Visiting Florence in February may not seem the best time of year to come, and the square known as the Piazza della Republica may be a 19th century construction, but the hotel location remains magical. Located only five minutes walk from the Uffizi, ten minutes to the Ponte Vechio and with the Duomo (around the corner) visible from the rear rooms and the gym, the location is as close to the heart of the city as possible.
Of course the gym was not a part of the original hotel, but cleverly makes use of what would otherwise just be an access space for the lift motor room - and in doing so commands spectacular views. It almost makes a workout a pleasure - almost... |
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| Floors are keyed in visually, each floor a subtly different image opposite the elevator - rollover to go up a floor |
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:: Panoramic Views
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The piazza is full of life even in February with icy winds blowing coolly on the ardour of the buskers and acrobats, tourist and residents alike wrapped in furs which appear fashionable once again. Sitting in the hotel bar is like taking a seat in a theatre, although sometimes the passers-by stare in, putting the watcher on stage briefly. There are echoes of the trendiness and theatre that are part of the ‘W’ in Union Square (see Review archive),and the echoes extend further. Where the 'W' used grass on the stairs and counters here there are lettuce and a red cabbage included in the ornamentation. This cheeky chic rests easily alongside the controlled classical looks created by the designer.
This, the second of the new Rocco Forte chain, Savoy is a Victorian building restored and reopened by the group in 2000. The décor looks new and speaks volumes for the quality of the housekeeping, whilst the conversion of ten bedrooms into five additional suites shows how well Sir Rocco Forte read the market for this luxurious five star. The hotel is surrounded not just by the buildings, sculpture and other reminders of the Florence of the Medici’s, Vasari, Michelangelo, Leonardo and the roll call of artistic innovation of the Renaissance but also by the chic shops with the roll call of artists of a different hue – Versace, Gucci etc.. Indeed I am told, if not instructed, by my Navigator that this is a far better and more fashionable shopping centre than Paris…
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Lettuce and (rollover to see) red cabbage provide slightly surreal touches in the lounge, which also uses art strongly along with accents such as the stool covered in real zebra hide. Use of symmetry is evident in the way the art is hung and the mix of classical images with contemporary is very successful.
The lounge also enables a guest to sit well back in the hotel but still watch the passing Florentines - and the area is largely pedestrianised with small electric buses providing transport.
Outside tables in February are used by the smokers now banned from restaurants throughout Italy - a ban that is working successfully it seems.
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Whilst the location is superb, the building externally is indistinguishable from many others in Florence, which suffered 'slum clearance', at the end of the nineteenth century removing many historic buildings in a fit of civic improvements. Internally however the refurbishment hits all the right design buttons, managing to achieve grace and comfortable sophistication with a sense of humour and numerous small acknowledgements to the artistic past of the city.
Inevitably for an older building the spaces are smaller and more enclosed than in a modern construct. This is no disadvantage however, enabling numerous small ‘pictures’ to be created, a process helped by the strong sense of symmetry the designer has brought to the creation of them. The past of the hotel itself is also respected and throughout the hotel various items have been reused mixing the 19th century seamlessly and successfully with both the technology and art of the end of the twentieth century. This enhances the sense of visual pleasure as the eye is delighted by the juxtaposition of 19th century panelling against twentieth century art from the likes of Andy Warhol.
An ornate golden gothic mirror on the stairs is followed on the turn by a piece of contemporary imagery and a planter full of bamboo – again strangely echoing the bamboo used in the ‘W’ New York – if I hadn’t already interviewed both sets of designers I would have thought the inspiration for ‘W’ came from here, but the sense of fun and visual vocabulary of both are separate and found from different sources, I guess showing that the interconnectivity of the world gives surprising convergences of thinking by designers continents apart.
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