29 ginal building, Matías Laviña. “The project has been very intense and we have lived in each corner, in each living room, in each room of the reform”. The façades which had deteriorated a great deal were restored based on the original technique of 1800; while the interior is completely new, retaining only the original staircase. “We have tried to again reopen the spaces to restore the Palace to its original splendour, returning to the ceilings and columns the Neo-Renaissance adornments typical of that time in Italy, with some contemporary touches”. Interiors of the nobility The materials are noble and natural and the furniture comes from the best designer contemporary architects in Europe. The original colours of the project predominate as used in the neo-renaissance palaces: white, beige and grey with black and gold details. The materials are natural. Stone from Capri, Calacatta and Portoro marble, and oak wood. For its part, the furniture acts as a response to the architectural spaces, having the double function of supporting architecture. “This is the case for example with the shelves, which are no longer just hollow walls that compartmentalize and distribute spaces. We have tried to design spaces that are not massive, sectorizing the spaces on a more human scale, “ says Adriana Sans, the architect responsible for interior design. “The criterion at the time of furniture selection was based on the category of the building, selecting pieces from the best designers, the great majority of whom were architects, and pieces which included contemporary elements“. Likewise, textiles play a key role in this hotel. Matching the neo-renaissance language of the building, the fabrics correspond to the colours of the building and are therefore of maximum quality, such as velvet and fur; synthetic materials have not been selected. Recovering unusual spaces Both architects agree on highlighting the whole project “since all the spaces respond to the same criteria of scale, proportion and design “. However, they particularly refer to one of the halls in the Palace, the one dedicated to the Universal Exhibition of Paris of 1889 regarding its importance in the design of that century, with reproductions of furniture engravings of furniture that were displayed at the said Exhibition. What is also very interesting has been the recovery of the old stables, which were in ruins, and in which “we have tried to keep visible the original floors and the brick walls and which we have changed into a top restaurant.” It forms one of the three gastronomic spaces which are to be found in El Palacio de los Duques, each conceived with its own personality and character Finally, the historic garden that owns the Palace has been completely restored, “since it was destroyed when a concrete sports track was built in 1950, “says Álvaro Sans. The archaeological work that was carried out on the stables revealed the basis of the original fountain, and it has been reproduced in a new bronze replica. A project to which Álvaro Sans and Adriana Sans have dedicated two years, accompanied by a professional team led by the architect, Pedro Alcaraz, interior designer Ángel Bravo, and the designer and artist Gabriela Sans, creator of the mural in the reception and all the lace-work from the work of Velázquez.
To see the actual publication please follow the link above