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Saturday, April 1, 2017

Bath, Bath and Beyond in Budapest

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Very. Am I having fun?

I'm not sure.

Signs on the wall announce that the first sauna is 45 to 50 degrees Celsius (113 to 122 Fahrenheit), the second 50 to 60 degrees (122 to 140), and the third so hot I couldn't open the door. When a woman gestures me away from the third room, I smile, thinking she's friendly. In rapid English, she disproves that, scolding, "Your sweat is getting on the chair! You need a sheet!" To my chagrin, I see that everyone but me is sitting on a sheet, which I've left in my locker. Pointing to my feet, she says, "And you'll catch a disease without shoes!" I thank her with as much dignity as I can muster, and head for the swimming pool. On my way out, in the lobby, I buy a pair of bright turquoise plastic slippers.

Buda, on the west side of this two-sided city, is particularly rich in thermal springs, and all but one of the baths I want to visit are on this side of the Danube. The Rudas baths are a 20-minute stroll from the Gellert, but it's too soon for another immersion. First, I spend a few hours in Castle Hill, the restored district of old houses, museums and the Buda Palace. Tucked in a side street is tiny Ruszwurm, a source of legendary pastries since 1827. (In the tourist season, it's difficult to get a table; in November, it's easy.) After coffee and its pastry specialty, a cream slice, I head south again.

St. Elizabeth of Hungary reportedly cured lepers near the Rudas baths, using the local springs; the Knights of St. John founded a hospice here in the Middle Ages; and the Turks built an octagonal pool in 1566. Fortunately, the pool, lighted by the characteristic star-shaped openings in its dome and circled by an arcade with five smaller pools, is still in use. Unfortunately for me, it has been restricted to men since 1936.

Women may use the swimming pool (an uszoda, rather than a gyogyfurdo, a thermal pool where one does not swim) and sauna, which I decide to do, for the sake of its historic premises. But its run-down exterior, on a busy street, is not promising, and the entrance hall is dismal.

I stare enviously at a picture of men in steamy water under a moody, romantic dome, but that's the closest I can come. In the clinical dressing room, I learn through sign language that I need a bathing cap, which I have, and a towel, which I don't.

Built in 1918, the swimming pool has an old-fashioned dignity, and about 30 men and woman swim decorously back and forth. We sweat closely packed in the small sauna, but no one, I notice, is sitting on a towel. Apparently, each bathhouse is a separate principality, with its own rules, often unspoken. Afterward, I dry off as much as possible using the dressing room's hair dryer, and make a mental note: take slippers, bathing cap, towel.

Next morning, the subway transports me to the end of Andrassy Road, to the Varosliget (City Park) and the Szechenyi baths. Although built in 1913, the vast domed bathhouse looks like a Baroque palace -- an aquatic palace, in fact, since it houses 15 pools as well as saunas and steam-baths.

Bathers must shower first, but there's no soap. (Memo to self: take soap.)

Surrounded by statues of water gods and dolphins, the three grand outdoor pools include one where jets propel you around in a slightly out-of-control circle, a central one for swimming and a hot one where bathers can play chess on floating boards in the water. Sitting outside in steaming water in late fall, watching lovers kissing, boys ogling girls, girls singing under jets of water, is positively sybaritic.

In contrast to the amusement park atmosphere outside, the interior thermal pools are grubbier. Mineral-laden water is hard on plaster walls, and the cherubs, faces and festoons that decorate them have seen better days. It's comfortably full on a weekday morning, as Budapesters from their teens to 70's amble from barrel-vaulted rooms to octagons to rotundas, each with a pool heated to a different temperature.

On another day, I walk across the Margit Bridge to a pleasant Buda neighborhood dotted with antiques shops. Built in 1894 as part of a hospital, the Lukacs baths are approached through a courtyard lined with ochre-colored classical revival buildings. On the walls, stone plaques from around the world proclaim the cures wrought by the waters; one from Mary Davis of New York in 1937 lauding the "miraculous springs" that ended her pain is typical.

Nothing in the baths turns out to be as rewarding as the leafy, evocative courtyard. The Lukacs has two large outdoor pools, still functioning in November but too cold for me. Inside, the very hot pool and the cool one are out of commission, which leaves the remaining four pools crowded. I admire, as always, the nonchalance with which the Budapesters stand center stage in the sauna and slough off their dry skin with abrasive mitts. On my way out, I stop in the pump room to drink some of the water, said to be beneficial for disorders of the intestine, stomach and bile tract. The attendant hands me a beer keg of warm, sulphurous water, and I manage to down two swallows.

On Friday, one of the days reserved for women at the Kiraly baths, I cross the Margit Bridge and walk south to a building topped with a big copper dome and three smaller ones.

Begun by the pasha Arslan for the Buda garrison in 1565, the Kiraly later acquired a classical front that only partly obscures its beating Turkish heart. Inside, up a winding stone staircase with Ionic columns, I find a changing room and a sign in Hungarian, German and English telling me that swimming suits must be worn. But, after I've showered (without soap, which I've forgotten again), I step into a pool populated by five elderly women; two wear only shower caps and the other three nothing at all. (The Rough Guide says the swimsuit rule was instituted in the 90's, when the baths became a gay hangout, so perhaps it's enforced only on men's days.) I wish I knew what the women are talking about so animatedly. Are they complaining about husbands, high prices, daughters-in-law, or bragging about grandchildren and great-children?

The main thermal pool, under a sky-lit dome, is dim and atmospheric. Off to the side is a hot (104 degrees) pool, and under the smaller domes, there's a steam room, a cold pool and more showers. In the large pool, two slim young women in red swimsuits talk about the shadow economy, one in Hungarian-accented English, the other in German-accented English.

The party of nude, older women joins us, still in voluble conversation. The mist and rushing water make it hard to overhear and easy to drift into your own private bath.

Another dowager, wearing only a shower cap and wielding a cane, makes her superbly deliberate way to the sauna, and I follow. There, two women are drying their bath sheets on the radiators while eating sandwiches. There's something elemental and intimate about this scene -- women of at least three generations soaking, washing, eating or not, talking or not. Until now, I've been interested but not moved by the baths, taking a rather anthropological stance when not actively embarrassed by my ignorance of the rules. This is different: I decide I like ladies' day at the Kiraly baths.

On my way to the locker room, I find what looks like a hospital ward, lined with 20 cots. In this resting room, a transition between the baths and the busy world, women are napping, reading a newspaper, eating sausage. I lie on a cot under a blanket and watch two masseuses in the next room at their vigorous work. At the window, a woman submerges her feet in a tub and looks out over Budapest. Their simplicity and quiet notwithstanding, the Kiraly baths have survived the Turks, the Hapsburgs, the Nazis, the Communists and, so far, modern capitalism. Long may they continue.

Everyone into the pool, and then the restaurant

The Baths

The Gellert baths, Kelenhegyi ut 2-4, telephone (36-1) 466-6166, charges $14.50, at 200 forints to the dollar, for a ticket to the baths and swimming pools, with a refund of $4.50 if you stay less than two hours, $3 if you stay two to three hours. If it's four hours, there's no refund. Open daily, from 6 a.m. to 6 p.m.

The Rudas baths, Dobrentei ter 9, (36-1) 375-8373, charges $3.50 for the use of sauna and swimming pool, $5 (men only) for steam bath, and $9 (men only) for steam bath and thermal pools. Open daily from 6 a.m.; closed at 1 p.m. on weekends.

The Szechenyi baths, Allatkerti korut 11, (36-1) 363-3210, operates on a system similar to the Gellert's: $8.50 is the charge for use of pools and lockers, with a refund of $4.50 for a stay of less than two hours, $2.50 for less than three hours and $1 for less than four hours. Open daily 6 a.m. to 7 p.m.

The Lukacs baths, Frankl Leo ut 25-29, (36-1) 326-1695, charges $7. Refunds: less than two hours $2.50, less than three hours $1.50, less than four hours 50 cents. Open daily from 6 a.m. to 7 p.m. (to 5 on weekends).

The Kiraly baths, Fo utca 84, (36-1) 202-3688, are reserved for women on Monday, Wednesday and Friday (open 7 a.m. to 6 p.m.), for men on Tuesday, Thursday and Saturday (9 a.m. to 8 p.m.). Admission is $5.

Lodging and Dining

I stayed at the new NH Hotel, Vigszinhaz utca 3, (36-1) 814-0000, fax (36-1) 814-0100, close to the Margit Bridge on the Pest side. A sleek, angular contrast to curvaceous Budapest, NH has 160 rooms, arranged around an inner courtyard, with luxurious bedding and dark modern furniture. Ask for a room overlooking the Vigszinhaz comedy theater. Depending on the season, a double room rents for $182 to $250.

Ruszwurm coffeehouse, Szentharomsag ter 7, is open every day from 10 a.m. to 8 p.m. Coffee and a pastry cost about $3.50.

Kiskakukk, Pozsonyi utca 12, (36-1) 450-0829, is a handsome, friendly restaurant known for Hungarian specialties. Two can dine on mushroom soup, venison in red wine with noodles, and dessert crepes with a bottle of wine for about $45. Open daily, for lunch and dinner.

Near the Basilica, Café Kor, Sas utca 17, (36-1) 311-0053, is a popular cafe with bentwood chairs, green-shaded lamps and a menu full of local favorites for snacks and meals. Goose liver pâté with Cognac will cost $11.40, letcho (a melange of tomatoes and peppers) with sausages and eggs costs $10. For afternoon cake, try somloi, a sponge cake with chocolate sauce and whipped cream ($3.45). Cash only; closed Sunday. KATHERINE ASHENBURG

KATHERINE ASHENBURG writes about architecture for Toronto Life magazine.

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Monday, August 28, 2017

Five-Star Hotels in the Hamptons

Read article : Five-Star Hotels in the Hamptons

History and money are familiar bedfellows in Hamptons residential real estate: Even an imperfect piece of the past costs a pretty present penny. It’s a different story on the hotel side, where the twain hardly ever bed down. Classic luxury accommodations in historic buildings are rare on the East End, which is why the Hamptons has been saddled with that hyphenated-adjective “hotel-starved” for so long. (True, there are renovated motor courts with Frette sheets, but that’s more retro-chic than five-star.)

This year that distasteful descriptor comes a step closer to retiring with the opening of Topping Rose House, an 1842 Greek Revival mansion in Bridgehampton. (The fact that the effort took eight years to come to fruition tells you why such hotels are so scarce out here.) With Topping Rose in the mix, there’s now a trio of Hamptons properties where history and money have coupled to create hotels at a Relais & Châteaux level. Here’s how each plays on the past in its quest for a present perfect.

TO THE MANOR BORN
The 22-room luxury inn Topping Rose House adds cachet to Bridgehampton.

“I have always liked the juxtaposition of something edgy with something soft,” Alexandra Champalimaud, who designed the interiors of Topping Rose House, told the Financial Times this past January. She was referring to her fashion sense—black leather leggings from The Row, feminine blouse, sharply tailored blazer—but as she quickly confirmed in our interview, it’s her design sensibility in a nutshell. Which is why the rooms at Topping Rose have a Windsor chair (but painted black) at a midcentury trumpet-pedestal side table in real marble.

Juxtaposition is the thread that defines Topping Rose House, a 22-room luxury compound in Bridgehampton. It consists of the 1842 Greek Revival Topping Rose House, named for its original owner, Judge Abraham Topping Rose; a small addition; a 19th-century barn turned event space; and a L-shaped new complex that houses the spa and 15 “cottage” guest rooms.

“Everybody came out of the woodwork,” says Roger Ferris, the head of Roger Ferris + Partners, who designed the architecture and shepherded the project down the Via Dolorosa of approvals required. He’s referring to the cast of government officials, preservationists, historicists, and “not in my backyard” Hamptonites who sprang to life when it became known that Bill Campbell, a Hamptons resident and senior adviser to Jamie Dimon, CEO and Chairman of JPMorgan Chase, had bought the property and planned to turn it into a luxury hotel. (Simon Critchell, the former head of Cartier North America, and Tom Colicchio, who is in charge of the hotel and restaurant, are also partners now.)

Irony abounded, starting with Campbell’s interest in the place, which was sparked by the fact that “the property was grandfathered for a spa, restaurant, and hotel.” He was proposing exactly what the town seemed to want. The zoning itself is the result of 1970s horse-trading—"so it wouldn’t become a gas station,” says Campbell laughing. And Topping Rose House was on the verge of falling down by the time work began.

Ferris knows his architectural history—he talks fluently about façade punctuation (that’s doors and windows to the layperson) and proportion, and though emphatically modern, his designs reference classical architecture. See those 24-foot-high portals that punctuate the new construction? Now think of the Arc de Triomphe or the Arch of Constantine, and you’ll understand where he’s coming from.

Ferris built Campbell’s coalition of the willing by periodically getting the various constituencies in a room. “The restoration of the inn was not a difficult sell,” says Ferris. It was the small addition to the right—which houses an elevator and fire stair, neither of which could be worked into the original building—that caused a war. On one side were the architectural preservationists, intent on copying the style of the main house down to the last dentil. On the other was the Southampton Architectural Review Board, which wanted something modern but harmonious.

In the end, it came down to one word in the National Park Service guidelines for historical renovation: referential. Additions shouldn’t be copies, but there should be a familial resemblance, and they shouldn’t be attached to the original. It was hard for the purists to go against that. But of course you can’t ask guests to go outside to take an elevator. “Glass-hyphenated slits,” eight-foot- wide Starfire glass panels between the original building and the addition embody the peace treaty that Ferris finally struck, by underscoring the separation, but allowing for a sheltered passage from the main building to the elevators.

“The idea was to dematerialize the façade of the new buildings,” says Ferris, referring to the key design element, horizontal louvers that run from ground to roof on two sides. On the other two, fiberglass-laced cement slats, colored and baked to allude to weathered wood, float off the glass walls—“a veil,” says Ferris, who likes layering. (The louvers are also a privacy-screen.) In addition, Ferris moved and added to the barn on the property, placing it between the main-house addition and the new wing “to moderate the transition from the formality of the house to the dematerialized form.”

The rooms show off Champalimaud’s deft way with historical allusion, with the main-house rooms more traditional (iron four-poster beds, historically inspired bedside tables) and the cottage rooms done in a groovier dialect (cooler color scheme, platform bed, live-edge wood furniture). But even the main-house rooms have new coffee tables of white lacquered cubes. “It all feels good together, but it’s not perfectly matching—it feels like home,” says Champalimaud. 1 Bridgehampton–Sag Harbor Tpk., Bridgehampton, 537-0870; toppingrosehouse.com

HAMPTONS HIDEAWAY
The Inn at Windmill Lane is a stalwart getaway nestled within Amagansett.

This Amagansett property is a séance, a shingle-style mansion with muscular chimneys and eave and eyebrow windows called up through a combination of historical passion and very deep pockets.

The property is gorgeous. Sure, there are online mutterings about the lack of a pool, but that’s not because the owners are cheap—one look at the spacious marbled bathrooms will tell you that—but because their hands were tied by the past. They were only allowed to build on the footprint of the original building. That’s why reception is in what looks like a tollbooth up from the end of the driveway, and why there’s a vast lawn that could hold an Olympic-size pool, but is used for weddings.

That being said, the owners expensively embroidered the property where they could. See that regimental line of liriodendron trees along the brick walk? They were brought in.

And the rooms are beautiful, even the smallest double, which in the main house comes to 615 square feet. (In the main house, suite 5 is the most popular because of its vaulted ceilings.) The team wanted everything to be “timeless,” according to their very attentive concierges—and it shows. The bathrooms throughout are a lavishly expensive play of tiles and fittings, and the walk-in closets have built-in dressers.

The architect, Nicholas Botta, used wainscoting and molding throughout to create interiors that have the simplicity of a Shaker meetinghouse, but somehow come across as luxurious, not austere. That’s especially apparent in the three cottages at the back of the property, where you can wake up to clerestory window mullions boldly shadowed on a white arched embrasure. It made me say a prayer of thanks for being here. 23 Windmill Lane, Amagansett, 267-8500; innatwindmilllane.com

GARDEN OASIS
The Baker House 1650 suits all tastes in East Hampton.

And finally, here’s the past as heritage. Baker House is a 1650 home that in 1911 was transformed into an Elizabethan-style manor by that era’s Charles Gwathmey, Joseph Greenleaf Thorpe, the architect who did Grey Gardens among numerous other mansions, many in the gambrel style. Here, though, he went off on an inspired tangent, ransacking the Elizabethan playbook brilliantly: molded plaster ceiling paneling in the living room, coffered wood paneling in the lobby sitting room, tall eaves faced with strapwork (a decorative version of half-timbering), and those small-paned windows that give Elizabethan-style façades their inimitable rhythm.

I stayed in Maidstone, one of the top suites and a sonata of green. I’ve stayed in scores of luxury hotels around the world, but have rarely been so taken with a room. It’s not the largest or the most luxurious room that I’ve ever had, but it wraps you in a cashmere throw of the past—reproduction William Morris wallpaper of twirling tendrils, three-over-five small paned windows that look across to Mulford Farm, embracing armchairs, and a window seat long enough to stretch out on, which my companion promptly did, purring the afternoon away here with a book.

The garden feels like the English countryside: 200-year-old wisteria vines agony-twisted up to the crossbeams of an arbor, and cypress trees formed an honor guard down the far side of the property. Loungers were strewn about in front of the small pool, which has been beautifully worked into the landscape. Over the hedge, there’s an expanse of lawn with mature trees—hoop-skirted evergreens and obese rhododendrons ready to bloom—leading to the Carriage House, a two-suite compound with its own pool, much larger than the one behind the main house. (Baker House stands out among Hamptons luxury inns for having a pool at all, as it does for the small gem of a spa in the basement, which has its own pool, sauna, and jacuzzi.)

The room to get in the Carriage House is the Loft Suite, an open-plan garret of white, taupe, and beige with a big sleigh bed, a shower for two, and a deck flanked by gables. It’s $1,500 a night in season, and as you suspected, in season it’s always booked. However, I’d be quite happy waking up to see the hand-hewn wooden beams of The Hedges, one of the smallest rooms in the original part of the house. Past perfect. 181 Main St., East Hampton, 324-4081; bakerhouse1650.com