André Fu | 香港瑞吉酒店-设计风向

香港瑞吉酒店已于2019年4月开业，其时尚精致的室内空间由香港著名建筑师André Fu设计。这座27层高的大厦在湾仔香港海滨是一个闪闪发光的存在，湾仔是香港最古老的地区之一，至今仍有电车通过。湾仔是传统典当行、旧警署和包豪斯建筑的所在地，傅巧妙地将这些融入到他的设计中，带领游客进行身临其境、层次分明的视觉之旅，在这里，个人记忆与城市遗产交织在一起，产生了丰富而令人回味的体验。

When the St. Regis Hong Kong opened its doors in April, its sleek and sophisticated interiors, designed and curated by the architect André Fu, received critical acclaim in a city famous for its luxury hospitality offering. The 27-storey tower has a glittering, graphic presence on the Hong Kong waterfront in Wan Chai, one of Hong Kong’s oldest districts, which the trams still pass through. Wan Chai is home to traditional pawnshops, the old police station and the Bauhaus-style market that Fu cleverly incorporated into his design, taking the visitor on an immersive, layered visual journey where personal memories are interweaved with the city’s heritage, resulting in a rich and evocative experience.

香港的文化遗产在酒店内随处可见：都爹利街的旧式煤气路灯、湾仔旧警署的殖民式圆柱，以及受香港殖民式大厦启发而设计的镶板。艺术是酒店内部的一个重要元素，而傅一直对艺术收藏有着自己的见解，瑞吉酒店里就不乏国际知名艺术家的作品。

The heritage of Hong Kong is referenced throughout the hotel; old gas street lamps from Duddell’s Street, colonial columns from the old Wan Chai police station, and panelling, inspired by the colonial Hong Kong mansions. Art is an important element within the hotel and Fu has been a major influence on the art collection, which features internationally renowned artists.

傅的最初灵感来自于John Jacob Astor IV于1904年在纽约建造的第一家瑞吉酒店。傅带着这个文化地标，并将自己的童年回忆融入香港。傅说：“我想要比传统意义上的灯笼、舢板和寺庙更深入，挖掘我对这座城市的记忆。”

Fu’s initial inspiration was the first St. Regis hotel built in New York by John Jacob Astor IV in 1904; Fu has taken this cultural landmark and infused it with his own childhood recollections of growing up in Hong Kong. Says Fu: “I wanted to go deeper than the stereotypical concept of lanterns, junks and temples and tap into my own memories of the city.”

走进酒店让人产生一种走进世纪之交曼哈顿私人豪宅的感觉。André的礼物是将纽约的规模和宏伟感与历史悠久的香港融合在一起，让客人在现代香港快节奏的都市生活中找到一个避难所。

Walking into the hotel conjures up a sense of walking into a private Manhattan mansion from the turn of the century. André’s gift is to fuse together a sense of the scale and grandeur of New York City with historic Hong Kong, allowing the guest a sanctuary from the frantic urbanity of modern Hong Kong.

门廊面积达580平方米，设有戏剧性的抵达场地，而8米长的石墙与大理石接待台协调一致。近8米高的石头瀑布以其潺潺的流水声为特色，还为平面带来了流动性。华丽的灯笼和受19世纪旧香港煤气灯启发的烛台，创造出柔和而感性的光芒。Solomon和Wu设计的四米高的超大青铜镶板门通往前厅，旨在通过抽象的轮廓向香港这座摩天大楼致敬。

At 580 square metres, the porte cochere sets the scene for a dramatic arrival while the stone clad 8m walls work in harmony with the marble reception desk. An almost 8m high waterfall cascading in stone is featured not only for its rippling sound but also for the fluidity it introduces to the floor plan. Opulent lanterns, and sconces inspired by the 19th century gas lamps of old Hong Kong, create a soft and sensual glow. Oversized bronze panelled doors four metre high, by Solomon and Wu, lead to the vestibule, paying homage, through abstract silhouettes, to the skyscraper city of Hong Kong.、

进入前厅，客人会发现两个相连的空间，一个带电梯的前厅，和一个礼宾处的小沙龙。傅的戏剧性设计延伸了前厅的垂直高度，让它看起来更高，铜屏让人想起了香港殖民时期典型的老式窗框。电梯两侧的大理石雕刻的造型反映了第一个瑞吉酒店的经典纽约方言。

Entering the vestibule, the guest discovers two connected spaces, an antechamber with elevators, and a small salon where the concierge is located.Fu’s dramatic design stretches the vertical heights of the vestibule to make it appear even taller, with bronze screens that evoke the old window frames that were typical of colonial Hong Kong. Mouldings engraved in the marble on either side of the elevators reflect the classic New York vernacular of the first St. Regis.

从临街的大堂，客人可以去到二楼，进入走廊，走廊的边缘是经典的木制镶板，玉绿色的前厅，框起了中国艺术家Cao Yuan Hua展出的一个超大尺寸的正宗中国鼻烟壶。

From the street level lobby, guests can ascend to the second level into a corridor bordered by classic wooden panelling with a jade green vestibule that frames an over scaled authentic Chinese snuff bottle on display by Chinese artist Cao Yuan Hua.

二楼是酒店的主要公共区域，包括大房间、客厅、露台和酒吧。从低矮的天花板电梯大厅到8米高的天花板，一个戏剧性的过渡将带领客人进入大房间。在这间宽敞的房间内，通过高耸的天花板和宽敞的窗户营造出戏剧感，让房间充满光线，而清爽的灰色和鼠尾草绿色则增添了奢华，庄严和通风的开放感。这个空间也被郁郁葱葱的植物环绕，让人产生绿洲的感觉——这在香港是罕见的。两个银色大理石接待台给空间带来对称感，独特的实心模块化形式，具有强烈的建筑质感。

The second floor represents the major public area of the hotel, comprising the Great Room, the Drawing Room, the Terrace and the St. Regis Bar. A dramatic transition, from the low ceiling lift lobby to the 8m high ceiling, leads guests into the Great Room. Within this spacious room, a sense of drama is created through the soaring ceilings and expansive windows that flood the room with light, while the palette of cool greys and sage greens add to the sense of luxury, grandeur and airy openness. The space is also bordered by lush topiaries, which evoke a sense of oasis – a rare thing in Hong Kong. Two silver marble reception desks bring a sense of symmetry to the space, with a distinctive solid modular form that has a strong architectural quality.

相邻的客厅将大房间与露台连接起来，在两者之间创造了一个过渡区，拥有轻松而温馨的环境。在这里，中世纪风格的家具被放置在合适的位置，增加了隐私和亲密感。露台提供了一个宁静的露天避风港，配有Janus et Cie的Fu’s Rock Garden系列的桌椅。在这里，客人会遇到一个令人惊叹的大理石水景，通向一个2.5米高的月亮门，这是中国园林中的传统元素。露台通过使用了装饰性修剪和垂直的竹子，巧妙地融合了文化的细微差别。

The adjacent Drawing Room connects the Great Room to the Terrace and creates a transitional area between the two, with a relaxed and inviting setting. Here, mid-century inspired furniture is arranged in cosy groupings, adding privacy and a sense of intimacy. The Terrace offers a peaceful open-air haven with chairs and tables from Fu’s Rock Garden collection by Janus et Cie. Here guests encounter a stunning marble water feature which leads to a 2.5m high moon gate, a traditional element in Chinese gardens. The Terrace offers a sense of cultural nuances subtly fusing with the use of ornamental topiary and vertical bamboo.

酒店的亮点之一是The St. Regis酒吧，它颂扬了纽约老城和香港的氛围，丰富的暖色调，粗花呢和黄铜细节以及青铜橡木镶板和橄榄色皮革内饰为酒吧营造出温馨舒适的氛围。其中一幅核心作品是北京艺术家张弓的手绘壁画，其灵感来自纽约瑞吉酒店Maxwell Parrish的类似壁画，描绘了许多香港最着名的历史特色，如旧湾仔，香港天星小轮，香港维多利亚港拥有丰富的植被和天然植物，以及与旧建筑相映成趣的多彩街景。

One of the highlights of the hotel is The St. Regis Bar, which celebrates the atmosphere of old New York City and Hong Kong with the feeling that one is in an exclusive private members only bolthole contrasting with the grandeur of the adjacent spaces. Rich warm tones, tweeds and brass details along with bronze oak panelling and olive leather upholstery give the bar a cosy and welcoming atmosphere. A centrepiece is a hand painted mural by Beijing artist Zhang Gong, inspired by a similar mural by Maxwell Parrish in the St. Regis New York, which depicts many of Hong Kong’s most famous historic features such as old Wan Chai, the Hong Kong Star Ferry and Victoria Harbour, Hong Kong’s rich vegetation and natural foliage, and colourful street scenes set against the old buildings.

润中餐厅的设计灵感来自中国传统的茶亭建筑——在一个亭子里插入一个淡色的橡木亭子。展馆是一个抽象的建筑表达，有着错综复杂的相互关联的细节，类似于中国传统建筑，通过贯穿整个结构的几何建筑形式来表达空间。此外，整体铸造的玻璃灯笼为整个视觉体验增添了现代感。灰褐色，灰色和棕色的朱红色漆面色调参考中国建筑色调。两间私人用餐室均设有自己的休息区以及超大规模的铸造玻璃吊灯。

Rùn Chinese restaurant is inspired by traditional Chinese tea pavilion architecture – inserted as a pale stained oak pavilion within a pavilion. The pavilion is an abstract architectural expression with intricate interlocking details akin to traditional Chinese architecture, expressed throughout the structure with geometric architectural forms that punctuate the space. Furthermore, the integrated cast glass lanterns add a sense of modernity to the whole visual experience. A colour palette of taupe, greys and browns with cinnabar red lacquer accents reference Chinese architectural tones. Two private dining rooms each feature their own lounge areas as well as an over scaled cast glass chandelier.

L’Envol法式餐厅采用柔和的奶油色和米色装饰，是Fu自己对当代法式沙龙的诠释，融合了高级时装和高级烹饪Olivier Elzer的高级美食。手绘的丝绸壁画充满金色，象牙卡拉拉大理石在脚下传达出奢华和魅力。主要用餐区俯瞰开放式厨房，并在3.3米长的大理石桌子两侧以长椅风格布置。定制的六角形吊灯由古董黄铜和珍贵的象牙玛瑙组成，悬挂在天花板上。’On The Edge’是由AndréFu选择的艺术家Helaine Blumenfeld的抽象大理石雕塑，因其诗意的特质，成为该房间的核心。私人房间还配有法国概念艺术家Laurent Grasso的帆布作品。

L’Envol French restaurant, decorated in soft cream and beige, is Fu’s own interpretation of the contemporary French salon, fusing art with couture and haute cuisine by Chef Olivier Elzer. Hand painted silk murals are exuberantly splashed with gold, and hectares of ivory Carrara marble underfoot convey a sense of luxury and glamour. The primary dining area looks onto an open kitchen and is arranged in a banquette style on either side of a 3.3 m long marble table. Bespoke hexagonal chandeliers, composed by antique brass and precious ivory agate, hang from the ceiling. ‘On The Edge’, an abstract marble sculpture by artist Helaine Blumenfeld, chosen by André Fu for its poetic qualities, is the centrepiece of the room. The Private Room features canvas work by French conceptual artist Laurent Grasso.

香港瑞吉酒店最突出的元素之一就是酒店的灯光。AndréFu运用了反光发光的表面来平衡自然光和柔和的光线。与香港夜晚耀眼的天空形成鲜明对比的是，与夜晚香港璀璨天空的明亮灯光形成鲜明对比的是，他通过双层织物色调或带有凹槽内腔的分层玻璃罩，使整个酒店的灯光保持折射。钢架切割玻璃吊坠，暗指十九世纪香港街道的传统煤气路灯。

One of the most outstanding elements of the St. Regis Hong Kong is the lighting throughout the hotel. André Fu balances natural light with soft light by night playing on reflective luminous surfaces. Unafraid of the mystery of shadows, he has resisted flooding his interiors with light, creating instead a sensuality of mood. The interiors shimmer and glow, an effect enhanced by the silks and damasks of soft furnishings and the luminous lacquers, marbles and metals. In contrast to the bright lights of Hong Kong’s dazzling sky by night, he has kept the lighting throughout the hotel refracted through double layered fabric shades, or layered glass shades with fluted inner chambers. Cut glass pendants framed in steel alludes to traditional gas street lighting in Hong Kong streets in the nineteenth century.

酒店只有129间卧室，包括14间豪华套房，两间高级套房和一间总统套房，酒店将空间和舒适置于最高效率之上。其中许多套房将欣赏维多利亚港和九龙湾的壮丽景色。对傅来说，香港代表着复杂的文化影响。颜色是白垩白，温暖的矿物灰色和灰褐色；床铺采用白色亚麻布制成，配有紫红色羊绒，地毯和壁挂，营造出舒适和宁静的感觉。在一些地方，傅用鲜艳的橙色漆门敲响了警钟。

With just 129 bedrooms, including fourteen deluxe suites, two premium suites and a Presidential Suite, the hotel prioritises space and comfort over maximum efficiency. All of these are staffed by St. Regis personal butlers, and many boast panoramic views of the city and harbour. The interiors are a clever interplay of classic versus modernity, with an intricate juxtaposition of cultural influences that, to Fu, represent Hong Kong. Colours are chalky white, warm mineral grey and taupe; beds are dressed in white linen with mauve cashmere throws, rugs and wall hangings to give a sense of comfort and serenity. In some, Fu introduces a wake-up call with vivid orange lacquered doors.