罗马罗密欧酒店/扎哈·哈迪德建筑师事务所

罗马罗密欧酒店/扎哈·哈迪德建筑师事务所
Hotel Romeo Roma / Zaha Hadid Architects

扎哈·哈迪德的建筑哲学：这座罗马罗密欧酒店是扎哈·哈迪德建筑事务所对历史文脉的深度解读。项目的核心在于对罗马建筑传统中“叠加”概念的重新诠释，将巴洛克、文艺复兴乃至古罗马的建筑元素融于一体。哈迪德的设计理念一贯延续了对“空中建筑”的追求，将建筑体量从地面“漂浮”起来，强调光影与空间的流动。这种设计手法是对罗马建筑中对天空与光线的追逐的致敬，同时又赋予了建筑全新的现代感。项目巧妙地利用拱顶、天花板等元素，创造出富有戏剧性和视觉冲击力的空间。

历史与现代的对话：项目最引人入胜之处在于其将历史建筑改造为现代酒店的策略。通过对卡博尼宫的改造，设计团队在保留历史印记的同时，融入了现代酒店的舒适与功能。修复后的17世纪壁画与现代的自由形态、流畅线条相互映衬，创造了传统与现代的和谐统一。值得一提的是，项目在改造过程中发现了古罗马遗址，并将其巧妙地融入酒店设计中，形成历史的叠加。新与旧的对话，不仅体现在建筑的外部形态，更贯穿于酒店的内部空间，从入口到客房，每一个细节都展现了对历史文脉的尊重和对建筑设计的创新。

材料与细节的精湛运用：罗密欧酒店在材料和细节处理上展现了卓越的工艺水平。从客房的卡拉拉大理石、乌木，到大堂的熔岩石、黄铜拱顶，再到水疗中心的西西里岩盐和雪松，每一种材料的选择都经过精心考量，并与空间设计完美融合。特别是对于拱顶的创新性运用，通过对拱顶交叉点的新诠释，赋予了空间独特的韵律和视觉冲击力。同时，酒店的每一间客房和套房都被赋予了独特的个性，而非简单的模块化设计，这种对细节的极致追求，体现了意大利传统手工艺的精髓，也彰显了扎哈·哈迪德事务所对“设计”本身的理解和尊重。

建筑师提供的文字描述对罗马的古典解释是建筑层的重写——巴洛克式建筑位于文艺复兴和中世纪建筑之上，而这些建筑本身又位于其罗马前辈之上——包括最后一层垂直性：彩绘错视拱门的天花板、天穹和居住着上升圣徒、烈士和丘比特的天室。从她职业生涯的一开始，扎哈·哈迪德就将她的建筑置于空中，将建筑漂浮在阴影、光线和空间缝隙上，将体积提升到地面之上，将她的作品与罗马的另一个传统联系起来。哈迪德以及在她之前的文艺复兴和巴洛克时期的城市建筑师渴望空气、天空和天空。在设计位于里佩塔大街（Via di Ripetta）上的卡博尼宫（Palazzo Capponi）的酒店改造时，哈迪德和她在由Paola Cattarin领导的扎哈·哈迪德建筑师事务所（ZHA）的团队从巴洛克建筑师结束重写的地方开始——拱形天花板。
Text description provided by the architects. The classical interpretation of Rome as a palimpsest of architectural layers—Baroque buildings atop Renaissance and medieval structures, themselves atop their Roman predecessors—includes a final layer of verticality: ceilings of painted trompe l'oeil arches, heavenly vaults, and celestial chambers populated with ascendant saints, martyrs, and putti. From the very beginning of her career, Zaha Hadid sited her buildings in the air, floating buildings on shadow, light, and seams of space that lifted volumes above the ground, relating her work to another tradition—Rome's. Hadid, and the city's architects of the Renaissance and Baroque that preceded her, aspired to the air, the skies, and the heavens. In designing the hotel conversion of the Palazzo Capponi, on the Via di Ripetta, a branch of the city's Sistine Trident radiating from the Piazza del Popolo, Hadid and her team at Zaha Hadid Architects (ZHA) led by Paola Cattarin, started where Baroque architects ended their palimpsest—at the vaulted ceilings.

Plan - Communal Spaces

正如Cattarin所指出的那样，罗马的建筑历史可以从其砖石拱顶中看出，从罗马时期到文艺复兴和巴洛克时期，再到18世纪：“我们从这个想法中获得了灵感，对拱顶及其交叉点进行了新的诠释。所有不同的房间，甚至家具，都是用这个概念设计的。”罗密欧酒店的创始人阿尔弗雷多·罗密欧在罗马寻找新酒店的房产时，偶然发现了历史悠久的卡博尼宫。“罗马是世界上最美丽的城市之一，”他解释道，“人民广场是20世纪50年代和60年代罗马的萨洛托。费德里科·费里尼和马塞洛·马斯特罗安尼经常在人民广场的罗萨蒂酒吧见面。这是一个神话般的广场，尤其是在晚上，它有着神奇的吸引力。”罗密欧于2012年用现有租户购买了这座宫殿：意大利政府的国家工作事故援助研究所（INAIL）自1951年以来一直占据着这座建筑。虽然建筑的核心可以追溯到16世纪，但它也包括来自完全不同历史时期的组件。最近，INAIL政府在20世纪50年代增加了两翼。在当时没有保护历史建筑的法律的情况下，INAIL在将宫殿改建为行政办公室的过程中，对宫殿的大部分剩余内部进行了改造，对宫殿及其艺术做出了重大改变。卡帕尼宫17世纪的一系列壁画也被移走了。这些作品在画布上绘制得错综复杂，从原来的位置被移走，放在墙框里，重新粉刷——完全掩盖了原始的壁画。经过精心修复，这些精致的作品逐渐显露出来，在创作四个世纪后，酒店的客人可以再次欣赏到它们。
As Cattarin notes, Rome's architectural history can be read in its masonry vaults, from the Roman, through the Renaissance and Baroque periods, into the 18th Century: "We took inspiration from this idea, to make a new interpretation of vaults and their intersections. All the different rooms, down to the furniture, are designed with this concept." Searching for a property in Rome for a new hotel, Alfredo Romeo, founder of Romeo Hotels, came upon the historic Palazzo Capponi. "Rome is one of the most beautiful cities in the world," he explains, "and Piazza del Popolo was the salotto of Rome in the 1950s and '60s. Federico Fellini and Marcello Mastroianni regularly met at the Bar Rosati on Piazza del Popolo. It's a mythical piazza, and by night especially, it has a magical appeal." Romeo purchased the palazzo in 2012 with an existing tenant: the Italian government's Istituto Nazionale Assistenza Infortuni sul Lavoro (INAIL)—National Institute for Assistance of Accidents at Work—had occupied the building since 1951. While the core of the building dates from the 16th century, it also includes components from completely different historical periods. Most recently, two wings were added by the INAIL administration in the 1950s. In the absence of laws, at the time, to protect historic architecture, INAIL remodeled much of the palazzo's remaining interiors in its conversion to administrative offices, making significant changes to the palazzo and its art. A series of Palazzo Capponi's 17th-century frescoes were also displaced. Intricately painted on canvas, the works were removed from their original location, placed in wall frames, and repainted—completely masking the original frescoes. Painstaking restoration gradually uncovered and revealed these delicate works and four centuries after their creation, they can be admired once again by guests of the hotel.

在几乎没有保留原始内饰的情况下，罗密欧延续了意大利宏伟建筑的长期传统——在过去的五个世纪里，这些建筑的守护者和赞助人一直在遵循这一传统——委托当时的先驱建筑师和艺术家创造迷人的新颖内饰，展示熟练工匠和工匠在最好材料上的专业知识。Romeo Design于2015年开始与ZHA合作，选择建筑师的自由形式和流畅线条，以确保原创设计，而不是全球酒店室内明显的重复和相似之处。罗密欧解释说：“我们正在用扎哈·哈迪德的前卫设计改造一座时代建筑。这是当代建筑和历史建筑之间的一次非凡对话。”。虽然宫殿的外观宣传文艺复兴，但其内部的复合布局避开了文艺复兴的连贯性。在改造一座几个世纪以来发生了重大变化的宫殿时，ZHA重新建立了从入口到客房的一系列空间。这座宫殿在过去的七十年里一直被用作市政办公楼。从接待区，客人进入以前的庭院，现在有一个可伸缩的玻璃屋顶。这个新封闭的大厅是一个配送点，经过修复的宏伟楼梯从这里通往客房，再延伸到花园。
With little of the original interiors remaining, Romeo continued the longstanding tradition custodians and patrons of Italy's grand buildings have followed over the preceding five centuries—commissioning the pioneering architects and artists of their time to create captivating novel interiors showcasing the expertise of skilled artisans and craftsmen working in the finest materials. Romeo Design began collaborating with ZHA in 2015, selecting the architects' free forms and fluid lines to ensure an original design rather than the repetition and resemblance evident in hotel interiors across the globe. "We are transforming a period building with avant-garde designs by Zaha Hadid. It's a remarkable dialogue between contemporary and historic architecture," explains Romeo. While the palazzo's exterior advertises Renaissance, the composite layout of its interiors eschewed Renaissance coherence. In converting a palazzo that had been significantly altered over the centuries—and used as a civic office building for the past seven decades—ZHA re-established a processional sequence of spaces from entry to the guest room. From the reception area, guests pass into the former courtyard, now vaulted with a retractable glass roof. This newly enclosed lobby is a distribution point from which the restored grand stairways lead to guest rooms and, beyond, to the garden.

一般来说，酒店的蜂窝组织促进了重复性、模块化设计和工业范式——这可以用全球酒店房间的相似性来解释。但宫殿复合占地面积中的许多不同类型的房间更倾向于个性化而非系统化的设计方法；秉承意大利工匠之手和艺术家签名的文化传统——设计（disegno）一词本身来自动词segnare（签名）。ZHA精湛的三维造型使酒店的设计具有意大利手工传统的独特性。从历史上看，罗马的拱顶是不同的。最简单的是桶形拱顶，两个相交的桶形拱顶形成一个丁坝拱顶，其中相交的半圆形拱顶的弯曲象限在连接其原点、柱或墙的线上达到顶峰。
Generally, the cellular organization of hotels promotes repetition, modular design, and the industrial paradigm—explaining in the similarity of hotel rooms worldwide. But the many different types of rooms in the palazzo's composite footprint favored an individuated rather than systematic design approach; adhering to the Italian tradition as a culture of the craftsman's hand and the artist's signature—the word design (disegno) itself is derived from the verb segnare (to sign). ZHA's virtuosity with three-dimensional form facilitated the hotel's design with the uniqueness of Italy's artisanal tradition. Historically, the vaults in Rome, differ. The simplest is the barrel vault, and two intersecting barrel vaults generate a groin vault, in which curving quadrants from the intersecting semi-circular vaults peak in lines that connect to their points of origin, columns, or walls.

如果这些点等距且呈方形，则腹股沟拱顶是规则的，但如果两根柱子或墙壁不呈方形，腹股沟本身就会扭曲，就像被拉伸和弹性化一样。ZHA发展了这一概念，这是宫殿不规则几何形状所必需的：一个拱顶可能以一定角度与另一个拱顶相交，产生意想不到的结果，产生奇迹。就像她的巴洛克式前辈在建筑内的高处设计天空一样，哈迪德有着扭曲形式以吸引建筑的历史。然而，仅凭尺寸约束和功能目的并不能完全决定设计。在一个以美为动机的伦理国家，ZHA为每个房间创造了一个合适的bellezza。酒店的74间客房和套房是他们自己的世界。建筑师们将空间设计得极其慷慨。ZHA将设计推向了丰富的巴洛克壁画，与建筑形式和人物相结合。复杂性从天花板和墙壁延伸到每个房间的空间。
A groin vault is regular if those points are equidistant and squared, but if the two columns or walls don't square, the groins themselves distort, as though stretched and elasticized. ZHA evolved this concept already necessitated by the palazzo's irregular geometries: one vault might intersect another at an angle, with unexpected results that generate moments of wonder. Like her Baroque predecessors devising heavens in the heights inside their buildings, Hadid had a history of distorting form to enchant architecture. Dimensional constraints and functional purpose alone, however, did not solely determine design. In a country with an ethic motivated by beauty, ZHA created an appropriate bellezza for each room. The hotel's 74 rooms and suites are worlds of their own. The architects have designed spaces to a point of extreme generosity. ZHA drives the design to abundance like Baroque frescoes that team with architectural forms and human figures. Complexity extends from the ceilings and walls to formulate the space of each room.

ZHA强化了从房间到房间、从墙壁到家具的整个建筑到结构空间的物质性、光线和形式。从来没有一种建筑是由网格、盒子、轴或任何其他自上而下的控制系统所安排的。他们不仅从拱顶，而且从细节构建和订购设计，这是一个从所有表面发出的全方位复杂程序，用于定义空间。客房和套房的材料成分包括卡拉拉雕像和Nero Marquina大理石，搭配望加锡乌木、雪松或栗木，以及由Porcelenosa设计的Krion，因其在改善声学和自然调节室温方面的质量和功能而被选中。宫殿钢琴上的一些套房采用了经过修复的17世纪壁画，而较高楼层的套房则设有私人露台，可欣赏到城市的全景。精致的黄铜圆形拱顶突出了大堂的熔岩石和乌木地板，而西西里岩盐tadelakt（一种古老的摩洛哥石灰墙处理剂）与雪松和灰烬一起被精确地加工成酒店水疗中心的内部。由于该建筑的元素来自16世纪，后来负责纪念碑和历史建筑的政府部门也列出了其增建部分——Soprintendenza Speciale Archeologia、Belle Arte e Paesaggi di Roma——广泛的调查确定，该结构需要大量加固。49家公司参与了宫殿的修复，提交了230份不同的建筑许可申请，所有工程均由Sovrintendenza作为国家历史古迹监督。
ZHA intensifies materiality, light, and form throughout the building to structure space—from room to room, from wall to furniture. There is never a sense of the building ordered by a grid or box or axis or by any other top-down system of control. They build and order design not just from the vaults but the detail, an omnidirectional program of complexity emanating from all surfaces to define space. Selected for their quality and functionality in improving acoustics and naturally regulating room temperature, the composition of materials within the guest rooms and suites includes Carrara Statuarietto and Nero Marquina marble paired with Makassar ebony, cedar or chestnut woods, and Krion engineered by Porcelenosa. Some suites on the palazzo's piano nobile incorporate the restored 17th-century frescoes while suites on higher floors have private terraces with panoramic views of the city. Vaults of delicate brass circuli accentuate the lobby's lava stone and ebony floors, while Sicilian rock salt, tadelakt (an ancient Morrocan lime-based wall treatment), together with cedar and ash have been worked with precision to create the interiors of the hotel's spa. With elements of the building from the 16th century, and its later additions also listed by the government department responsible for monuments and historical buildings—the Soprintendenza Speciale Archeologia, Belle Arte e Paesaggi di Roma—extensive surveys determined that the structure required significant reinforcement. 49 companies have been involved in the restoration of the palazzo, submitting 230 different applications for building permissions with all works overseen by the Sovrintendenza as a national historic monument.

在重新设计和加固不断恶化的结构后，Sovrintendenza发布的指导方针规定，宫殿的墙壁不能改变，以容纳酒店卧室、餐厅和其他客人设施所需的机械和电气服务。为了在21世纪实现最高标准的客房住宿，酒店的每个内部都精心制作了第二层表皮，在现有结构和酒店内墙之间创造了一个薄洞，为每个房间提供服务。虽然只有几厘米宽，但这个洞穴延续了几个世纪，延续了宫殿500年的改造。在早期挖掘酒店花园的过程中，发现了一堵罗马墙，导致现场工程停工。在Soprintendenza的监督下，详细的考古调查和手工挖掘揭示了一个以前没有记录的bottega（工作室），里面有一个网状作品——一种大约2000年前的钻石形石材饰面应用罗马建筑，为混凝土墙提供了复杂的图案和细节。酒店花园下方约4米处精心雕刻了一个90平方米的画廊，以保护新发现的Bottega。玻璃天花板也作为酒店游泳池的玻璃地板，这个画廊使酒店的客人和游客能够体验和欣赏永恒之城历史的另一层。这个画廊的客人和游客也会认识到，2000年前的作品《网状》对细节和材料组成的一丝不苟，与酒店内部精美的石头、木材和金属的丰富搭配相呼应。
Following the re-engineering and reinforcement of the deteriorating structure, guidance issued by the Sovrintendenza dictated that the palazzo's walls could not be altered to incorporate the mechanical and electrical services required for the hotel's bedrooms, restaurants, and other guest amenities. To enable the highest standards of guest accommodation in the 21st century, a second skin has been meticulously crafted for each of the hotel's interiors, creating a thin cavity between the existing structure and the interior walls of the hotel to house the services for each room. While only a few centimeters in width, this cavity extends centuries in time, continuing the palazzo's 500 years of reinvention. During early excavations to create the hotel's garden, the discovery of a Roman wall halted works on site. Detailed archaeological surveys and excavation by hand under the supervision of the Soprintendenza revealed a previously undocumented bottega (workshop) with an opus reticulatum—a diamond-shaped stone facing applied Roman architecture approximately 2,000 years ago giving concrete walls an intricate patterning and detail. A 90 sq.m gallery was carefully carved into the ground approximately four meters beneath the hotel's garden to protect the newly discovered Bottega. With its glazed ceiling also serving as the glass floor of the hotel's swimming pool, this gallery enables the hotel's guests and visitors to experience and appreciate another layer of the Eternal City's history. Guests and visitors to this gallery will also recognize the scrupulous attention to detail and composition of materials within the 2,000-year-old opus reticulatum is echoed in the rich ensemble of immaculately worked stones, woods, and metals within the hotel's interiors.