bedroom property comes with a complement of 25 staff.

Luna2 Studios is our second property, located directly adjacent to Luna2 Private Hotel. Launched in April, this intimate yet vibrant ‘studiotel’ has 14 open-plan studios.

From these starting points, Luna2 will expand first regionally, then globally. On the drawing board, with land purchased and concept design underway, are properties in Phuket, Niseko and Lombok.

In addition, we are shortly launching the Luna2 Club, our invitation-only private members club (the first in Bali) for a niche group of like-minded lunatics!

Luna2 Private Hotel, Bali

In designing Luna2, what were your main considerations?
The Luna2 collection blends nostalgia, the great modernism of the past, with futurism (innovation, gadgets, high-tech stuff) and touches of fun that make you giggle. Life is not to be taken too seriously after all!

Bali is a true melting pot of creativity, with many of the villas and hotels incorporating the ubiquitous “modern-Bali” approach to design. My own passion and creative vision perhaps contrast the Bali norm. I refer to my design style as ‘funked-up modernism’.

What are the pros and cons of designing a hotel you own than one that is commissioned?
I get to do it my way and my own vision. I make my own mistakes, and learn from them for the next project. The pride and gratification you get from building your very own hotel from scratch is incredible.

The downsides are: it’s a massive uphill battle; it’s hugely costly and you lose sleep in the process. But I wouldn’t change a thing – it’s onwards and upwards from here.

My husband is the financial wizard and believes he is backing a good horse!

What’s your view on hotel design and how should it evolve?
Many design-savvy entrepreneurs are ‘giving it a go’, it seems. Larger chains are rolling out more properties, but can be quite conformist. I hope to start seeing more privately-owned hotel groups which remain true to their vision.

Hotels need to raise the bar in design, personal service and intimacy. Well-heeled world travellers expect more from their experience and, most of all, they need personal attention, in a more intimate environment, with like-minded clientele. Age is no longer as relevant. Attitude is the determining factor.

What do hoteliers need to understand about architects, and vice versa?
Many architects want to produce a world-beating design to gain acclaim, but that may not be the most practical solution for the hotelier. The two of them must sing from the same hymn sheet throughout the design process.

Joerg Drechsel,
designer and owner, The Malabar House, Fort Cochin, Kerala

What made you want to own hotels?
I love the idea of creating a seamless product including architecture, interiors, design, graphics and the way a place functions. It is more than just business; it is a passion to create guest experiences, which inspire all senses.

In designing The Malabar House, what were your main considerations?
The Malabar House has to tell you where you are. The building, interiors and art tell the story of Fort Cochin with 500 years of culture and history. The food makes you taste where you are, the garden puts you in the tropics and the service reflects the hospitality of the host community.

What are the pros and cons of designing a hotel you own than one that is commissioned?
You realise your own vision when designing something you own. A commissioned work is based on a brief, and, if successful, is a re-interpretation of your vision.

The pro is a consistent design language, from the layout to the smallest detail; the con is that you are on your own and might miss out on a productive and creative development dialogue.

What’s your view of boutique hotels and how should they evolve?
The concept of the boutique hotel has developed global stereotypes; its design language becomes more and more identical and exchangeable. We do need a dialogue with the local culture, its art and craft traditions; and we must be climate sensitive. This process acts as a filter. The positive result reflects the rich fabric of cultural diversity in a contemporary setting.

Is it hard to innovate heritage hotels?
It is a balancing act. How to preserve, where to modernise? How to insert modern amenities and comforts without killing the ambience and feel of the place? How to communicate the layers of history? You have to tell a story as a tactile experience, yet avoid gimmicks, which are out of fashion in a few years down the line.

What is your pick of the dream places in Asia to build a hotel?
What intrigues me is to create hotel without walls and fences, an infrastructure which is interwoven in the life and living of the local community, where the guest experiences merge with the life of the host community. We worked on this concept in a mountain village in Oman; unfortunately it did not happen. Working in a regional context I would love to do the same in a beach-facing village in Kerala.

What do hoteliers need to understand about architects, and vice versa?
I think the root issue is not different from any other relationship between an architect and owner. The architect can depict his design and visualise the structure before it becomes a reality. The owner has a perception created with the help of 3D presentations or models. He wants changes once the building materialises and becomes real. The architect has to have the flexibility to enter into a dialogue and do modifications. It is a learning process: form follows function or function follows form? Ideally it becomes a perfect function in a perfect form.

What do you like about building hotels?
A guest comes to a hotel with all he needs in his bag except his social network. We have to tell him our story about the place, create a platform of social interaction with staff and others; it is a wonderful challenge to create a setting for genuine hospitality.

Will you own and build more hotels?
Yes, we are planning a museum hotel on a peninsula in a lake in South Kerala. The Malabar House was our first hotel, also the first Relais & Chateaux in India. We also own Purity at Lake Vembanad, which is undergoing an extension and will re-open in August as an Ayurveda-focused resort.

Eugene Yeh,
designer and owner, Cabochon Hotel, Bangkok

What made you want to own hotels?
My interior design background and my passion for travel.

In designing Cabochon Hotel, what were your main considerations?|
A building could be just a building, but a building with a story or theme is more interesting especially if it’s a boutique hotel. Thus, when I was designing Cabochon, the story has been considered all the way from concept, architecture, interior and decor.

What are the pros and cons of  designing a hotel you own than one that is commissioned?
When designing for clients, I actually care more about their requests, budgets, etc, but when it’s for myself, you know, I’m freer about everything!

What’s your view of hotel design and how should it evolve?
Creating some character for your hotel has become more important than ever.

Is it hard to innovate the boutique hotel product?
Not really, but you must have the right idea of what a boutique hotel is.

What’s your pick of the dream places to build a hotel in Asia?
Bangkok.

What do hoteliers need to understand about architects, and vice versa?
If I may say so, I don’t think hoteliers need too much architectural knowledge – they need the right architect, right interior designer and right management team.

Will you own and build more hotels?
Yes, if I have the chance. The first hotel I owned – and where I also did the concept, architecture, interior and decor – was The Eugenia, but as an interior designer, I’ve also designed many hotels such as the Taipei World Trade Center Members’ Club and the standard rooms for Regent Taipei.