Lorenzo, Cristine &
Sevilla
This project is aesthetically complex, as the aim was to avoid falling into Andalusian folklore or regionalism. It is a project that looks back at Seville as Europe’s port during the Spanish Renaissance, a meeting point of two worlds and two cultures, bringing the Americas not just to the Empire but to all Western European civilization. This melting pot of rich and diverse cultures had to be reflected in our project, but in a manner so subtle and harmonious that it became almost abstract and philosophical. It is an intellectual design that, through colors, textures, and patterns, evokes the Renaissance world of Seville.
16th-century Seville was cultured, elegant, and sophisticated in its noble and bold simplicity. It was stone, marble, and tile. It was Rome and the Islamic Andalusian world in harmony. There was no excess of decoration or ornamentation; instead, the decorative level was carefully measured, both in its architecture and interiors. Seville was also a bridge to Italy and the viceroyalties of the Two Sicilies, Genoa and Venice, and, through them, to the Silk Road that extended to the East.
Lorenzo, Cristine &
Sevilla
This project is aesthetically complex, as the aim was to avoid falling into Andalusian folklore or regionalism. It is a project that looks back at Seville as Europe’s port during the Spanish Renaissance, a meeting point of two worlds and two cultures, bringing the Americas not just to the Empire but to all Western European civilization. This melting pot of rich and diverse cultures had to be reflected in our project, but in a manner so subtle and harmonious that it became almost abstract and philosophical. It is an intellectual design that, through colors, textures, and patterns, evokes the Renaissance world of Seville.
16th-century Seville was cultured, elegant, and sophisticated in its noble and bold simplicity. It was stone, marble, and tile. It was Rome and the Islamic Andalusian world in harmony. There was no excess of decoration or ornamentation; instead, the decorative level was carefully measured, both in its architecture and interiors. Seville was also a bridge to Italy and the viceroyalties of the Two Sicilies, Genoa and Venice, and, through them, to the Silk Road that extended to the East.
Design
Through this medieval trade route, unique textile designs and colors reached Seville, becoming one-of-a-kind in Europe before being exported to New Spain. This incredibly rich cultural fusion had to be present in our project, expressed through a warm color palette, traditional textiles, and a reinterpretation of elements from that era, all adapted to a modern, contemporary world. We did not aim to recreate past styles but to craft something new that, through the lens of modernity, refreshes and updates this incredible millennial heritage.
It is also inspired by the Sevillian Velázquez, whose mastery captures the surrounding natural colors. Velázquez, as the first decorator of modern Spain, was tasked by the Planet King, Philip IV, to decorate the Royal Alcázar of Madrid. This artist, who was more than just a painter, an antiquarian and decorator who traveled to Rome to furnish the King’s residences, served as our guide as we sought small treasures for our hotel, aiming to emulate his legacy.
Design
