罗马罗密欧酒店 / Zaha Hadid Architects

Rome Romeo Hotel/Zaha Hadid Architects
罗马罗密欧酒店 / Zaha Hadid Architects

项目理念与历史对话： 这家罗马罗密欧酒店项目，由扎哈·哈迪德建筑事务所操刀，堪称对罗马建筑历史的回应与创新。项目巧妙地将巴洛克、文艺复兴等不同时期的建筑元素融合，并以多层建筑的复写本形式呈现。设计师从穹顶天花板入手，将建筑置于“空中”，与罗马的建筑传统相呼应。这种设计理念不仅是对历史的尊重，更是对光线、阴影和空间的灵活运用。此外，对卡波尼宫酒店的改造，也体现了扎哈·哈迪德对历史遗迹的敬畏和创新，将当代设计与历史建筑完美结合，实现了一场非凡的对话。

空间序列与材质运用： 项目在空间序列的营造上展现了卓越的设计功底。从入口到客房，设计师重新构建了连贯的空间体验，将曾经的庭院改造为带伸缩式玻璃屋顶的穹顶，形成了一个充满活力的中心枢纽。同时，材料的选择与运用是该项目的另一大亮点。设计师巧妙地结合了卡拉拉白大理石、黑色大理石、马卡萨乌木等多种材料，赋予了每个房间独特的个性。这些材料不仅在视觉上营造了丰富的层次感，更在功能上改善了音响效果和调节了室温。这种对材料的细致考量，体现了扎哈·哈迪德建筑事务所对细节的极致追求。

创新与文化传承： 酒店的设计体现了创新与文化传承的完美结合。在保留历史建筑的基础上，设计师通过“第二表皮”的巧妙设计，解决了现代服务设施的安装问题，实现了对历史文物的尊重与对现代生活需求的满足。此外，在酒店花园发现的罗马墙和手工作坊，更增添了项目的历史深度。通过精心设计的展览厅，让客人能够近距离欣赏古罗马的网状石砌工艺。这种对历史的尊重，以及对细节的关注，与酒店内部的精致装饰相得益彰，为宾客提供了独特的文化体验，同时也延续了意大利手工艺的传统，赋予了酒店鲜明的个性特征。

Interpreting Roman classics as a replica of multi-layered architecture - Baroque architecture stands on top of Renaissance and medieval buildings, which in turn surpass their predecessors of the Roman era - this includes a vertical final level: arches painted with illusionary techniques, heavenly domes, and ceilings of celestial rooms depicting ascending saints, martyrs, and little angels. Zaha Hadid placed her architecture in the air from the very beginning, allowing it to float in the gaps of shadows, light, and space, elevating its volume above the ground and connecting her works with another tradition - the Roman tradition. Hardy, as well as the Roman architects of the Renaissance and Baroque periods before her, longed for air, sky, and heaven. When designing the renovation project of the Capone Palace Hotel located on Via di Ripetta in Rome, the street was a branch of the city's Sistine Sanctum, extending from People's Square. Zaha Hadid and his team at Zaha Hadid Architects (ZHA), led by Paula Katalin, started from where the Baroque architect finished his copy - from the dome ceiling.
将罗马经典诠释为多层建筑的复写本——巴洛克建筑矗立于文艺复兴和中世纪建筑之上，而这些建筑又凌驾于它们罗马时代的前身之上——这包括了一个垂直的最终层次：绘有错觉画法的拱门、天堂穹顶和天界房间的天花板，上面绘有升天的圣人、殉道者和小天使。扎哈·哈迪德从一开始就将她的建筑置于空中，让建筑漂浮在阴影、光线和空间的缝隙之中，使建筑体积凌驾于地面之上，将她的作品与另一传统——罗马传统——联系起来。哈迪德，以及她之前的文艺复兴和巴洛克时期的罗马建筑师，都向往着空气、天空和天堂。在设计位于罗马维亚·迪·里佩塔大街上的卡波尼宫酒店改造项目时，该大街是城市西斯廷三叉路的分支，从人民广场延伸而出，扎哈·哈迪德及其带领下的扎哈·哈迪德建筑事务所（ZHA）团队，由保拉·卡塔林领导，从巴洛克建筑师结束其复写本的地方开始——从穹顶天花板开始。

平面-公共空间

As Katalin pointed out, from the Roman era to the Renaissance and Baroque periods, and then to the 18th century, the architectural history of Rome can be interpreted through its brick and stone domes: "We draw inspiration from this concept and give new interpretations to the domes and their intersections. All different rooms, even furniture, are designed based on this concept." Alfredo Romeo, the founder of the Romeo Hotel Group, discovered the historic Capone Palace while searching for a new hotel location in Rome. Rome is one of the most beautiful cities in the world, "he explained. Although the core of the building can be traced back to the 16th century, it also includes components from completely different historical periods. The latest renovation was in the 1950s, when INAIL management added two wings. Due to the lack of laws protecting historical buildings at the time, INAIL carried out extensive renovations on the remaining interior of the palace and made significant changes to the palace and its artworks during the process of transforming the building into an administrative office. A series of 17th century murals in the Capone Palace have also been relocated. These carefully drawn works on the canvas have been removed from their original positions, placed in wall frames, and redrawn - completely obscuring the original murals. After careful restoration, these exquisite works are gradually unveiled and presented, and after four centuries of creation, hotel guests can once again appreciate them.
正如卡塔林所指出的，从罗马时代到文艺复兴和巴洛克时期，再到 18 世纪，罗马的建筑历史可以通过其砖石穹顶来解读：“我们从这一理念中汲取灵感，对穹顶及其交汇处进行新的诠释。所有不同的房间，乃至家具，都是基于这一概念设计的。”罗密欧酒店集团的创始人阿尔弗雷多·罗密欧在罗马寻找新酒店的地点时，发现了历史悠久的卡波尼宫。“罗马是世界上最美丽的城市之一，”他解释道，“人民广场在 20 世纪 50 年代和 60 年代是罗马的客厅。费德里科·费里尼和马塞洛·马斯楚安尼经常在人民广场的罗萨蒂酒吧会面。这是一个充满神话色彩的广场，尤其是在夜晚，它散发着一种魔幻的魅力。”2012 年，罗密欧购买了这座宫殿，当时的租户是意大利政府的国家工伤保险研究所（INAIL）——自 1951 年起，该机构一直占用着这座建筑。虽然该建筑的核心部分可追溯到 16 世纪，但它也包括来自完全不同历史时期的组成部分。最近的一次改造是在 20 世纪 50 年代，INAIL 管理机构增建了两个侧翼。由于当时缺乏保护历史建筑的法律，INAIL在将该建筑改造成行政办公室的过程中，对宫殿的剩余内部进行了大量改造，对宫殿及其艺术品进行了重大改动。卡波尼宫的一系列17世纪壁画也被移位。这些在画布上精心绘制的作品被从原来的位置移除，放入墙框内，并重新绘制——完全掩盖了原来的壁画。经过精心的修复，这些精美的作品逐渐被揭开并呈现出来，在创作四个世纪后，酒店的客人可以再次欣赏到它们。

Due to the scarcity of original interior decorations, Romeo continues the long-standing tradition followed by the guardians and sponsors of Italy's magnificent architecture over the past five centuries - commissioning pioneering architects and artists of the time to create captivating new interior decorations that showcase the professional skills of skilled craftsmen and artists working with the finest materials. Romeo Design Company began collaborating with Zaha Hadid Architects in 2015, selecting architects' free-form and fluid lines to ensure originality in the design, rather than the repetition and similarity commonly found within hotels worldwide. Romeo explained, "We are transforming this historic building with Zaha Hadid's avant-garde design. This is an extraordinary dialogue between contemporary architecture and historic architecture." Although the exterior of the palace embodies the Renaissance style, its overall layout avoids the coherence of the Renaissance period. When renovating this palace, which has undergone significant changes over the centuries and has been used as a municipal office building for the past seventy years, Zaha Hadid Architects rebuilt a coherent spatial sequence from the entrance to the guest rooms. Starting from the reception area, guests pass through the former courtyard, which is now topped by a dome with a retractable glass roof. This newly enclosed lobby is a hub, from here, the restored staircase leads to the guest rooms, and further inside is the garden.
由于原始内部装饰所剩无几，罗密欧延续了意大利宏伟建筑守护者和赞助人在过去五个世纪中一直遵循的长期传统——委托当时开创性的建筑师和艺术家，创造出引人入胜的新型内部装饰，展示使用最优质材料工作的熟练工匠和艺人的专业技艺。罗密欧设计公司于 2015 年开始与扎哈·哈迪德建筑事务所合作，选择建筑师们的自由形态和流畅线条，以确保设计具有原创性，而非全球酒店内部普遍存在的重复和相似。罗密欧解释道：“我们正在用扎哈·哈迪德的前卫设计改造这座历史建筑。这是当代建筑与历史建筑之间的一次非凡对话。”虽然宫殿的外观彰显了文艺复兴风格，但其内部的整体布局却避开了文艺复兴时期的连贯性。在改造这座历经几个世纪而发生了重大变化的宫殿时——在过去七十年里，它一直被用作市政办公楼——扎哈·哈迪德建筑事务所重新建立了一个从入口到客房的连贯空间序列。从接待区开始，客人穿过曾经的庭院，现在庭院上方是带有伸缩式玻璃屋顶的穹顶。这个新封闭的大堂是一个集散点，从这里，修复后的大楼梯通向客房，再往里走就是花园。

Typically, the cellular layout of hotels promotes repeatability, modular design, and industrial paradigms, which also explains the similarity of hotel rooms worldwide. However, the various types of rooms in the palace complex layout tend to be personalized rather than systematically designed; This follows the Italian tradition of the craftsman's hand and the artist's signature culture - the word "design" itself originates from the automatic word "segnare" (signature). Zaha Hadid Architects' exquisite skills in three-dimensional form have integrated the uniqueness of Italian handicraft tradition into the design of the hotel. From a historical perspective, the domes of Rome have been different. The simplest is a cylindrical arch, and two intersecting cylindrical arches form a cross arch. In the cross arch, the curved part from the intersecting semi-circular arch reaches its highest point at the line connecting to its origin, column, or wall.
通常，酒店的蜂窝式布局促进了重复性、模块化设计和工业范式，这也解释了全球酒店客房的相似性。但是，宫殿复合布局中的多种不同类型房间更倾向于个性化而非系统化设计；这遵循了意大利的传统，即工匠之手和艺术家签名的文化——单词“design”（设计）本身便源自动词“segnare”（签名）。扎哈·哈迪德建筑事务所在三维形态上的精湛技艺，使酒店的设计融入了意大利手工艺传统的独特性。从历史上看，罗马的穹顶各不相同。最简单的是筒拱，而两个相交的筒拱则形成交叉拱，交叉拱中，来自相交半圆拱的弯曲部分在连接至其原点、柱子或墙壁的线条处达到最高点。

If those points are equidistant and at right angles, then the cross arch is regular; But if two columns or two walls are not at a right angle, the cross arch itself will twist, as if stretched and endowed with elasticity. Zaha Hadid Architects (ZHA) further developed this concept based on the irregular geometric shape requirements of the palace: one dome may intersect with another dome at a certain angle, creating unexpected effects and stunning moments. Just as the predecessors of the Baroque period envisioned heaven at high points inside their buildings, Hardy also has a history of enchanting architecture through distorted forms. However, relying solely on spatial limitations and functional purposes cannot fully determine the design. In this country driven by aesthetics, Zaha Hadid Architects has created the perfect beauty for every room. The 74 rooms and suites in the hotel have become independent small worlds. The space designed by the architect is extremely spacious. Zaha Hadid Architects promotes design richness, much like Baroque murals that complement architectural forms and character images. Complexity extends from the ceiling and walls, forming the space of each room.
如果那些点是等距且呈直角的，那么交叉拱就是规则的；但如果两根柱子或两面墙不成直角，交叉拱本身就会发生扭曲，仿佛被拉伸并赋予了弹性。扎哈·哈迪德建筑事务所（ZHA）根据宫殿不规则几何形状的要求，进一步发展了这一理念：一个穹顶可能会以一定角度与另一个穹顶相交，产生意想不到的效果，带来令人惊叹的瞬间。就像巴洛克时期的先辈们在其建筑内部高处构想天堂一样，哈迪德也有通过扭曲形态来使建筑迷人的历史。然而，仅仅依靠空间限制和功能目的并不能完全决定设计。在这个以美学为动力的国家，扎哈·哈迪德建筑事务所为每个房间都创造了恰到好处的美丽。酒店的 74 间客房和套房各自成为独立的小世界。建筑师设计的空间极其宽敞。扎哈·哈迪德建筑事务所推动设计走向丰富，就像巴洛克时期的壁画一样，与建筑形式和人物形象相得益彰。复杂性从天花板和墙壁延伸开来，构成了每个房间的空间。

Zaha Hadid Architects (ZHA) reinforced materiality, light, and form throughout the entire building to construct space - from room to room, from walls to furniture. This building has never given the feeling of being planned by grids, boxes, axes, or any other top-down control system. They not only construct and design order from the dome, but also start from the details, a comprehensive and complex program emanating from all surfaces, defining the space. The combination of materials in the guest rooms and suites includes Carrara white marble and black marble, paired with Makassar ebony, cedar or chestnut wood, as well as Krion material manufactured by Porcelenosa. These materials were chosen for their quality and functionality in improving sound effects and naturally regulating room temperature. Some suites on the noble floors of the palace have incorporated restored 17th century murals, while suites on higher floors have private terraces overlooking the panoramic view of the city. The exquisite brass circular dome highlights the molten rock and ebony flooring of the lobby, while Sicilian rock salt, Tadlak (an ancient Moroccan lime based wall treatment process), as well as cedar and ash wood, have been carefully processed to form the interior decoration of the hotel spa center. The building has elements from the 16th century, as well as later additions, and is also listed as a protected object by the government department responsible for monuments and historical buildings - Soprintendenza Speciale Archeologia, Belle Arte e Paesaggi di Roma. After extensive investigation, it has been determined that the structure of the building requires significant reinforcement. 49 companies participated in the restoration work of the palace, submitting 230 different building permit applications, all of which were supervised by the supervisory bureau as a national historical site.
扎哈·哈迪德建筑事务所（ZHA）在整个建筑中强化了物质性、光线和形态，以构建空间——从房间到房间，从墙壁到家具。这座建筑从未给人以一种由网格、盒子、轴线或其他任何自上而下的控制系统所规划的感觉。他们不仅从穹顶构建和设计秩序，还从细节入手，一个全方位的复杂程序从所有表面散发出来，定义着空间。客房和套房内材料的组合选择了卡拉拉白色大理石和黑色大理石，与马卡萨乌木、雪松或栗木搭配，以及 Porcelenosa 公司制造的 Krion 材料，这些材料因其改善音响效果和自然调节室温的品质和功能而被选中。宫殿的贵族楼层（piano nobile）上的一些套房融入了修复的 17 世纪壁画，而较高楼层的套房则设有私人露台，可俯瞰城市全景。精致的黄铜圆环穹顶突出了大堂的熔岩石和乌木地板，而西西里岩盐、塔德拉克（一种古老的摩洛哥石灰基墙面处理工艺），以及雪松和灰烬木则经过精心加工，构成了酒店水疗中心的内部装饰。该建筑拥有 16 世纪的元素，以及后来增建的部分，也被负责古迹和历史建筑的政府部门——罗马特别考古、美术和景观监督局（Soprintendenza Speciale Archeologia, Belle Arte e Paesaggi di Roma）列为保护对象。经过广泛的调查确定，该建筑的结构需要大幅加固。 49 家公司参与了宫殿的修复工作，提交了 230 份不同的建筑许可申请，所有工程均由作为国家历史遗迹的监督局监督。

After redesigning and reinforcing this aging building, the guidance issued by the supervisory agency (Sovrintendenza) states that the walls of the palace must not be altered in order to install mechanical and electrical service systems for the hotel's bedrooms, dining rooms, and other guest facilities. In order to provide the highest standard of accommodation for guests in the 21st century, every part of the hotel has been carefully crafted with a "second skin", forming a thin cavity between the existing structure and the hotel interior walls to accommodate the service facilities of each room. Although the width of this thin cavity is only a few centimeters, it spans centuries and continues the continuous reshaping of the palace over the past 500 years. During the early excavation work in the hotel garden, a Roman wall was discovered, causing the project to be suspended. Under the supervision of the supervisory bureau, detailed archaeological investigations and manual excavations were conducted, revealing a previously unrecorded handicraft workshop (bottega), as well as a mesh stone masonry technique (opus reticulum) in ancient Roman architecture - around 2000 years ago, the ancient Romans used diamond shaped stone faces to decorate concrete walls, presenting complex patterns and details. In order to protect the newly discovered handicraft workshop, a 90 square meter exhibition hall was carefully excavated about four meters below the hotel garden. The glass ceiling of this exhibition hall is also the glass floor of the hotel swimming pool, allowing hotel guests and visitors to experience and appreciate another layer of the history of this eternal city. Guests and visitors visiting this exhibition hall will also notice the meticulous attention to detail and clever combination of materials in the 2000 year old mesh stone masonry craftsmanship, which complements the exquisite stone, wood, and metal decorations inside the hotel.
在对这座日益老化的建筑进行重新设计和加固后，监督局（Sovrintendenza）发布的指导规定指出，宫殿的墙壁不得改动，以便为酒店的卧室、餐厅和其他客人设施安装机电服务系统。为了给 21 世纪的客人提供最高标准的住宿条件，酒店内部的每一处都精心打造了一层“第二表皮”，在现有结构与酒店内墙之间形成了一个薄腔，用以容纳每个房间的服务设施。虽然这个薄腔的宽度只有几厘米，但它却跨越了几个世纪，延续了宫殿 500 年来的不断重塑。在酒店花园的早期挖掘工作中，发现了一堵罗马墙，工程因此暂停。在监督局的监督下，进行了详细的考古调查和手工挖掘，揭示了一个以前未被记录的手工作坊（bottega），以及古罗马建筑中的一种网状石砌工艺（opus reticulatum）——大约在 2000 年前，古罗马人使用菱形石面装饰混凝土墙，使其呈现出复杂的花纹和细节。为了保护新发现的手工作坊，人们在酒店花园下方约四米深处精心开凿出一个 90 平方米的展厅。该展厅的玻璃天花板同时也是酒店游泳池的玻璃地板，使酒店的客人和访客能够体验和欣赏这座永恒之城历史的又一层。参观这个展厅的客人和访客也会注意到，2000 年前的网状石砌工艺对细节的严谨关注和材料的巧妙组合，与酒店内部精致的石材、木材和金属装饰相得益彰。