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折中主义的特征在这座建筑中淋漓尽致第1张图片

image is by Noah Webb

Kelly Wearstler为旧金山Proper酒店设计欧式复古室内空间
Kelly Wearstler furnishes San Francisco Proper hotel with vintage European design

由专筑网李韧,吴静雅编译

美国设计师Kelly Wearstler用拼贴的图案、色彩、肌理并且结合使用欧洲设计运动中的多种知名家具为旧金山Proper酒店设计了室内空间。

American designer Kelly Wearstler has used clashing patterns, colours and textures to decorate a hotel in San Francisco, alongside notable furniture pieces from various European design movements.

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旧金山Proper酒店位于一座熨斗形建筑中,这座建筑建于1926年。Kelly Wearstler是当地的知名建筑师,曾经完成多项酒店室内设计工作,在此次的设计中,她保留了酒店大堂与公共区域的原有特色。

San Francisco Proper is located in a "flatiron"-shaped structure built in 1926. Local designer Wearstler, who has completed several hotel interiors in the city, retained the original character of the lobby and lounge spaces.

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内部设计中,她精心选择了几何图案同时结合有机的形式,创造了色彩丰富的空间效果。

整体的设计结合了多种设计风格,既有现代主义,也有维多利亚时代的特征,最终形成别具一格的折中主义新作品。

Across all of the spaces, she chose an elaborate layering of geometric shapes alongside more organic, floral forms to create a colourful juxtaposition.
The overall design combines several design styles – from modernism to Victorian florals – into a very eclectic blend.

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Wearstler说:“城市是我们的灵感来源,从背景面板、材料,再到当地艺术家和欧洲艺术史的影响,这一切都让我们灵感迸发。我们通过拼贴的手法,重新演绎了旧金山的过去、现代与未来。”

这座历史建筑由砖石、陶土建造而成,共7层,其中有131间客房,每间客房都具有别具一格的设计主题。

"The city is our muse in everything, from the palette and materials to local artists and rich European influences," said Wearstler. "We looked to bring something new to San Francisco by collaging a reimagining of past, present and future."
The historic building is constructed of brick, stone and terracotta, and spans seven storeys. Its 131 guest rooms are all are uniquely designed.

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建筑的一层空间通过大理石细部构件使内部整体保持浅色调,将五彩斑斓的艺术品和家具突显出来。

在休闲空间中,设计师通过各式沙发、桌椅形成了慵懒惬意的舒适空间,让使用者宾至如归。

Throughout the ground floor are pillars and moulding, along with marble details. Interiors are kept white, allowing colourful artwork and furniture pieces to pop.
In the lounge, or "salon", intimate sitting areas are formed from pods of sofas, tables, and chairs to create series of living room vignettes.

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Wearstler以“欧洲的经典方式”,运用理性与感性、优雅与成熟、艺术与智慧相结合的方式来设计这个休闲空间。

在空间中有着数以百计的艺术品和照明设备,在高挑的天花板下方增添了丰富的艺术气息。

设计师说:“浓重的色彩、丰富的肌理、天然的材料,将原有建筑的历史沧桑感更好地诠释。”

Wearstler designed this sitting area as "a classic salon in the European manner: intelligent, sophisticated, and sensual in its mix of materials, design elements and art".
Hundreds of pieces of artwork and lighting fixtures decorate the space, adding a sense of abundance under the tall ceilings.
"Deep colours, rich textures and natural materials complement the patina of the original building," said the designer.

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酒店中的餐厅设计参考了法国立体派画家Jacques Villon的作品,这位画家与艺术家Marcel Duchamp兄弟相称,设计师还运用了大量的欧洲风格进行装饰。空间中结合了三角几何构图和网格地面,并且运用了大量的蓝色、黑色与黄色基调。

整座酒店中,尤其是Villon餐厅,各个空间的细部装饰-大理石以及黑色壁灯的设计无一不唤起人们对于法国建筑师兼艺术家Pierre Chareau的记忆。

A restaurant in the hotel is designed with reference to French cubist painter Jacques Villon – brother of artist Marcel Duchamp – and is decorated using various European styles. Shades of blue, black and yellow decorate the space, with geometric forms found in triangular chars and gridded floors.
Throughout the hotel, particularly in the Villon restaurant, marble and black wall sconces are evocative of work from French architect and designer Pierre Chareau.

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其他细节设计参考了Wiener Werkstätte的设计,20世纪初设计师团队在维也纳共同发起的对于灯具,陶瓷,衣服,家具和图形的设计革新。

其工作室的LOGO设计方式与Werkstätte善于将其首字母缩写混合成图形的设计方式相同。

Other pieces reference projects from the Wiener Werkstätte – a movement in early-1900s Vienna, founded by a community of designers who produced fixtures, ceramics, clothes, furniture and graphics.
These elements are a reference to Wearstler's interest in the time period. Her studio's logo is designed in the same way that Werkstätte combined their initials into graphics.

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在酒店中的Gilda餐厅的设计中,设计师运用了大胆的橙色、紫色、红色。并且在大厅旁侧的私密空间中,放置了富有设计感的复古桌椅。

位于室外的屋顶酒吧(Charmaine's)则通过浅色系的蓝色、粉红色,以及灰色的画作和艺术品装饰而成。

Another dining area in the hotel is called Gilda's, and overflows with bold orange, purple and red tones. The intimate room is tucked away near the lobby, and includes a vintage 150-piece table setting.
A rooftop bar with an outdoor area – Charmaine's – is decorated with prints and art in soft blues, pinks, and greys.

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设计师希望“人们在Charmaine休息区和花园能够俯瞰城市美景,唤起了人们的浪漫情怀。”她认为这种设计风格“华丽且永不枯燥”。

旧金山Prosper酒店的折中主义设计风格与近期翻新的其他酒店形成了对比,Commune设计的芝加哥Ace酒店主要运用了中世纪的家具。 Arne Jacobsen设计的哥本哈根酒店,设计师运用了传统的形态与家具设计相结合。由瑞士建筑师Pierre Jeanneret设计的伦敦某酒店餐厅,在其中运用了黑色的座椅。旧金山Prosper酒店的折中主义设计风格与近期翻新的其他酒店形成了鲜明的对比。

摄影:Manolo Yllera

"Charmaine's penthouse lounge and garden recall the spirit of the romantics surrounded by magnificent views of the city, spanning the Bay to the Pacific Ocean," said the designer, who described the overall style of the interior as "opulent but never stuffy".
San Francisco Prosper's eclectic design offers a contrast to several more pared-back hotels that have opened or completed renovations recently. They include in the Ace Hotel in Chicago by Commune with mid-century furniture, a Copenhagen hotel by Arne Jacobsen with original features and furniture, and a dining room in a London hotel with black chairs by Swiss architect Pierre Jeanneret.
Photography is by Manolo Yllera with Proper Hospitality. Top image is by Noah Webb.

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