André Fu | 香港瑞吉酒店-設計風向

香港瑞吉酒店已於2019年4月開業，其時尚精致的室內空間由香港著名建築師André Fu設計。這座27層高的大廈在灣仔香港海濱是一個閃閃發光的存在，灣仔是香港最古老的地區之一，至今仍有電車通過。灣仔是傳統典當行、舊警署和包豪斯建築的所在地，傅巧妙地將這些融入到他的設計中，帶領遊客進行身臨其境、層次分明的視覺之旅，在這裏，個人記憶與城市遺產交織在一起，產生了豐富而令人回味的體驗。

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.

香港的文化遺產在酒店內隨處可見：都爹利街的舊式煤氣路燈、灣仔舊警署的殖民式圓柱，以及受香港殖民式大廈啟發而設計的鑲板。藝術是酒店內部的一個重要元素，而傅一直對藝術收藏有著自己的見解，瑞吉酒店裏就不乏國際知名藝術家的作品。

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.

傅的最初靈感來自於John Jacob Astor IV於1904年在紐約建造的第一家瑞吉酒店。傅帶著這個文化地標，並將自己的童年回憶融入香港。傅說：“我想要比傳統意義上的燈籠、舢板和寺廟更深入，挖掘我對這座城市的記憶。”

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.”

走進酒店讓人產生一種走進世紀之交曼哈頓私人豪宅的感覺。André的禮物是將紐約的規模和宏偉感與曆史悠久的香港融合在一起，讓客人在現代香港快節奏的都市生活中找到一個避難所。

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.

門廊麵積達580平方米，設有戲劇性的抵達場地，而8米長的石牆與大理石接待台協調一致。近8米高的石頭瀑布以其潺潺的流水聲為特色，還為平麵帶來了流動性。華麗的燈籠和受19世紀舊香港煤氣燈啟發的燭台，創造出柔和而感性的光芒。Solomon和Wu設計的四米高的超大青銅鑲板門通往前廳，旨在通過抽象的輪廓向香港這座摩天大樓致敬。

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.、

進入前廳，客人會發現兩個相連的空間，一個帶電梯的前廳，和一個禮賓處的小沙龍。傅的戲劇性設計延伸了前廳的垂直高度，讓它看起來更高，銅屏讓人想起了香港殖民時期典型的老式窗框。電梯兩側的大理石雕刻的造型反映了第一個瑞吉酒店的經典紐約方言。

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.

從臨街的大堂，客人可以去到二樓，進入走廊，走廊的邊緣是經典的木製鑲板，玉綠色的前廳，框起了中國藝術家Cao Yuan Hua展出的一個超大尺寸的正宗中國鼻煙壺。

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.

二樓是酒店的主要公共區域，包括大房間、客廳、露台和酒吧。從低矮的天花板電梯大廳到8米高的天花板，一個戲劇性的過渡將帶領客人進入大房間。在這間寬敞的房間內，通過高聳的天花板和寬敞的窗戶營造出戲劇感，讓房間充滿光線，而清爽的灰色和鼠尾草綠色則增添了奢華，莊嚴和通風的開放感。這個空間也被鬱鬱蔥蔥的植物環繞，讓人產生綠洲的感覺——這在香港是罕見的。兩個銀色大理石接待台給空間帶來對稱感，獨特的實心模塊化形式，具有強烈的建築質感。

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.

相鄰的客廳將大房間與露台連接起來，在兩者之間創造了一個過渡區，擁有輕鬆而溫馨的環境。在這裏，中世紀風格的家具被放置在合適的位置，增加了隱私和親密感。露台提供了一個寧靜的露天避風港，配有Janus et Cie的Fu’s Rock Garden係列的桌椅。在這裏，客人會遇到一個令人驚歎的大理石水景，通向一個2.5米高的月亮門，這是中國園林中的傳統元素。露台通過使用了裝飾性修剪和垂直的竹子，巧妙地融合了文化的細微差別。

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.

酒店的亮點之一是The St. Regis酒吧，它頌揚了紐約老城和香港的氛圍，豐富的暖色調，粗花呢和黃銅細節以及青銅橡木鑲板和橄欖色皮革內飾為酒吧營造出溫馨舒適的氛圍。其中一幅核心作品是北京藝術家張弓的手繪壁畫，其靈感來自紐約瑞吉酒店Maxwell Parrish的類似壁畫，描繪了許多香港最著名的曆史特色，如舊灣仔，香港天星小輪，香港維多利亞港擁有豐富的植被和天然植物，以及與舊建築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.

潤中餐廳的設計靈感來自中國傳統的茶亭建築——在一個亭子裏插入一個淡色的橡木亭子。展館是一個抽象的建築表達，有著錯綜複雜的相互關聯的細節，類似於中國傳統建築，通過貫穿整個結構的幾何建築形式來表達空間。此外，整體鑄造的玻璃燈籠為整個視覺體驗增添了現代感。灰褐色，灰色和棕色的朱紅色漆麵色調參考中國建築色調。兩間私人用餐室均設有自己的休息區以及超大規模的鑄造玻璃吊燈。

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法式餐廳采用柔和的奶油色和米色裝飾，是Fu自己對當代法式沙龍的詮釋，融合了高級時裝和高級烹飪Olivier Elzer的高級美食。手繪的絲綢壁畫充滿金色，象牙卡拉拉大理石在腳下傳達出奢華和魅力。主要用餐區俯瞰開放式廚房，並在3.3米長的大理石桌子兩側以長椅風格布置。定製的六角形吊燈由古董黃銅和珍貴的象牙瑪瑙組成，懸掛在天花板上。’On The Edge’是由AndréFu選擇的藝術家Helaine Blumenfeld的抽象大理石雕塑，因其詩意的特質，成為該房間的核心。私人房間還配有法國概念藝術家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燈光。AndréFu運用了反光發光的表麵來平衡自然光和柔和的光線。與香港夜晚耀眼的天空形成鮮明對比的是，與夜晚香港璀璨天空的明亮燈光形成鮮明對比的是，他通過雙層織物色調或帶有凹槽內腔的分層玻璃罩，使整個酒店的燈光保持折射。鋼架切割玻璃吊墜，暗指十九世紀香港街道的傳統煤氣路燈。

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.

酒店隻有129間臥室，包括14間豪華套房，兩間高級套房和一間總統套房，酒店將空間和舒適置於最高效率之上。其中許多套房將欣賞維多利亞港和九龍灣的壯麗景色。對傅來說，香港代表著複雜的文化影響。顏色是白堊白，溫暖的礦物灰色和灰褐色；床鋪采用白色亞麻布製成，配有紫紅色羊絨，地毯和壁掛，營造出舒適和寧靜的感覺。在一些地方，傅用鮮豔的橙色漆門敲響了警鍾。

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.