The view opens into a bow window of about three meters in width, rounded at the edges with a first and light reference to Art Nouveau – cleaned up in a modern restorative graphic. The window looks like the glass detail that will be the protagonist in the whole hotel: three-dimensional glass tiles make up decorative paintings on the walls above the passages, define the ceiling of the dining room, are amplified as macro-flowers in the lamps and in the bedside lamps . Art Nouveau and Louis Comfort Tiffany: there are no original objects of the artistic period or the artist, but the elaboration of the reference appears in the fabrics and in the flowered carpets in the corridors (there is no indulgence, the carpet is a finishing that must go exceeded).
In the room, in front of the bow window, a plum-colored sofa covers its whole length – beyond the glass, the leaves of a plane tree. A fireplace has a lamp in the embers – the processing of the parquet offers a soft, smooth touch but with material that recalls the house floor. Attention is drawn to the bathroom, separated from the sleeping area not by a cemented wall, but by a wall made of windowed paneling and curtains, like the cabin of a transatlantic liner – still a reminder of the 1920s. In the bathroom, the Victorian bathtub rests on a mosaic floor with black and white hexagons fixed like panels. Soaps, shampoos and creams are by LaLabo, a detail that denotes care. Unfortunately, there are no books but only two commercial magazines of little price on newsstands.
The rooftop terrace opens onto a pool lined with marbled ceramic in green nuances – the movement of the water increases the emerald effect. The terrace extends over the entire rooftop, with sofas and seats – a retro taste of the Spanish liberty era reappears in the seats with parasols, like swings – that can still be found in Deauville or Biarritz. The colours go from white to small details in red, for a tomato juice with Tabasco and crunchy ginger biscuits. The decoration textures constantly recall to glass: in the iridescent colours broken down into paints reactive to sunlight.
On the ground floor, the entrance vault is surmounted by the wheel of a gaming roulette, upside down and difficult to understand – the age of Jazz on the Côte d’Azur for Scott and Zelda – there is more attention to details than in the fabrics of the sofas in the wooden and mirror boiseries of the corridor, which leads up to the concierge and the reception area: here is one of the most successful rooms, central and polygonal, whose walls are covered with selected volumes.
Coming out of the Bless, the walk leads to Calle Jorge Juan, a side street of Calle Serrano, with three rows of robinias, seats and geometric flowerbeds that denote the urban design project. The facades of the Lux and the Amazònico are romantic paintings, shops are arranged in pedestrian alleys alternating with the outdoor tables of the cafés: the feeling is that of a sort of Paris decongested in an American West Village – among the best rhythms of the heart.
62 Calle de Velázquez
28001 Madrid, Spagna