獨家|設計師李昱對話季裕棠獨家揭秘瑰麗酒店設計

李昱

中國/香港

奇遇聯合酒店顧問有限公司創始人

創世奇遇LAVVEN創始人

李昱畢業於倫敦藝術大學室內空間專業,文學碩士學位。以時間為節點的敘事性設計風格在酒店設計行業裡獨樹一幟,以每一個獨一無二的設計代表唯一的故事著稱。曾獲得香港室內設計大賽商業組別特殊榮譽和住宅組別冠軍,以及任職於全球酒店設計翹楚的Hirsh Bedner & Associates 香港公司和墨爾本公司中國項目總監和設計總監。

本期採訪人物——設計師季裕棠Tony Chi

李昱：You must travel around the world often, which city/country gives you most impressive memory… ? ( pls provide images if possible)

您一定經常旅行，哪個國家或城市讓您印象最深？

Tony：The world is both vast and small, and the places that impress upon my memory the most are those that elicit strong feelings of camaraderie, family, culture and home. It’s no secret that I spend time among seemingly farflung places, whether its Taipei, Buenos Aires, or New York. Taipei is the city of my youth, which I』ve rediscovered more recently, ready and willing to appreciate its nostalgic serenity, simplicity and green, while Buenos Aires is my home 「down South,」 where it’s all about revelry, celebration and coming together. Argentina’s capital is full of this incredible hospitality and warmth, and there’s no place like it during polo season, when the sunlight casts a golden glow on the jacaranda trees in full bloom. As for New York, it is where I』ve spent the most time in my life, this dynamic, concrete jungle of skyscrapers and dreams that has allowed me to build a home base, and my studio and home of life, love and design.

世界說大也大，說小也小。能夠讓我記憶深刻的城市，通常都是讓我感受到友愛、親情、有歷史感和歸宿感的城市。很多人都了解，我生活的地域跨度很大，從臺北到布宜諾斯艾利斯，再到紐約。臺北是我兒時的記憶，最近重溫這個城市，覺得那裡裝滿了我留戀的質樸、簡單和青春的回憶；布宜諾斯艾利斯是我「最南」的故鄉，那裡熱情奔放，到處都是相聚和慶賀的氣氛。阿根廷的首都熱情好客，當藍花楹開滿枝頭，金色的陽光灑在樹上，這就是布宜諾斯艾利斯最美的時候，無可比擬；紐約是我生活最久的地方，這裡高樓林立，充滿活力和夢想，我在這裡擁有了自己的家庭、事務所，我的生活、愛和設計都在這個城市裡。

李昱：Discribe the area your NYC office located and your home located please…

您在紐約的辦公室和家所在的地方是什麼樣的？

Tony：We’re located in one of the most coveted locations in downtown Manhattan, Hudson Square, off Varick, between Dominick and Broome. It’s where myriad creatives and innovative companies from fashion to tech converge in these massive, loft buildings and spaces just footsteps from Soho to the West, Tribeca to the South, and further north, the Village. As for my home, I』ve always loved living in Midtown, right across from Central Park, a verdant retreat in Manhattan’s pulsing heart. It’s the perfect place to be for a morning jog or stroll right before the city begins to wake up.

我們的辦公室在曼哈頓哈德遜廣場，多米尼克街賀布魯姆街之間，正對瓦利克街，對很多人來說這是夢寐以求的工作地。這是一片充滿創造力的截街區，時尚和科技企業匯聚於此，從西邊的SOHO到南邊的特裡貝卡再到北邊的Village。我比較喜歡住在市中心的位置，我家就在中央公園對面，在曼哈頓地區鬧中取靜的地方。清晨，城市還沒有甦醒的時候，這裡非常適合晨跑或者散步。

李昱： Do you prefer your own「 style」? Or not…?

您是不是比較傾向於擁有自己的「方式」？

Tony：We each have our individual preferences and tastes, which of course, is our business. While it influences our process and work, to curate, collect and constantly refine, we always take into consideration our clients and guests, and imagine spaces that will best suit their interests and needs, offering them delights and surprises they didn’t even know they』d need. This is part of the fun for any project, that continual practice and process of defining and fine-tuning, that only gets stronger with time’s passing.

我們每個人都又自己的喜好和口味，這都是個人的事。它影響著我們的工作，在刻畫和提升作品的過程中扮演重要角色。我們常常要考慮到客戶和客人的需求，我們創造和想像的空間一定是適合他們，對他們對有意義。有時候他們自己可能從來都沒有意識到自己需要一些體驗，這個空間可以帶給他們的喜悅和驚喜。

李昱： From 1930…to 2010, which era inspire you for your design?

從二十世紀三十年代到二十一世紀出的現在，哪個年代最可以激發您做設計的感覺？

Tony：Today couldn’t happen without yesterday, so I'm always eternally grateful for all that’s occurred in the past, whether personally or professionally. In terms of inspiration, it depends on my mood or the task at hand. For a property like Rosewood, we were moved by turn-of-the-century Arts and Crafts movements, like the Vienna Secession, and the use of incredibly rich, pure material and handiwork that’s more contemporary Deco, that can endure, withstanding the test of time. I also love the fundamental premise of Bauhaus, post-World War I, whose 「less is more」 approach, with form following function, is also one of my studio’s main mantras.

沒有昨天就沒有今天。所以無論是個人經歷還是職業上，我一直很感謝過去發生的一切。靈感取決於心情和案子本身。像瑰麗這樣的項目，我的靈感來自19世紀末20世紀初的藝術與工藝美術運動，像維也納分離派的風格，運用了大量的純粹的當代裝飾藝術材料和手工藝品，歷久彌新。我很喜歡一戰以後包浩斯提出的「功能為先」根本前提，「少即是多」的方法，這也是我們工作室的一大標準。

2019年3月17日

香港瑰麗酒店正式啟幕

李昱：Apart form, color and space, light and art…, all of these visible elements, some invisible elements you use for Rosewood Hotel HK? ( pls provide images if possible)

除了顏色、空間、燈光、藝術這些肉眼可見的元素，香港瑰麗的設計中，您是否用到一些看我們不太容易發現的設計？

Tony：So much of Rosewood Hong Kong is about feeling, that which you cannot necessarily see or touch, but perceive when you walk through from either grand entrances, and move through the public spaces in its thoughtful array of rotundas, chambers and corridors. There’s no question that it’s overall sentiment is that of a vertical, family estate on the majestic Victoria Harbour, and one that’s magnificent, show-stopping and transforming the community and cityscape which it now lives. Everything we did, in terms of the tangible, from fine artwork to bespoke furniture and finishings, interplays with the intangible, creating an impressive air of stateliness, dignity and beauty.

香港瑰麗設計更多的是來自感覺，你不一定看的見或者摸得到。但是當你走進大堂，或者走進會廳、客房、走廊這些公共空間，你會感覺到不同。毫無疑問，這個項目最讓人有感覺的是壯觀的維多利亞港邊的別墅群，這個的城市景觀因為這個片區變得非常有活力。我們所做的一切，藝術品、品牌家具和裝飾跟這些無形的環境相得益彰，營造了一個尊貴、高雅、美好的氣氛。

李昱：How would you identify HK from NYC, Tokyo and London? ( do you speak a little Cantonese…:)?

您覺得香港瑰麗跟紐約、倫敦、東京有什麼不同？

Tony：I don’t speak Cantonese save for a few colloquialisms, but I do love Hong Kong. It’s such a unique island-city that’s steeped in history and heritage of multiple influences, be it Chinese or British. It’s a hotbed of creativity and commerce that simply doesn’t exist anywhere else, with such a unique culture, it’s no wonder it has earned its reputation as the 「Pearl of the Orient.」 I』ve been fortunate to have worked here over decades, whether it was shaping Lan Kwai Fong in its very nascent stages, or now, Rosewood Hong Kong at Victoria Dockside, this city is always a joy.

我只會幾句俗語，不會粵語。香港是一座特別的城市，受到中英兩國不同文化的和歷史的影響。沒有其他城市再如此特殊的文化環境下，還能成為如此具有創造力和商業活力的經濟中心。這也是它被稱為「東方明珠」的原因。我很有幸在這裡工作了十多年，無論是蘭桂坊成立之初還是維港岸邊香港瑰麗剛剛開業的今天，這都是一個令人愉悅的城市。