In the heart of Rome, precisely in the street originally known as ‘La strada degli artisti’ (the artists’ street), stands a prestigious building, transformed into an important project for a five-star luxury hotel, the Maalot Hotel.
In this context so rich in history and charm, part the interiors of the hotel have been entrusted to RPM Project, the Roman studio that boasts consolidated know-how in the design and realisation of spaces for catering, hospitality and retail.
The hotel covers four floors for a total of about 3000 square metres of an elegant 19th-century historical building where the great composer Gaetano Donizetti stayed between 1828 and 1837. Don Pasquale – one of the most successful operas by the composer from Bergamo – is the name chosen for the gourmet restaurant, which has already become one of the hotel’s highlights.
Don Pasquale is a restaurant with a strong personality, given for example by the restaurant’s strong external visibility and the presence of an important and attractive outdoor area.
The choice of colours in the restaurant was oriented towards soft tones, with greens and beiges prevailing, while the flooring consists of a very worn oak parquet in a warm honey shade. The green colour is particularly relaxing and contrasts with the shiny, matt red upholstery of the sofas. A space that creates a unique and evocative ambience, in an atmosphere that blends historical charm and sophistication.
The restaurant is a veritable living room amidst the alleyways of Rome’s historic centre: it is no coincidence that the chairs are not the only protagonists here, but are accompanied by seats and sofas that create an image of a private residence.
The restaurant rooms are conceived as an elegant art gallery where artists of great popularity in the contemporary scene are the protagonists of the walls. Stanley Gonczansky, Gonzalo Fuenmayor and Massimo Listri display their works as in the artists’ street.
Goncansky’s desecrating and ironic interpretations of a classic technique that can be read by approaching what appear to be ‘important’ canvases contrasts with Fuenmayor’s fascinating and solemn black and whites and the monumental architectural constructions of Nistri’s photography to populate refined spatial restlessness, which everything wants to be less than banal.
The tables in the restaurant are made of embroidered Portuguese ceramics protected by glass that gives golden reflections and which – together with the rich set of mirrors – creates a scenographic ambience of great expressive coherence.
The lighting revolves around a large chandelier, a work designed by architect Antobenedetto specifically for this project.
The reception area was also conceived as a living room, with a fireplace, armchairs and sofas; an elegant study containing a rich selection of books available for guests. In this way, the reception area is transformed into a relaxing space where check-in and check-out become a pleasant moment, where formalities are reduced to a minimum and become a welcoming moment, accompanied by a glass of bubbly.