with more organic shapes and shades such as those
of the now-iconic Egg chair.
Next to the lobby was a two-storey conservatory
whose double walls housed orchids. Domes in the
ceiling of the restaurant admitted natural light
but also housed smoked glass fittings resembling
upturned bottles. Jacobsen’s hemispherical AJ Royal
pendants emitted a soft uplight through stepped ring
louvres. In the guest rooms, the fittings included
reading lights on tracks and drawer units that
contained, among other things, light switches.
The elegant AJ Lamp made by Louis Poulsen, with
its distinctive, tilting, asymmetrical head, even
accommodated a niche at its base for an ashtray,
also designed by Jacobsen.
Although it is regarded as the first designer hotel,
in the 1980s the Royal became Jacobsen’s ‘lost
gesamtkunstwerk’. Only one small shrine, Room
606, retained its original design and details. The US
architect and critic Aaron Betsky stayed there in
2012 and wrote, ‘we walked into the room, took
one look at the fenetre-en-longeur that turned the
Above: light and colour lift the
space in line with Jacobsen’s
Opposite: another design icon,
Poul Henningsen’s PL Artichoke
pendant, is also in evidence.
Both designers worked with