For this purpose, the senior member of the building family was renovated and its half-timbered structure made visible again on the outside. The interior was gutted and the floor plan restructured, but the restaurant and its entrance were left in the familiar place. Six of the 60 rooms are located on the first floor. A new feature is a cube-shaped glass connecting building that is inserted between the old and a new building from 1996. It houses the hotel entrance - for the first time, the building now has a real lobby with reception and a bar, which extend to the right into the 1990s building. This was also renovated and converted and now also includes the breakfast room and other rooms. The lion's share of the guest rooms is housed in the new addition to the rear, for which a brick building from the 1970s had to make way. The two-storey building has been given a staggered storey with a large terrace and a wide view over Verl. Conferences or larger celebrations can be held here. Finally, the basement houses the wellness area.

Kai Beckmann countered the former height differences and ramps with the trick of inserting a central staircase with a lift that connects all parts of the building. Their floors fit together via mezzanines; the entire ensemble is now barrier-free.

Closely coordinated

The architect and interior designer worked closely together and were able to coordinate structural measures and materials for the subsequent interior design from the very beginning. Katharina Reinkemeier was inspired by what was already there and developed it further. The colours black and brass dominate the foyer and the bar. Like a leitmotif, certain elements - such as gold and yellow tones - recur throughout the hotel. Window panels on the façade of the new building pick up on this and thus intertwine the interior and exterior with each other. All rooms, ranging in size from 20 to 40 square metres, are individually furnished with great attention to detail; historical artefacts combine with modern furnishings in a spolia-like manner, open half-timbered beams contrast with cloud patterns on walls and floors. At the "Münchner Stoff Frühling 2020" trade fair, the concept of the coexistence of old and new was awarded the first prize of the Interior Award in the "Contract" category.

In the laudatory speech it says: "The jury was enthusiastic about how the half-timbered building was carefully modernised, how the historical elements were staged and playfully revisited with patterns. Something unique - something very special." With the latter, the jury picks up on the name of the hotel: WunnersWat comes from the Low German and means exactly that: something special.

Flush plates set a counterpoint with simplicity

Despite the wealth of detail in the fittings, the planners chose restrained, elegant elements from TECE for the bathrooms and the SPA area. The WC push plates from the TECElux Mini (shown here in white) and TECEsquare series are characterised above all by the fact that they can be fitted flush into the wall as very flat components. Depending on the background, the white or black TECElux Mini either blend in visually or, on the contrary, provide a colour contrast. TECEsquare, on the other hand, is available in glass or metal versions; the elegant black glass version was used in WunnersWat.