The Mar Hall Golf Resort & Spa has had something of a glow-up.
After a £15m spend by new owners, the Dubai-based Dutco Group, the five-star 74-room destination, with an 18-hole golf course, spa and swimming pool, will be unveiling its new look later this spring. They’ve completely transformed the sprawling mansion, which was originally designed in 1828 by Sir Robert Smirke and is set in 240 acres of woodland by the River Clyde.
We spoke to Lisa King - design director of collaborators, Align Partners - about the project.
What were your inspirations?
As a Grade A listed building, Mar Hall has a rich history that we wanted to honour and enhance. Its ornate Gothic architectural style dramatically sets it apart from the more restrained Neo-classicist architectural preferences of the early 20th century and it must have appeared rather remarkable and exotic to the locals at the time. With its grand proportions and high-society origins, our vision was to retain that sense of prestige but to also inject fresh energy. It wasn’t so much about recreating the past but more about reinterpreting it, layering in contemporary design while respecting its heritage.
What was the brief?
To revitalise Mar Hall, accentuating the building’s original qualities whilst also elevating the guest experience, breathing new exciting energy into the space. We wanted to create a contemporary feel of a grand house, which will deliver the very best of Scottish hospitality; putting the west coast of Scotland firmly on the map for both national and international luxury travellers. The project involves a complete overhaul of all guest rooms and public spaces, including the gallery, restaurant, bar, private event rooms, reception and main entrance, while also integrating new additions such as an exclusive members’ lounge, private cinema, and billiards room. Re-establishing the building’s connection to its surrounding landscape was also an important part of the brief, relandscaping the gardens, and making the exterior an extension of the interior views.
How long did the project take and what were the biggest challenges?
The renovation began in Q3 2024, although the hotel only closed to guests in early January. Refurbishing anything of this scale and age and within such a tight programme, while also navigating the west coast of Scotland’s winter weather, has been tough, but not insurmountable. The most rewarding part was the constant discovery – peeling back layers of history and finding ways to weave them into the future of the hotel.
Where did you source the furniture and textiles?
It was a key focus that we should champion the best talent that Glasgow has to offer, from interior designer, Jim Hamilton of Graven Images, to the team at Timorous Beasties for our wallcoverings and fabrics, and Ali Smith at Art Pistol who curated the artwork, chosen from local emerging and established artists. Finally, Nichol Wheatly, a distinguished Scottish artist whom we commissioned to create four special pieces for the hotel.
Any Scottish themes?
We were careful to avoid any clichés but instead you will find subtle nods to the city’s industrial past, for example, in the metalwork of the bar, lounge and restaurant. At the same time, the landscape definitely influenced the colours, the wallpapers, and our art selection. It was about weaving those elements in thoughtfully, giving a nod to the surroundings without making it feel too obvious. The result is a space that feels distinctly local, but in a fresh, contemporary way.
Is colour important?
It sets the tone the moment you walk through the main entrance. Each room has its own palette but the common thread is warmth. Even the blues and greens lean towards the warmer tones, creating a sense of comfort and intimacy. The Gallery, which we wanted to create as the heartbeat for the entire building, looks fabulous in deep terracotta, reflecting the scale and grandeur of the space while also remaining inviting. The Members’ Lounge is wrapped in a rich blue, to create a more intimate, sociable atmosphere.
Is it hard to strike a balance between contemporary and classic?
That’s the fun part but needs to be done intentionally and intelligently – it’s not about simply mixing the old with the new, it’s about creating a layered experience that feels both timeless and intriguing, where history and modern design complement rather than compete.
How do you think hotel interior design has changed over the years?
It’s evolved alongside how people want to experience hospitality. Guests want a connection, whether that’s to the history of a building, to the local culture, or simply to their surroundings.
Which rooms are you most proud of?
I am incredibly proud of the entire project, it’s been amazing to work with such a fabulous team of contractors and consultants who have unreservedly worked tirelessly. The public spaces and guestrooms have all, unequivocally, had a huge gust of life injected into them. If I did have to choose, I would say the grand suites offered a rare opportunity to work with incredibly expansive spaces, striking the perfect balance between the grandeur of a Victorian room mingled with the contemporary elegance of a European apartment. The scale allowed us to be bold while still creating a sense of intimacy.
Which spaces were the most challenging?
The grand entrance because it is the first impression and sets the tone. It also establishes the identity which then flows throughout the rest of the hotel. We reworked the whole appearance, with its high-ceiling space, to incorporate elements such as warm colours, luxury runners, opulent lighting and planting that deliver an impressive yet equally welcoming sense of arrival.
Any interior design secrets?
The key is being sympathetic to, and respectful of, the space you’re working with, but also don’t be afraid to be bold. You have to spend time in the space, observing how people move through it, understand the guest journey and the experience that you want to deliver. It’s about creating a rhythm in the space that feels natural, that serves its own particular purpose, where the flow just works without feeling forced.
