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The architectural origin of the building, so evident and typical, served as the starting point for the design and transformation into a hotel. Both in the spatial organization and in the choice of materials, a soft and non-invasive approach was chosen, with a view to preserving/emphasizing the original architectural identity. The Palace was designed by the engineer Cesare Pascoletti in the 1940s, collaborator of the architect Marcello Piacentini, one of the founders of Rationalist architecture which characterized the development of the city between the 1920s and 1940s. Rigor, essentiality and linearity are the guidelines both in the environment open to the public and in the more private one such as rooms.
The first approach to the architecture of the Hotel takes place through an existing travertine portico that delimits the project lot and which becomes an iconic element thanks to its proportions and balance.
Marble, boiserie and metals underline the "public" character of the building and its space. The courtyard is conceived as a large semi-urban green space that becomes the right filter between the public city and the private spaces of the hotel. The sensation is that of being in an urban forest where orange trees alternate with the typical climbers of the urban space of Rome. A space "halfway" between public and private, between the city and the hotel. A point of reference therefore capable of connecting the hotel itself with city life - fashion, cinema, art or private events.
Renovating a historic building with sustainability in mind helps preserve cultural heritage by reducing environmental impact, using energy efficiency measures such as the installation of high-performance insulation, energy-efficient windows and LED lighting that can significantly reduce consumption energetic.
We chose sustainable building materials for both environmental and historic preservation reasons. Furthermore, we have used materials that match the original aesthetic of the building ensuring that its historic character is preserved.
This approach not only preserves the unique character and beauty of these architectural treasures, but also demonstrates a commitment to the responsible stewardship of our built heritage for generations to come.
The first contact with the architecture of the Hotel occurs through an existing travertine portico that delimits the project lot and which becomes an iconic element thanks to its proportions and balance.
This spatial arrangement of full and empty volumes is presented both on the façade, through the opening of double-height windows, and inside the lobby, with a series of mirrored niches of the same proportions as the windows - a game of continuity between the exterior and interior which emphasizes and characterizes the common space on the ground floor.
The typical porticoes alternating with voids and the schematic and perspective arrangement of the spaces are characteristic themes of the architecture of that period, and are proposed and multiplied in a sort of monumental emphasis.
The hotel offers a large, lush private courtyard as a retreat and space for a restaurant, a garden with over 400 plants and a cascade of climbing jasmine on the facade. From the garden, guests begin their journey as the hotel unfolds like the acts of an opera.
As in all Edition hotels, the lobby is the beating heart of conviviality. Featuring spectacular seven-metre-high ceilings, travertine walls and floors, it is a space that impresses residents and travelers alike.
On the seventh floor, The Roof offers panoramic views of the capital and monuments such as the Basilica of Sant'Andrea della Valle.
A tranquil space with a large bar area, a travertine pool surrounded by teak loungers and bronzed metal vases.
Created and interpreted by Gruppo Statuto, which owns it, with its 93 rooms The Rome EDITION sets a new standard in the capital. Refinement, attention to detail, refinement and high design aesthetics make it a meeting place for Romans and travellers. Located in one of the most enviable areas of Rome, the hotel is just a few steps from Via Veneto, the most sought-after street in Italy, immortalized in La Dolce Vita and an icon of Italian charm in all its splendor.
3C+t’s approach to design is based on the assumption that the creative process is not linear, but that it requires architects to be able to think and draw at different scales, taking into account every detail during the development of the design with an overall vision, regardless of the project phase. 3C+t was born around the concept of Italian Design. Italian Design is the ability that Italians have to transform, shape, create. The ability to work on geometries, to create a dress, an architecture, a car. This creative process starts from the research on materials: natural and artificial stones, mosaics, leathers, carbon, steel, ceramics, glass. Research has never actually stopped, it has become culture. The 3C+t was born in 1960 to develop this culture. The working method is based on the principle of participatory design, in which clients, and consultants give their contribution during the various project phases, from the beginning and for the entire duration of the design process.
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