Gio Ponti's Parco dei Principi Hotel
Click through the slideshow for more images of the hotel.
Located on the grounds of the 1792 Villa Siracusa, Ponti's 1961 design is set amidst a tropical garden featuring dozens of species of rare and exotic palms. Roberto Fernandes commissioned Ponti to design the 96-room hotel atop the ruins of a nineteenth century English Gothic castle. In many respects, the design feels at once hypermodern (for 1961 perhaps) while maintaining cognizance of its regal heritage—Ponti would write, "For life to be great and full we have to combine the past with the future."
Parco dei Principi Sorrento
Via Rota 1
80067 Sorrento (NA)
Tel. + 39-081-8784644
Fax + 39-081-8783786
hotelparcoprincipi.com
The lobby gives visitors an immediate sense of the hotel's design vocabulary. With the exception of some wood accents, almost every surface is either blue or white. Thousands of ceramic "pebbles" are set into the walls, adding an almost unbelievable level of workmanship and craft to the interior.
The lobby's waiting area includes a few vignettes of Ponti's original furnishings, which are clad in their original upholstery (though restored in a recent renovation). This set-up includes the 899 armchair and sofa.
Although the elevators' interiors were one of the few things to be upgraded in a recent renovation, Ponti's elaborate graphic designs for the ceramic pebble surfaces remain intact.
Small details—such as the hallway's square overhead lights set at an angle to create a diamond pattern—make the most of the prosaic materials available in post-war Italy.
The 96 rooms face either the park or the ocean, and they are all outfitted with nearly identical furnishings, including these custom-designed headboards covered in blue laminate. Buttons to the side operate the mechanical louvers and bedside lights.
Our room was also outfitted with this custom designed desk with attached mirror and an iconic Superleggera chair.
Perhaps the hotel's most distinctive features are the 30 custom tile patterns, which Ponti designed; they were executed by a local producer, Ceramica D'Agostino, in nearby Salerno. Our room featured the first pattern he conceptualized, which was purportedly his favorite.
On a tour, we got the chance to see a number of the other patterns used throughout the hotel. With variations in their placement, almost every room has a unique tile layout.
Almost all the patterns feature the same shades of blue and white, thought by the architect to produce a calming effect.
By rotating the individual tiles, this pattern alone could create four distinct layout configurations.
The bar itself is faced with more ceramic pebbles with the lobby's color scheme in reverse. One can only imagine how swinging it must have been in 1962.
The lounge is faced with more sculptural tiles by Fausto Melotti and furnished with a few of the only non-Ponti-designed pieces in the hotel. The seats are the 865 series by Ico Parisi.
Throughout the first floor lounge and lobby areas, clever lamps made from folded metal are set atop Melotti's tiles.
Giant pillars in the lobby are reminiscent of Ponti's faceted design for the Pirrelli tower in Milan.
One of the hotel's most celebrated features—a free-form pool with a swim-through island and diving board rising from its depths—was closed during our February stay.
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