The Montalba Architects team completed a significant historical modernization of the 9720 Wilshire Building in 2022, originally conceived by Edward Durell Stone in 1962. This project not only renewed the original structure but also transformed the basement, adding a new landscaped atrium that floods the area with natural light and features a central sculpture in the Wilshire Boulevard plaza in Beverly Hills.
The building, already recognized as a notable West Coast work by Edward Durell Stone and built in the New Formalism style in 1962, maintained its public plaza as an iconic landmark, despite much of the structure not having been altered since past renovations. Montalba Architects was hired by the client with the mission to restore and update the building, aiming to recover its initial prestige while simultaneously creating an environment that fosters a sense of community among users.
Using placemaking strategies, the plaza, previously outdated and underutilized, began to encourage interaction and engagement. In the plaza area, the central fountain, which was non-operational due to water conservation measures, was removed. In its place, a skylight with a sunken garden was installed, serving as a focal point for the previously underutilized basement. The natural light penetrating this garden completely alters the experience and functionality of the space.
The central element of the plaza now includes a custom sculpture, created in the team's studio, which complements the opening of the sunken garden. The bronze rods of this sculpture curve upwards, referencing the arches of the building itself, and generate a sense of movement through rhythm and undulation. The public plaza was revitalized with new white concrete benches, landscaping, and lighting, while the original pattern of the rustic terrace was meticulously restored according to the original drawings and finishes.
Additionally, a new freestanding pergola, made of glass and steel, was integrated into the landscaping to ensure safety and delineate the entrance for tenants on the lower level, discreetly fitting into the scenery. The ground floor lobby was redesigned with a sober, warm, and artisanal color palette, utilizing walnut panels, terracotta flooring, bronze details, and fluted stone, evoking mid-20th-century origins. The space was optimized by the simplicity of the materials and a ceiling cove lighting that increases the perception of height, maintaining a tone of formality through a prominent niche next to the reception desk.
Former French national team player Emmanuel Petit expressed his opinion that Zinedine Zidane could become the head coach of the national team. Petit compared him to an alchemist, claiming that everything he touches turns to gold.
According to Petit, Zidane possesses a special aura and charisma that allows him to find a way into the hearts and minds of footballers. When he enters the locker room, everyone pays attention to him. Even stars like Kylian Mbappé look at him differently because Zidane is a symbol of all of France and is respected worldwide.
Petit noted that Zidane is not prone to speaking much, but when he does speak, his words have a strong influence on the players. He never loses his passion. It is enough for Zidane to enter a room with a small number of coaches or footballers to change the atmosphere. Petit concluded that Zidane is a true leader capable of inspiring everyone without saying a word.
It should be recalled that there were previously reports that after the 2026 FIFA World Cup, Zinedine Zidane would take the position of head coach of the French national team, replacing Didier Deschamps.
Filipe Samba, a bioethics lecturer born and living in Monte Café, emphasizes the importance of appealing to ancestors for guarantees and compensation for the future. He asserts that 'the wound of pain is not healed, and suffering is not cured by words, but by concrete actions.'
According to Samba, the slave culture established by the Portuguese shaped the memory and architectural heritage associated with six plantations (four in São Tomé and two in Príncipe). These plantations supported the business of producing coffee and cocoa, as well as the traditions of Africans from Angola and Mozambique, among others who were brought to São Tomé and Príncipe. Furthermore, Cape Verdeans also arrived there as hired workers.
Starting Sunday and until July 29, the United Nations Educational, Scientific and Cultural Organization (UNESCO) World Heritage Committee will convene in South Korea. A decision will be made in Busan regarding the inclusion of the São Tomé plantations in the UNESCO World Heritage List. São Tomé and Príncipe participates in the Cultural Sites category with the application 'São Tomé and Príncipe Plantations: Colonial Agricultural System and Forced Migration.'
The leader of the Monte Café community stated in an interview with Lusa that UNESCO registration is important because it strengthens their commitment to preserving this historical monument. It offers hope that future generations will be able to learn about this history. He also noted that such recognition will lead to the creation of new jobs, mobilization of resources, and increased synergy in employment for the local population. He added that despite a feeling of partial oblivion, the infrastructure of these sites enhances the image and identity of the community.
The return to Monte Café, where about five thousand people live, after being in the Soviet Union was marked by community work. Now, the horizon of hope extends to the end of the current month: 'This is a moment of great significance for our community because thanks to this stimulus, UNESCO recognizes this memory not only from a memorial but also from an economic point of view.' Currently, the World Heritage Committee has included 1248 sites from 170 countries. According to UNESCO, classification as World Heritage allows for the recognition and protection of sites of outstanding universal value, whether natural, cultural, or mixed, and obligates member states to preserve these landmarks.
The Four Seasons Hotel at Embassy One in Bengaluru showcases the creativity of the city through its art and design elements. This approach allows hotels to evolve into cultural centers that deeply connect with creative communities.
Through carefully considered interior designs, curated exhibitions, and commissioned artworks, the hotel elevates the guest experience and storytelling. Such a strategy positions the establishment not merely as a place for lodging, but as a significant creative landmark where the worlds of culture and hospitality merge. Areas like lobbies, lounges, courtyards, elevators, and corridors are designed to function as adaptable venues capable of hosting exhibitions and collaborative projects.
The incorporation of regional aesthetics alongside handcrafted details helps convey a sense of authenticity while upholding the high standard of elegance expected from a luxury hotel. By prioritizing innovation in spatial design, the hotel successfully creates highly memorable gathering spots.
A prime illustration of this concept is found at The Four Seasons Hotel at Embassy One, Bengaluru, which houses original pieces from over 25 contemporary Indian artists. Biswajit Chakraborty, the hotel’s general manager, stated to YourStory that every installation was deliberately chosen to narrate stories about the city, societal shifts, and the connection between humanity and nature. He further explained that the collection serves to forge meaningful ties with the destination, making art an intrinsic element of every guest stay, rather than just being decorative.
The hotel's architectural vision was developed by the acclaimed studio Yabu Pushelberg, focusing on the concept of the fractured grid. The firm conceived the hotel as a residence for an art collector, blending an eclectic mix of international modernism and Indian heritage. The property itself occupies two towers in the center of Bengaluru, integrating expansive stone-filled areas with both local and global influences.
The roster of artists featured includes Saju Kunhan, Thukral & Tagra, GR Iranna, and Sucheta Ghadge. Manjunath Kamath’s large ceramic discs reflect the culture and philosophy of ancient Southern Indian dynasties, while Sumedh Rajendran employs provocative imagery to address themes of development using skeletons and animals. Prakash Ghadge’s artwork, characterized by tonal variations using dots and dashes, is noted for inducing deep observation, contemplation, and meditation in viewers.
The Four Seasons Hotels, founded in Toronto, have expanded into a worldwide luxury brand boasting over 120 locations globally, alongside private jets and yachts. Their core principle remains treating others as they wish to be treated. Chakraborty affirmed that the hotel’s philosophy has remained constant for over sixty years, emphasizing that true luxury is defined by how individuals are treated since 1961.
The Mumbai property opened in 2008, followed by the Bengaluru location in 2019. Chakraborty noted that both establishments share the same dedication to genuine care and intuitive service. At the Bengaluru site, this philosophy manifests through hospitality, art, and experiences celebrating the spirit of Bengaluru while retaining the unmistakable identity of Four Seasons.
The guest experience within the living gallery has been meticulously planned. Chakraborty described how a gradual transition is created from the fast pace of the city upon arrival to a tranquil and personal haven within the guest rooms, moving through public spaces. He highlighted that Bengaluru is inherently a city where creativity and innovation thrive, serving as India's high-tech capital where tradition meets modern thought.
Exhibitions are presented in the designated Art gallery, curated by CUR8, which also hosts literary workshops. These events gather writers, artists, and thought leaders to discuss topics such as hospitality, literature, culture, and storytelling. Beyond art and literature, the hotel offers various culinary pop-ups and immersive dining experiences to introduce guests to diverse global cultures and traditions.
Chakraborty emphasized the goal of allowing guests to experience Bengaluru through the hotel, citing the art collection, dining, wellness options, cultural programs, and interactions with staff. Each month, the hotel's gallery changes its theme, focusing specifically on promoting Indian artists to guarantee a fresh and authentic cultural encounter with every visit. Artists featured in the last year include Yusuf Arakkal, V Hariraam, SG Vasudev, and CS Krishna Shetty. Furthermore, a partnership with MeMeraki showcased eight Indian art forms, ranging from Pattachitra to Thangka paintings.
More recently, CUR8 hosted an exclusive presentation by artist-designer Jeena Raghavan, recognized for her textured canvases that combine abstraction with magical realism. The Vilasa exhibition is currently running until the end of July, featuring artists like Arunava Mandal and Gautam Bansal, with works such as The Brahma Kamals and Cartography of Forgotten Dreams on display. Additionally, Vietnamese cuisine is celebrated alongside contemporary Vietnamese art by Phan Hong Thanh, Duc Viet, Phan Van Thanh, and Minh Du, capturing daily life, nature, spirituality, and cultural heritage.
The hotel also provides a range of gastronomy, wellness, and mixology services; for instance, the Copitas cocktail bar will host an exclusive event by Nouvelle Vague, recognized among the world's top 50 bars. Ultimately, Chakraborty concluded that the hotel aims to be more than just a dining spot, striving to be a venue where guests celebrate the creative energy that defines Bengaluru.
