André Fu 傅厚民|新作:万豪国际集团大中华区第600家酒店盛大开业! 首
2025-04-03 21:13
坐落于深圳宝安区核心地段,紧邻宝安区政府大楼、宝安公共文化艺术中心、深圳壹方城及宝安图书馆等城市地标。得益于大湾区的核心地理区位,酒店交通四通八达,而深圳西部高科技产业集群的蓬勃发展,更为酒店带来了无限活力与广阔前景。
倾力打造,这是继香港瑞吉酒店后,他第二次执掌瑞吉酒店设计。如果说香港瑞吉酒店呈现了香港新旧交替的城市缩影,那么
深圳前海华侨城瑞吉酒店则巧妙构建了纽约与深圳两座城市的跨时空对话。
以“双城邂逅”为设计理念,酒店将纽约的永恒魅力与深圳的蓬勃活力融为一体。
通过精心构思的跨文化定制设计和对细节的极致考量,每一处空间都被赋予了生命力,讲述纽约、深圳两座追梦者天堂的城市故事,向瑞吉品牌120年的优雅传承与匠心精神致敬。
设计师通过层层递进的空间叙事,构建起跨越时空的都市对话场域。
以极具建筑感的材质肌理对比定调空间基底,当代艺术被有机融入空间形态的解构与重组之中。
从绿植廊道的静谧前奏,到8米挑高迎宾厅的戏剧化展开,再到35层高空大堂的垂直张力释放,形成一首富有呼吸节奏的空间韵律。从英国艺术家Pip Todd-Wormoth的跨时空壁画到意大利雕塑家Giovanni Balderi的抽象人体雕塑,艺术的能量在此自由流动,为宾客带来视觉与感官的双重盛宴。
在35层高空大堂中,André Fu(傅厚民)以他钟爱的材质“铜”,精心设计了一座高达8米的独立式青铜亭阁。“我希望通过这座亭阁向深圳这座城市致敬。它优雅地展现了深圳作为文化交汇之地的独特身份——一个充满无限可能的热点中心。” André Fu(傅厚民)如是说。
华灯初上时,瑞吉酒店标志性的马刀开香槟仪式将在这座亭阁前隆重举行,宾主共庆夜幕降临的魔幻时刻,这里注定将成为深圳乃至大湾区的全新聚会地标。
>位于35层大堂的亭阁巧妙融合了东方传统亭台与西方花园凉亭的精髓,展现出独特的艺术美感。
建筑系出身的André Fu(傅厚民),对于“空间”格外敏感与关注,他希望
每一个空间都可以释放其生命力,通过精妙的空间过渡实现功能的无缝转换。
当宾客离开大堂,前往客房楼层,步入一处拥有壁炉、绘画、沙发、落地灯的精致会客厅,仿若置身于一个被精心呵护的私人领域。这种层次丰富的空间体验,引领宾客渐步探索这座奢华居所的无限魅力,既私享又充满惊喜。
社交是一种生活方式,1904年的纽约瑞吉酒店无疑在氛围打造方面成功地引领了潮流,也因此定义了奢华酒店的新标准。当年的印度扒房、德国狩猎室、中国茶室、阿斯特图书馆、瑞吉酒吧,纽约瑞吉酒店以多风格、多功能的社交空间为宾客提供了一种前所未有的社交模式。
今天,深圳前海华侨城瑞吉酒店作为瑞吉酒店百年社交基因的当代演绎,以
闲逸廊、宴庭、瑞吉酒吧、阿斯特露台酒吧4间特色餐厅及酒吧
坐落于标志性的青铜亭旁,设计灵感源自阿斯特家族私宅的经典会客空间。Art Deco风格的青铜材质框架与现代中式陈列柜形成了视觉的反差,桌面与地板采用精致的木质镶嵌设计,舒适座椅以象牙白色粗花呢与矿石灰皮革为主装饰,营造出细腻、典雅、舒适的居家氛围。
>多层水晶吊灯悬挂在廊厅中央,其灵感来源于倒置亭阁的抽象表达,艺术感十足,成为整个空间的视觉焦点。
,提供精致粤菜的美食场所,凭借其品种丰富、中西融汇的独特魅力脱颖而出,恪守选用当季优质食材的理念,为宾客提供从晨曦到星夜的不间断美食体验。餐厅设有观景露台,在湾区壮阔景致映衬下,营造惬意怡人的用餐环境。
>几何线条与现代东方美学的融合贯穿宴庭的设计,天然材质的运用营造出现代感与温暖质感并存的氛围,同时引入了矿石蓝、焦橘色与摩卡色增添层次感与亲和力,让人联想到湾区迷人的景致。
延续“双城邂逅”理念,以西方新艺术元素演绎中国传统山石园林,实现中西合璧。
从青铜“月洞门”到手绘森林走廊,静谧雅致的氛围环绕四周。包厢内,深色橡木浮雕墙板搭配藤蔓雕饰、酒红色漆面与青铜饰条,淋漓尽致地展现瑞吉酒店的优雅古典风范。
洋溢着神秘异域风情,宛如一个充满东方魅力的梦幻世界。
在André Fu(傅厚民)构想中,这里是呈现“旧时宝安”传承的梦想之境。
设计深受岭南美学启发,中式经典格栅与彩色玻璃相映,几何图案木质地板承接了空间的融合风格,丰富视觉层次中可鉴文化交融魅力。宾客可在此品尝以荔枝和桂花为灵感的
>每一间瑞吉酒吧都有一幅独一无二的壁画,《侨乡之梦》由中国艺术家李尤松创作,这幅作品以梦幻的笔触描绘了宝安的历史画卷,彰显宝安过去百年间从低调起步到蜕变为现代繁华都市的戏剧性转变。
以都市豪华宅邸为设计理念,打造出舒适与精致交融的空间体验。每一间房都如同精心设计的艺术私寓,从宽大的落地窗到迷人的城市或海湾景观,尽显匠心。André Fu(傅厚民)致力于营造浓厚的居家氛围,让每位宾客在繁华都市中觅得优雅隐居之所。
融入岭南窗花元素的屏风、定制的雪花石膏灯具、精致细腻的木质镶嵌床头板、浴室的五折镜设计,复古元素与现代美学和谐交融,多元而连贯,对文化精细差异的独到洞察创造了体验记忆。
André Fu(傅厚民)对每一件物品摆放的位置、角度都有着严苛的要求,
这些细节构成了设计的终极美感,也是奢华体验的终极秘钥,恰如瑞吉酒店对宾客无微不至的呵护。
的设计以流动和湾区的自然形态为灵感,流畅的线条与自然的曲面将海湾柔美曲线的灵动与韵律融入空间设计,细腻地展现了湾区自然形态的有机美感,为宾客提供从繁华都市中抽离的宁静与放松。
设有25米长的无边泳池以及设备齐全的健身房,散发出低调且华丽的气质。透过全景落地窗,宾客可饱览宝安天际线的壮丽景色,尽收动感与奢华体验。
在瑞吉品牌120年的岁月长河中,深圳前海华侨城瑞吉酒店与纽约瑞吉酒店跨越时空,谱写了一曲精彩的
。这座承载东西方文化精髓的建筑杰作,必将成为瑞吉酒店传奇历史中的一颗璀璨明珠,于中国南方这片充满活力的土地上,重新演绎并定义当代城市奢华居停体验的全新高度。
作为深圳第二家瑞吉酒店,深圳前海华侨城瑞吉酒店的启幕,凸显了我们致力于在全球目的地精心选址以塑造奢华酒店未来的愿景。此次开业进一步印证了我们将大中华区作为关键增长市场的坚定承诺。我们将持续创新,为新一代旅行者打造融合经典优雅与现代风尚的非凡体验。
As the second St. Regis hotel in Shenzhen, the opening of the Shenzhen Qianhai Overseas Chinese Town St. Regis hotel highlights our commitment to carefully selecting locations in global destinations to shape the future of luxury hotels. This opening further confirms our firm commitment to making Greater China a key growth market. We will continue to innovate and create extraordinary experiences that blend classic elegance with modern fashion for the new generation of travelers.
深圳前海华侨城瑞吉酒店矗立在中国极具活力的城市之一,是一处全新的奢华地标。我们热诚期盼每位宾客的到来,体验瑞吉品牌所诠释的精致优雅与量身定制的贴心服务。
The St. Regis Shenzhen Qianhai Overseas Chinese Town stands tall in one of Chinas most vibrant cities and is a brand new luxury landmark. We sincerely look forward to the arrival of every guest to experience the exquisite elegance and tailored thoughtful service embodied by the Reggie brand.
深圳前海华侨城瑞吉酒店坐落于深圳宝安区的繁华核心地带,地理位置优越。酒店的289间精致客房与套房尽览城市天际线或海湾美景,为宾客打造优雅难忘的入住体验。四间餐厅和酒吧提供丰富的用餐体验,呈献瑞吉品牌标志性的优雅与本地美馔的活力风味。酒店还拥有超1,000平方米的多功能会议空间,包括696平方米的阿斯特宴会厅和多个会议室,是商务与休闲的理想之选。配备定制化的瑞吉管家服务、先进的健身中心和奢华的水疗中心,深圳前海华侨城瑞吉酒店重新定义了奢华居停,带来优雅、服务与创新的完美融合。
荟萃恒久魅力与现代前卫,万豪国际集团旗下瑞吉酒店及度假村始终秉承对卓越之承诺,旗下超60间奢华酒店及度假村在全球目的地精心选址。自John Jacob Astor IV于二十世纪初在纽约市创立了首家瑞吉酒店以来,瑞吉品牌始终致力于以其颇富盛名的瑞吉管家服务呈献细致入微的个性化定制和周到先行的服务。欲了解更多有关瑞吉酒店及度假村详情及新酒店请访问stregis.com。瑞吉酒店及度假村是万豪国际集团旗下全球旅行项目——万豪旅享家(Marriott Bonvoy®)成员之一。万豪旅享家将为会员提供万豪国际旗下在全球范围内庞大的酒店阵容,会员可体验“万豪旅享家Moments™”,并通过赚取积分,轻松兑换免费房晚及会员身份认证等专属豪礼。免费注册成为会员,或者垂询更多信息,请登录marriottbonvoy.com。
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傅厚民,已故赌王傅老榕孙儿,生于香港的建筑师André Fu,14岁到英国留学,于剑桥大学修读建筑专业,硕士毕业后回港创办AFSO,从此正式踏上建筑师生涯。
傅厚民在欧洲与亚洲的文化交汇下成长, 独具一格的空间角度与内敛的感官体验,成就了其独特的写意奢华设计风格——静谧内敛、缜密典雅。多次入围AD100 的傅厚民同时也是 2020 年AD CASA的打造者。2019年推出André Fu Living家品系列,去年推出第叁本书籍《Crossing Cultures with Design》。京都三井花园酒店(Hotel the Mitsui Kyoto)、曼谷华尔道夫酒店(Waldorf Astoria Bangkok)、伦敦伯克利酒店(Berkeley Hotel London)等世界各地众多项目都是出自他的手笔。
Fu Houmin, the grandson of the late gambling king Fu Laorong, was born in Hong Kong as an architect named Andr é Fu. At the age of 14, he went to the UK to study architecture at the University of Cambridge. After graduating with a masters degree, he returned to Hong Kong and founded AFSO, officially embarking on his career as an architect. Fu Houmin grew up at the intersection of European and Asian cultures, and his unique spatial perspective and restrained sensory experience have created his distinctive freehand luxury design style - quiet and restrained, meticulous and elegant. Fu Houmin, who has been nominated for AD100 multiple times, is also the creator of the 2020 AD CASA. In 2019, the Andr é Fu Living home collection was launched, and last year the third book Crossing Cultures with Design was released. Many projects around the world, such as the Hotel the Mitsui Kyoto, the Waldorf Astoria Bangkok, and the Berkeley Hotel London, were all created by him.
早在四十至六十年代,与高可宁、何东、罗文锦等合称为香港四大家族,亦是叱咤一时的澳门赌王。1960年傅老榕去世后,其子孙将基地转移到香港及海外,家族财富估计逾100亿元。傅厚民走踏实路线。三年前,他于剑桥大学建筑系取得硕士学位,并获英国皇家建筑师执业资格证书。他为伦敦火车站餐厅设计的室内装饰,得到业界好评,被《elledecor》选为最值得介绍的英国设计师。傅厚民性格低调,虽然偶尔也会跟姐姐傅洁恩去参加派对,但很少与传媒打交道,身边亦未见有女伴,是正宗的乖仔一名。
As early as the 1940s to 1960s, he was known as one of the four major families in Hong Kong, along with Gao Kening, He Dong, and Luo Wenjin, and was also a prominent figure in Macaos gambling industry. After Fu Laorongs death in 1960, his descendants transferred the base to Hong Kong and overseas, with a family fortune estimated at over 10 billion yuan. Fu Houmin takes a practical route. Three years ago, he obtained a masters degree in architecture from the University of Cambridge and was awarded the Royal Institute of British Architects qualification certificate. His interior design for the restaurant in Londons train station has received high praise from the industry and was selected by Elle Decor as the most noteworthy British designer to introduce. Fu Houmin is a low-key character. Although he occasionally goes to parties with his sister Fu Jieen, he rarely deals with the media and has no female companions around him. He is a genuine good boy.
非常偶然的一次机会,去了新天地的彩蝶轩,仿佛东方花园的入口处,室内幽幽的灯光,似茧一般的厨房……整体感觉,吃饭就像是参加一次演出。 由于对设计者产生了浓厚的兴趣。就有关简约、有关怀旧,当然还有关设计者本人。
By chance, I went to the Colorful Butterfly Pavilion in Xintiandi. It was like the entrance of the Oriental Garden, with dim lights in the room and a cocoon-like kitchen... The overall feeling is that eating is like participating in a performance. Because I have a strong interest in the designer. It is about simplicity, nostalgia, and of course the designer himself.
最近,笔者见到傅厚民,没想到小伙子那么年轻,出生香港的傅厚民12岁就到英国读书,在剑桥建筑系学习七年,一年前他就已经获得了英国皇家建筑师执业资格证书,他为伦敦火车站餐厅设计的室内装饰,更是受到业界好评,被《elle decor》选入最值得介绍的英国设计师。而2002年他才27岁。
Recently, I met Fu Houmin. I didnt expect that the young man was so young. Born in Hong Kong, Fu Houmin went to study in the UK at the age of 12. He studied in the Department of Architecture at Cambridge for seven years. A year ago, he had obtained the British Royal Architects Qualification Certificate. The interior decoration he designed for the London Railway Station Restaurant was well received by the industry and was selected as the most worthy British designer by elle decor. In 2002, he was only 27 years old.
上海新天地的彩蝶轩是其在中国大陆所做的第一个室内设计作品,业内人士认为,彩蝶轩的风格体现了英国的设计风格。傅厚民表示,他想把新天地石库门特有的文化气质融入彩蝶轩的设计中,以此表示任何新事物的产生,或多或少是一种怀旧文化时尚的延伸。所以,在整体设计上,傅厚民完全保持了石库门顶部和窗户的原始格局。“整个彩蝶轩的色调以黑色为主,像个黑色盒子,这样更容易凸现石库门本身的一些东西。”傅厚民这样说,入口处有草坪、喷水池则体现出欧式花园的简洁。走进室内,圆形的顶灯、没有棱角的椅子及其方形的桌子,在暗黄色的色调下,令人感到一种空间上线条的明快,“简约是我喜欢,但它并非简单和空白,而是利用比例、光线等手法,塑造一个空间。”
Caidie Xuan in Xintiandi, Shanghai is the first interior design work in Chinese Mainland. People in the industry believe that the style of Caidie Xuan reflects the British design style. Fu Houmin said that he wanted to integrate the unique cultural temperament of Xintiandi Shikumen into the design of Caidie Pavilion, so as to show that the emergence of any new thing is more or less an extension of nostalgia for culture and fashion. So, in terms of overall design, Fu Houmin completely maintained the original pattern of the top of the Shikumen and the windows. The color tone of the entire Caidie Pavilion is mainly black, like a black box, which makes it easier to highlight some things of the Shikumen itself, said Fu Houmin. The lawn and fountain at the entrance reflect the simplicity of a European garden. Entering the room, the circular ceiling lights, chairs without edges, and square tables, in the dark yellow color scheme, give off a sense of lively lines in the space. Simplicity is what I like, but its not about simplicity and emptiness, but about using techniques such as proportion and lighting to shape a space
而最令人赞叹的是,他居然将餐厅与厨房的隔墙处理成“茧”的形状,增加了室内墙面所造成的变化感和丰富性。“茧成为蝴蝶之前,发生了很多变化,就像美食在厨房里所经历的一样。”
What is most amazing is that he actually made the partition wall between the restaurant and the kitchen into a cocoon shape, which increased the sense of change and richness caused by the interior wall. Before the cocoon becomes a butterfly, a lot of changes have taken place, just like what the food has experienced in the kitchen.
傅厚民表示,简约背后,是他对上海石库门文化的怀念。上世纪90年代来过一次上海后,相隔10年再来,自己突然对10年前老上海的石库门产生了怀念,好像12岁时刚到英国的一个小镇读书,那里古老的哥德式建筑给自己留下的印象是如此深刻,每一次走进去,都是一次时光倒流。以至于在以后的发展中,傅厚民常常会想起它们,以此作为灵感的开始。这一次,面对彩蝶轩,面对石库门,他也是这么做的。
Fu Houmin said that behind the simplicity is his nostalgia for the Shikumen culture in Shanghai. After visiting Shanghai once in the 1990s, he came back 10 years later and suddenly missed the Shikumen in old Shanghai 10 years ago. It was as if he had just gone to a small town in the UK to study when he was 12 years old. The ancient Gothic architecture there left such a deep impression on him that every time he walked in, it was a time travel. So much so that in the future development, Fu Houmin often thought of them as the beginning of inspiration. This time, facing Caidiexuan and Shikumen, he did the same.
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