我们第一次访问 La Mamounia 时,我们有一种奇怪而令人欣慰的感觉,时间变慢了,生活变得更简单了。保持这种感觉,我们在不同的空间里走来走去,呼吸它们的潜力。我们的方法很简单。我们绝对相信自己的直觉,我们发现在宏伟的马若雷勒大道(Allée Majorelle)及其意大利酒吧和餐厅与丘吉尔酒吧和 Le Français 餐厅等其他社交场所之间存在轻微的能量不平衡。漫步并偶然遇到不寻常和神奇的地方成为我们这个新故事的场景。“一切都必须改变,这样一切才能保持不变,”朱塞佩·托马西·迪兰佩杜萨在《豹》中写道。就像导演用长镜头开场,镜头前移到通往花园的视野中,我们有一种作为旁观者的感觉,一切都在原地,仿佛它一直在那里;因为正是这种时间静止的令人安心的感觉唤起了我们的平静。然而仔细观察后,灯光已经过重新设计,增添了一丝温暖和现代感;为了永远悬浮在无止境的当下,La Mamounia 必须不断地重塑自我

入住 La Mamounia 应该是一系列独特的体验,不同的餐厅是推动这次冒险的主要参与者。他们每个人都有自己的性格,都是相辅相成的。我们打开了前意大利餐厅的墙壁,将它改造成让-乔治·冯格里希滕 (Jean-Georges Vongerichten) 设计的 L’Asiatique,这是一个感性而私密的空间。原始的传统摩洛哥装饰与厨师的烹饪精神完美融合。正是这些家具在两个世界之间进行了过渡,融合了中国、日本和泰国的影响。我们非常重视灯光,Stéphane Carratero 来编织他的魔法,当夜幕降临时,L’Asiatique 成为恋人的餐厅。\

附近,前 Le Français 餐厅变成了“L’Italien”,同样由 Jean-GeorgesVongerichten 管理。它已经扩大,呈现出冬季花园的形式。餐厅和花园的关系是绝对的。包围它的大玻璃窗向植被敞开,让光线和凉爽的空气进入。Sanjit 和我都喜欢意大利。我们在那里度过了很多时间,为了工作和娱乐,所以很高兴将精致和简约的意大利完美结合与 La Mamounia 的精神联系起来。烹饪就发生在你的眼前,这是一种迷人的景象,是生活的精髓。我们把厨房放在空间的中心,在一个巨大的玻璃装置下面。沿着后墙延伸 20 多米的翠绿饰带仿佛映照着花园,增加了一种介于真实与虚幻、过去与未来之间的感觉。无论是家庭、情侣还是一群朋友,“L’Italien”都是精致休闲场合的首选。

La Mamounia 的游泳池是必须的。它完美地坐落在花园内,中间漂浮着一个小岛,增添了迷人的幻想气息。在泳池边或花园度过一天是 La Mamounia 为客人提供的额外礼物。你只想永远停留。池亭是鱼米之乡;我们想让它成为一个慷慨和快乐的庆祝活动。中间是一个蓝色的陶瓷喷泉,围绕着一个弯曲的酒吧,提供一系列的诱惑,每一个都比下一个更令人开胃,都在一个由织物和黄铜制成的巨大圆形吊灯下。对于酒吧,我们使用了我们最喜欢的材料之一,珐琅熔岩。它坚不可摧,覆盖它的小裂纹效果赋予它消磨时光的魅力。一扇门通向一个新空间,Sanjit 称之为“糖之殿”。

在重新考虑餐厅后,我们将注意力转向为客人提供惊喜。您将不得不四处走走才能发现它们。第一个是在去spa的路上,占据了两个空间。这是 Pierre Hermé 的沙龙 dethé,围绕摩洛哥茶室的原则设计,它们的长椅沿着墙壁彼此相对。它们朝向第一个空间的中心,我们在那里安装了一个喷泉,似乎从大理石地板上喷涌而出。水反射着一个巨大的玻璃吊灯。它是沙龙的焦点,从大堂清晰可见。在设计我们的项目时,我们称这些类型的装置为“les objets extraordinaires”,非凡的物体。他们的目的是惊奇,吸引旁观者的眼球,迷住他们并鼓励他们靠近。由于茶室不在穿过 La Mamounia 的主要路线上,我们需要创造一个足够强大的建筑特征,为这个空间带来生机;这是发光雕塑的主要功能。

体验在毗邻的庭院中继续,摩洛哥里亚德尽收眼底。我们喜欢这个地方,安静,几何形状如此完美。我们只是增加了一些座位和灯笼,让客人想在这里安静地停下来品尝 Pierre Hermé 的作品之一,花时间享受乐趣。

晚上,一扇门通向丘吉尔酒吧。酒吧一直在这里,是常客的地标。我们对它进行了彻底的重新设计,使其非常私密,是一个熏制橡木的圣殿,中间是一块雕刻的黑色大理石。不要忘记 La Mamounia 过去与铁路的关系,这个空间的比例与普尔曼车厢的比例相呼应。丘吉尔也是一个新规定的入口:电影院。我们真的沉迷于构思梦想体验,融合文化和舒适。我们迫不及待地想再次观看希区柯克在这里拍摄的《知道太多的人》。

我们现在转向 enoteca 和帐篷。这些是 La Mamounia 的新成员,给客人带来了很大的惊喜。帐篷形成了游泳池和 L’Italien 之间的过渡区。略微升高以从通道坐下来,舒适地安装并防止阳光照射,客人可以在这里度过一个特殊的时刻。你可以吃午饭,或者只是看一本书。也许是维克多雨果的诗《午睡》?其中一个帐篷将游客带到 Enoteca。您下降到地下,来到一个宝库,那里存放着 La Mamounia 侍酒师发现的宝藏。一张漂亮的石头和熔岩桌子位于屋顶的一个大开口下方,光线从那里通过绳索的枝形吊灯漫射,照亮液体以揭示它们的秘密。这项工作是摩洛哥工匠们非凡技能的典型代表,我们已经贯彻到 21 世纪。该项目的基本目标是,La Mamounia 应该成为持续重塑文化的活生生的例子。

The first time we visited La Mamounia, we had that strange and comforting sensation of time slowing down, of life becoming simpler. Keeping hold of that feeling, we walked around the different spaces, breathing in their potential. Our approach is simple. We put absolute trust in our intuitions, which were registering a slight imbalance of energies between the grandiose promenade – the Allée Majorelle – with its Italian bar and restaurant, and the other social venues such as the Churchill Bar and the Le Français restaurant. Strolling around and happening upon chance encounters with unusual and magical places became our scenario for this new story. “Everything must change so that everything can stay the same,” wrote Giuseppe Tomasi di Lampedusa in The Leopard. Like a director who opens his film with a long tracking shot, where the camera plunges forwards into the view that leads towards the garden, we had the feeling of being a spectator, that everything is in place, as if it had been there forever; because it is this reassuring sensation of time standing still that calls us to peace. And yet on closer inspection, the lights have been redesigned to add a touch of warmth and modernity; in order to remain forever suspended in a present without end, La Mamounia has to reinvent itself perpetually

Staying at La Mamounia should be a succession of unique experiences, with the different restaurants being themain players in promoting this adventure. Each of them has its own character, all are complementary. We openedup the walls of the former Italian restaurant and transformed it into L’Asiatique by Jean-Georges Vongerichten, asensual and intimate space. The original traditional Moroccan decor merges perfectly with the spirit of the chef’scuisine. It is the furniture that makes the transition between the two worlds, with a mixture of Chinese, Japaneseand Thai influences. We gave great importance to the lighting, and Stéphane Carratero came to weave his magicso that as night falls, L’Asiatique becomes a restaurant for lovers.\

Nearby, the former restaurant Le Français becomes “L’Italien”, also under the management of Jean-GeorgesVongerichten. It has been enlarged, taking on the form of a winter garden. The relationship between therestaurant and the garden is absolute. The large glazed windows that enclose it open generously onto thevegetation to let in light and cool air. Sanjit and I adore Italy. We spend a lot of time there, for work as well asfor pleasure, so it was a joy to associate that great Italian combination of refinement and simplicity with the spiritof La Mamounia. The cooking takes place in front of your very eyes, which is a captivating spectacle, it is theessence of life. We placed the kitchen at the centre of the space, beneath a huge glass installation. A verdantfrieze running more than 20 metres along the back wall seems to mirror the garden, adding to a sensation ofbeing somewhere between real and unreal, the past and future. Whether for a family, couple or group of friends,“L’Italien” is a first choice for a sophisticated and relaxed occasion.

La Mamounia’s swimming pool is a must. It sits perfectly within the garden, with a little island that appears to floatin the middle adding an air of charming fantasy. A day spent next to the pool or in the garden is an extra gift thatLa Mamounia offers its guests. You just want to stay forever.The pool pavilion is the land of plenty; we wanted to make it a celebration of generosity and pleasure. In themiddle sits a blue ceramic fountain, around which gravitates a curving bar offering a range of temptations, eachmore appetising than the next, all beneath a vast circular chandelier made out of fabric and brass. For the bar weused one of our favourite materials, enamelled lava stone. It is indestructible and the little crackled effect coveringit gives the charm of passing time. A door opens into a new space, which Sanjit calls “the temple of sugar”.In the middle of this space sits a block of peach-coloured marble with a surface of polished, hammered copper,which displays the inventions of the world’s greatest pastry chef, Pierre Hermé.

After rethinking the restaurants, we turned our mind to surprises for the guests. You will have to stroll aroundto discover them. The first is on the way to the spa and occupies two spaces. It is Pierre Hermé’s salon dethé, designed around the principles of Moroccan tearooms with their banquettes facing one another along thewalls. They are orientated towards the centre of the first space, where we have installed a fountain that seemsto erupt from the marble floor. The water reflects a huge glass chandelier. It is the focal point of the salon andclearly visible from the lobby. Designing our projects, we call these types of installation “les objets extraordinaires”,extraordinary objects. Their purpose is to amaze, to catch the onlooker’s eye, to mesmerise them and incite themto come closer. As the tearoom is not on a main route through La Mamounia, we needed to create a sufficientlypowerful architectural feature to bring life to this space; this is the primary function of the luminous sculpture.

The experience continues in the adjoining courtyard, the Moroccan riad in all its splendour. We love this place, soquiet, so perfect in its geometry. We just added some seating and lanterns to make guests want to pause herequietly and taste one of Pierre Hermé’s creations, taking time for pleasure.

In the evening, a door opens into the Churchill Bar. The bar has always been here and is a landmark for regularguests. We gave it a complete redesign to make it ultra-intimate, a sanctum in smoked oak, in the middleof which is a block of sculpted black marble. Not forgetting La Mamounia’s past relationship with railways,the proportions of this space echo those of a Pullman carriage. The Churchill is also the entrance into a newprovision: the cinema. We really indulged ourselves in conceiving the dream experience, mixing culture andcomfort. We can’t wait for another viewing of The Man Who Knew Too Much, which Hitchcock filmed right here.

We now turn to the enoteca and the tents. These are new arrivals to La Mamounia and a big surprise for theguests. The tents form a transition zone between the swimming pool and L’Italien. Slightly raised to sit back frompassage, comfortably installed and protected from the sun, guests can spend a special moment here. You cantake lunch, or just read a book. Victor Hugo’s poem La Sieste, perhaps?One of these tents takes the visitor to the Enoteca. You descend down into the ground to a trove where thetreasures discovered by the sommeliers of La Mamounia have been stored. A beautiful table in stone andlava stone sits beneath a large opening in the roof, from which light is diffused through a chandelier of cords,illuminating the liquids to reveal their secrets. This work is typical of the exceptional skill of the Moroccancrafts men, which we have carried through into the 21st century. The fundamental ambition of this project is thatLa Mamounia should be the living example of the continued reinvention of a culture.

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