Given the poor condition of the original premises, the firm opted to almost completely dismantle the structural elements and unsuitable partitions in favour of a layout better suited to the new use. A historical “void” that facilitated the project’s development: “the absence of historical elements gave us a freedom of manoeuvre that we would not otherwise have had” — notes Abela — “but which did not prevent delays caused by the pandemic and procedural red tape”.
At the heart of the project lies the delicate balance between the grandeur of a stately palazzo and the domestic intimacy of a family home: “We wanted to create a space that conveyed the sense of a home that had belonged to a family for centuries,” explains the designer, “an intimate place rich in domestic warmth, where the stately character of the Palazzo remains clearly evident.”
The goal is achieved through a deep material sensitivity and sartorial attention to details, furnishings and finishes, which reinterprets the Genius loci and pay homage to traditional Italian craftsmanship. Polychrome marble floors, finely carved oak furniture and finishes, moldings and bas-reliefs convey the idea of a timeless elegance that lies in the composure of the rooms rather than in ostentation.
The building, about 9,700 square meters spread over seven levels, houses 60 rooms, including 21 suites. On the raised floor, in the entrance lobby, the only space that has retained its original double-height elevation, light-toned marble contrasting with oak furnishings and modulated light define a courtly yet pacifying atmosphere. Beyond the lobby is the central open-air courtyard, freed from the 1960s roofing, around which the two restaurants revolve.
Slightly further inland, the bar takes on the vaguely amniotic character of a fumoir, where dark wood furniture and warm lighting dialogue with a gilded glass mosaic ceiling that gleams like a handful of coins, ironically alluding to the building’s banking memory.