在中国广州文华东方酒店豪华的室内设计中，地点的力量是直接的和全方位的。季裕棠和他的纽约公司tonychi and associates为这家酒店注入了独特的东西方融合美学。

The power of place is immediate and all-encompassing in the design of the luxurious interiors of the Mandarin Oriental in Guangzhou, China. A distinctive east-meets-west aesthetic is infused in this hotel by Tony Chi and his New York-based firm, tonychi and associates.

tonychi and associates高级助理Johnny Marsh表示:“酒店的独特性体现在对历史和地理位置的重视上。”广州文华东方酒店位于由Arquitectonica设计的大型综合建筑群太古汇内，包括233间客房和30间套房。除了酒店，太古汇还包括一个零售中心，两座办公大楼，一个文化中心，一个图书馆和公共艺术空间。

“The uniqueness of the property is reflected through embracing the sense of history and location,” says Johnny Marsh, senior associate at tonychi and associates. The Mandarin Oriental Guangzhou includes 233 guestrooms and 30 suites within a large mixed-use complex called Taikoo Hui designed by Arquitectonica. Besides the hotel, Taikoo Hui includes a retail center, two office towers, and a cultural center with a library and public art spaces.

Marsh说:“这是一家现代酒店，反映了殖民历史的一部分。”参考历史开始于酒店作为一个庭院建筑的整体概念，在规划上受到中国传统建筑的启发，庭院是生活的中心。酒店围绕着一个中央庭院垂直堆叠，以内为中心，与现代广州的外部喧嚣形成鲜明对比。

“It’s a modern hotel that reflects part of that history with reference to the colonial,” Marsh says. The references to history begin with the overall concept of the hotel as a courtyard building, inspired in plan by traditional Chinese architecture in which the courtyard is the center of life. The hotel has an inward focus—in contrast to the hustle and bustle of modern Guangzhou outside—stacking vertically around a central courtyard.

客人到达的入口大厅是深色的烟熏橡木地板，外观抛光，柱子覆盖着青铜和白漆橡木。这里的比喻是一个殖民时代的庄园，26英尺高的天花板提供了一种通风、宽敞的感觉。从地板到天花板的橡木百叶窗增强了这种殖民庄园的感觉，它在早上打开，晚上关闭，将客人的体验集中在室内。

Guests arrive in an entry hall of dark, smoked oak floors with a polished appearance and columns clad in bronze and white-washed oak. The metaphor is a colonial-era manor, with 26-foot ceilings providing an airy, expansive feel. That colonial estate sense is heightened by floor-to-ceiling oak shutters that are opened in the morning and closed in the evening to focus the guest’s experience on the interior.

在大宴会厅的入口大厅，黑白相间的地板上铺设了弯曲的大理石条，让人联想到珠江流水的图案，为空间增添了多层次的深度。在宴会厅的上面一层，旋转门通往室外阳台，阳台上有LED灯具，可以发出任何颜色的光。高质量的家具工艺对于季裕棠的所有室内设计都是必不可少的，这被证明是一个挑战，因为家具主要来自当地。

In the entrance hall for the grand ballroom, the black-and-white floor has curved marble strips laid in a pattern that recalls the flowing water of the Pearl River, adding multi-layered depth to the space. One level above in the ballroom itself, pivoting doors open to an outdoor balcony with LED light fixtures that can emit any color of light.Quality furniture craftsmanship is essential for all of Chi’s interiors, and that proved to be a challenge here as furnishings were primarily locally sourced.

酒店的主要三餐餐厅，乌木，特色的内部，特别委托乌拉圭艺术家Capelán的绘画活跃的白色墙壁，与周围的黑橡木形成对比。餐厅入口的活苔藓雕塑既是门厅的缓冲，也是用餐区翠绿多彩的中心装饰。餐椅和餐桌是由季裕棠和他的伙伴们定制设计的，Marsh说，这个过程至少涉及到四五张商店图纸和模型，以满足他的设计意图。

The primary three-meal restaurant of the hotel, Ebony, features an interior in which specially commissioned paintings by Uruguayan artist Carlos Capelán enliven white walls that contrast with surrounding dark oak. A living moss sculpture at the restaurant entrance serves as both a buffer to the entry hall and as a verdant, colorful centerpiece for the dining area. Dining chairs and tables were custom-designed by tonychi and associates, and Marsh says the process involved at least four or five shop drawings and mockups to meet his design intentions.

当地的广东菜是在一个受装饰艺术影响的餐厅名为江，空间由半封闭的摊位，玻璃隔断和烟雾镜像墙框架。中式蛋糕店有精美的蛋糕和糕点，这是一家黄色漆墙的精品店，也是酒店公共空间和邻近的太古汇购物中心之间的过渡空间。在夹层，一个没有正式名称的酒吧是招待客人的秘密场所。亲密的空间包括一个主酒吧，私人摊位，和一个私人房间。

Regional Cantonese dishes are served in an Art Deco-influenced restaurant named Jiang, with spaces framed by semi-enclosed booths, glass partitions, and smoky mirrored walls. Exquisite cakes and pastries are available in the Mandarin Cake Shop, a boutique of yellow lacquer walls that is also a transition space between the hotel’s public spaces and the adjacent Taikhoo Hui shopping center. On the mezzanine level, a bar with no official name is a secret treat for guests. The intimate space includes a main bar, private booths, and a private room.

客房的设计灵感来自中国的庭院结构，以9平方的网格为基础。门厅位于中间而不是一侧，两侧是独立的浴室，用于更衣室、梳妆台以及浴缸和淋浴间。推拉门将门厅与卧室分隔开来，增强了城市豪华住宅的品质。

Guestrooms are based, in plan, on a nine-square grid inspired by Chinese courtyard structures. The room foyer is on center—rather than to one side—and flanked by separate bathing rooms for dressing and vanity as well as a bath and shower. Pocket doors separate the foyer from the bedroom, enhancing a quality of an urban luxury residence.

酒店像中国传统建筑一样，围绕着一个中央庭院，但具有东西方交汇的设计美学。入口大厅借鉴了殖民时代的风格，有高高的天花板，用青铜和橡木覆盖的柱子，以及高高的百叶窗门。整个酒店的家具混合了本地采购和进口的作品，反映了许多不同的时期和文化。

The hotel is organized around a central courtyard, as in traditional Chinese architecture, but has an east-meets-west design aesthetic.Referencing the colonial era, the entry hall features a high ceiling, columns clad in bronze and oak, and tall, shuttered doors.Furnishings throughout the hotel are a mix of locally sourced and imported pieces and reflect many different time periods and cultures.