罗马Romeo酒店卡波尼宫修复与翻新丨意大利罗马丨Zaha Hadid Architects

罗马，作为一座拥有多重建筑历史层次的城市，其建筑风格从巴洛克、文艺复兴到中世纪，每一层都叠加在古罗马遗址之上。而这一层层建筑的最顶端，则是垂直的空间：装饰着错视拱顶的天花板、天堂穹顶，以及充满升天的圣人、烈士和小天使的天室。扎哈·哈迪德从职业生涯伊始，就通过建筑让空间“飞翔”，将建筑置于空中，通过光影、空间缝隙以及体量的悬浮，形成一种与罗马建筑传统相呼应的形式。她的作品和罗马文艺复兴和巴洛克时期的建筑师们一样，都以向往天空、空中和天堂为共同的精神追求。

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.

▼卡波尼宫的入口，Portal enterance of Palazzo Caponi ©Jacopo Spilimbergo

▼入口，Gallery entrance © Jacopo Spilimbergo

在设计卡波尼宫的酒店改造项目时，ZHA 团队从巴洛克建筑师们结束的地方开始——穹顶的设计。正如 ZHA 的设计负责人 Paola Cattarin 所言，罗马建筑的历史可以通过其经典的砌筑穹顶来阅读：从古罗马到文艺复兴、巴洛克，再到 18 世纪。“我们从这个理念出发，重新演绎了穹顶和穹顶交汇的方式，所有的房间和家具设计都围绕这一理念展开。”

Romeo 酒店的创始人 Alfredo Romeo 在寻找罗马的酒店物业时，发现了这座历史悠久的卡波尼宫。他表示：“罗马是世界上最美丽的城市之一，人民广场曾是 20 世纪 50 年代和 60 年代罗马的社交中心。Federico Fellini 和 Marcello Mastroianni 常在这里聚会。尤其在夜晚，广场有一种神秘的魅力。”

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. 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. ”

▼接待处，Reception© Chris Dalton, courtesy Romeo Collection

2012 年，Romeo 购买了这座宫殿，当时宫殿内的租户为意大利政府的国家工伤援助研究所（INAIL），该机构自 1951 年起租用此地。尽管宫殿的核心结构源自 16 世纪，但其建筑风格融汇了多个历史时期的元素。最晚的改建发生在 1950 年代，由 INAIL 增建了两个翼楼。由于当时缺乏保护历史建筑的法律，INAIL 对宫殿进行了大规模的改建，许多内部装饰和艺术品发生了显著变化。其中一部分 17 世纪的壁画曾被移位，这些精美的帆布画作被重新绘制并装框，完全覆盖了原本的壁画。经过漫长的修复过程，这些壁画得以重新展现，四百年后再次出现在酒店客人面前。

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 remodelled 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.

▼小酒馆，Bistro © Chris Dalton, courtesy Romeo Collection

由于宫殿内部原始结构已大幅改变，Romeo 延续了意大利传统，即将当代最具先锋性的建筑师和艺术家邀请参与创作，旨在通过精湛的工艺和艺术家的设计，展现意大利建筑的魅力。2015 年，Romeo Design 与 ZHA 合作，选择了扎哈标志性的自由曲线和流动线条，旨在为酒店创作一个原创设计，而非全球酒店内常见的重复性设计。“我们正在将一座历史建筑与扎哈·哈迪德的前卫设计结合起来。这是当代与历史建筑的完美对话，”Romeo 如是说。尽管宫殿外立面保持文艺复兴风格，但内部布局则更为复杂，历史的痕迹和现代设计相交织。改造后的宫殿重新设计了从入口到客房的空间序列，赋予每个房间独特的体验。接待区以原有庭院为基础，增设了可收缩的玻璃屋顶，形成了一个新的封闭大厅。这个大厅成为了宫殿的分配中心，从这里出发，可以通往恢弘的楼梯、客房以及后方的花园。

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 the 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 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.

▼Alain Ducasse 餐厅，Il Restaurante Alain Ducasse© Chris Dalton, courtesy Romeo Collection

▼Alain Ducasse 餐厅

Il Restaurante Alain Ducasse© Chris Dalton, courtesy Romeo Collection

通常，酒店的单元化布局促进了重复、模块化设计和工业化范式——这也解释了全球酒店房间相似的原因。但宫殿复杂的平面图则有利于采取个性化的设计方法，而不是系统化的设计方法；这符合意大利工匠手工艺和艺术家签名的文化——设计（disegno）一词本身就是源自“segnare”（签名）。

扎哈·哈迪德对三维形式的精湛运用使酒店的设计完美契合意大利工艺传统的独特性。历史上，罗马的穹顶有多种形式。最简单的是拱顶，而两个交叉的拱顶形成了一个交叉穹顶，两个相交的半圆形穹顶的弯曲四分之一在其起点（柱子或墙壁）之间相连。交叉穹顶是规则的，如果这些点是等距的和方正的，但如果柱子或墙壁不方正，交叉穹顶本身会扭曲，像被拉伸和弹性化一样。

Generally, the cellular organization of hotels promote 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 favoured 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. 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.

▼雪茄休息室，Cigar Lounge © Chris Dalton, courtesy Romeo Collection

▼健身房，Gym © Chris Dalton, courtesy Romeo Collection

▼考古发现，花园下的水池，Archeological finds

under the transparent water basin in the garden© Chris Dalton, courtesy Romeo Collection

ZHA 在设计时已经考虑到了宫殿的不规则几何形状——一个穹顶可能与另一个在不同角度交汇，产生出意想不到的效果，令人惊叹。正如巴洛克前辈们在建筑内部创造天堂一样，扎哈有着以形式塑造无与伦比的建筑的历史。然而，仅仅依靠尺寸限制和功能目的并不足以决定设计。在一个以美学为动力的国家，ZHA 为每个房间创造了合适的美感。酒店的 74 间客房和套房各具特色。建筑师们设计了极为慷慨的空间。ZHA 推动设计的丰富性，像巴洛克的壁画一样充满了建筑形式和人类人物。复杂性从天花板和墙壁延伸到每个房间的空间形式。ZHA 在整座建筑中加强了材料性、光线和形式的结构——从房间到房间，从墙壁到家具。酒店的设计没有任何由格栅、盒子或轴线等顶端系统控制的感觉。她的设计不仅仅来自于穹顶，还来自于细节，是一种从所有表面散发出来的复杂全方位设计，定义空间。

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 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 omni-directional program of complexity emanating from all surfaces to define space.

▼壁画套房，Fresco Suite© Chris Dalton, courtesy Romeo Collection

▼壁画套房，Fresco Suite© Chris Dalton, courtesy Romeo Collection

酒店客房和套房内选用了具有优良功能性和美观度的材料，以提升声学效果和自然调节室内温度。客房的材料组合包括卡拉拉雕刻大理石（Carrara Statuarietto）和黑玛瑙大理石（Nero Marquina），以及马卡萨尔乌木（Makassar ebony）、雪松或栗木、由 Porcelenosa 公司设计的 Krion 材料。一些宫殿的高级套房融入了修复的 17 世纪壁画，而楼层较高的套房则拥有私人露台，能欣赏到城市的全景。大厅的熔岩石和乌木地板上点缀着精致的黄铜圆环，而西西里岩盐、塔德拉克（Tadelakt，一种古老的摩洛哥石灰基墙面处理）与雪松和白蜡木经过精心雕琢，用以打造酒店的水疗中心内饰。

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.

▼大套房，Grand Suite © Chris Dalton, courtesy Romeo Collection

▼优等套房，Premier Suite© Chris Dalton, courtesy Romeo Collection

宫殿内保留了 16 世纪的建筑元素，而后来添加的部分也被罗马历史建筑和文化遗产保护部门列为受保护建筑——罗马古迹、艺术美景与景观特别监督部门（Soprintendenza Speciale Archeologia, Belle Arte e Paesaggi di Roma）参与了广泛的调查。经过调查，结构确实需要进行大规模加固。共有 49 家公司参与了宫殿的修复工程，提交了 230 份不同的建筑许可申请，所有工作都由该部门监管，作为国家历史遗迹。在对宫殿进行加固后，Soprintendenza 的指导意见要求宫殿的墙壁不能被修改以容纳酒店客房、餐厅及其他设施所需的机械和电气服务。为了达到 21 世纪客房的高标准，每个酒店室内都精心打造了一个“第二皮肤”，在宫殿的现有结构与酒店内墙之间创造了一个薄薄的空隙，用于容纳每个房间的设施。尽管这个空隙只有几厘米宽，却延续了宫殿 500 年的不断变化。

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. 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.

▼豪华客房，Deluxe Room © Chris Dalton, courtesy Romeo Collection

▼套房细部，Details© Chris Dalton, courtesy Romeo Collection

在酒店花园的早期挖掘中，发现了一段罗马墙，施工被暂停。经过 Soprintendenza 的监督，详细的考古调查和手工挖掘发现了一个以前未被记录的“工作坊”（bottega），其中有“网格石砌”（opus reticulatum）——这是一种罗马时代应用于混凝土墙面的钻石形石材装饰，已有约 2000 年的历史。为了保护这一未被记录的工作坊，酒店内专门雕刻了一个 90 平方米的画廊，位于酒店花园下方约四米处。画廊的玻璃天窗不仅充当了酒店游泳池的玻璃地板，同时也让酒店的客人和游客得以体验并欣赏到这层“永恒之城”的历史。在这座画廊中，游客们也能意识到，2000 年前精雕细琢的网格石砌的细节和材料感，与酒店室内精心雕琢的石材、木材和金属形成了美妙的呼应。

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 centimetres 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 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 metres 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 recognise 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.

▼套房细部，Details© Chris Dalton, courtesy Romeo Collection

▼平面图，Plan© ZHA

Project Team

Architect: Zaha Hadid Architects (ZHA)

Design: Zaha Hadid and Patrik Schumacher

Concept Stage

ZHAProject Director: Paola Cattarin

ZHA Project Architects: Fulvio Wirz, Mariagrazia Lanza

ZHA Project Team: Christos Sazos, Daniel Fiser, Grace Chung, John Morrison, Konstantinos Psomas, Kyle Dunnington, Ludovico Lombardi, Melodie Leung, Monir Karimi Kakhki, Natassa Lianou, Ovidiu Mihutescu, Pasquale Lorusso, Peter Logan, Sofia Papageorgiou, Thomas Sonder

Schematic Design Stage

ZHA Project Director: Paola Cattarin

ZHA Project Architects: Fulvio Wirz, Mariagrazia Lanza

ZHA Project Team: Christos Sazos, Daniel Fiser, Francesca Gulizia, Gaganjit Singh, Grace Chung, John Morrison, Kyle Dunnington, Konstantinos Psomas, Marco Guardincerri, Pasquale Lorusso, Sofia Papageorgiou, Thomas Sonder

Design Development Stage

ZHA Project Director: Paola Cattarin

ZHA Project Architects: Fulvio Wirz, Mariagrazia Lanza

ZHA Project Team: Andrei Dino, Cristina Capanna, Daniel Fiser, Delfina Bocca, Diego Ariza, Dieter Matuschke, Francesca Filosa, Gaganjit Singh, Grace Chung, Gigi Ho, Hangyul Jeong, Ivo Ambrosi, Konstantinos Psomas, Kyle Dunnington, Leonid Krykhtin, Luca Melchiori, Luciano Letteriello, Marcello Maioli, Mattia Santi, Michael Rogers, Paola Salcedo, Pavlos Symianakis, Qiuru Pu, Ripple Patel, Roni Man, Ryan Anthony Szanyi, Shibani Choudhury, Thomas Sonder, Vincenzo Barilari, Ying Zhu

Artistic Supervision Stage

ZHA Project Director: Paola Cattarin

ZHA Project Architect: Mariagrazia Lanza

Client: Romeo Gestioni spa

Client Representative and Project Manager: Romeo Design – Ivan Russo

Consultants

Structural Engineers: Studio Beta srl

MEP Consultants: Spring srl

Lighting: Corte Gherardi snc

Water Features: Fluidra Engineering Slu

Special Structures: EOSS Architettura

Interior Furnishings: ARTE+PARTNERS-BRAGA spa, Barretta srl, Devoto Design srl

Construction Company: Mannelli Costruzioni srl, Ga.Re.Co. srl