在旺多姆广场的中央，44米高的青铜圆柱顶上耸立着拿破仑一世的铜像，他脚下的铜柱熔化了法军在战场上缴获的1250门大炮。
由此向北，延伸至卡尼尔歌剧院，这条仅几百米的街道便是和平大道，法兰西第二帝国的御道，自19世纪末汇集欧洲最耀眼的珠宝店和时装屋，成为巴黎奢华的摇篮。
法国作家安德烈・莫洛亚曾赞道：“旺多姆广场，以及穿过它的和平大道，是巴黎的心脏，完美体现了巴黎的历史。”开在这里的酒店，注定会获得无尽的声望。
巴黎旺多姆广场柏悦酒店开业于2002年，在和平大道5号整合了5座历史建筑，其中还包括时尚先驱珍妮・帕奎因女士在1891年开设时装屋的原址。
当巴黎的历史建筑被改造成酒店，决策者很难不屈服于历史主义。巴黎柏悦酒店显然不在此例，而是恰恰相反。
当客人通过低调的门脸步入酒店，走过典雅的圆廊柱阵列，只见身着黑色制服的商务人士川流不息，酒店特调的香氛在空气中似有若无，一种极富现代感的气氛让人精神一振。
传统建筑的框架似在诉说宫殿的身份，然而过度的华丽已被剥离，法国经典材质本身的美感得到强化，如中性色调的巴黎石，古典的桃花心木和青铜，以及丰富内敛的面料，赋予环境一种简单有序宁静的能量。
这是已故美国建筑师埃德・塔特尔的杰作，酒店公区和客房的建筑和室内设计由他一肩挑，用现代主义手法诠释法国古典主义，使酒店赢得巴黎首家现代宫殿的美誉。
当埃德・塔特尔用才华为酒店注入现代气息时，艺术怎会缺席 精心挑选的全球现代艺术品点缀在各个空间，最精彩的是法国当代女雕塑家罗丝琳・格拉內特的青铜人像雕塑，共为酒店创作5000件之多，同一主题变形缩瘦拉长以各种姿态和大小分布于酒店上下，甚至化身壁灯吊灯和客房内的门窗把手，彻底打破艺术与公众的界限。
In the center of the Place Vendôme, stands a 44meterhigh bronze column topped by a statue of Napoleon Bonaparte. The bronze column was melted with 1,250 cannons captured by the French army on the battlefield.
From here, extending north to the Opéra Garnier, is a short street known as Rue de la Paix, the imperial road of the Second French Empire. It has gathered Europe‘s most dazzling jewelry stores and fashion houses since the late 19th century, being considered the cradle of Parisian luxury ever since.
French writer André Maurois once praised: ”The Place Vendôme is, with Rue de la Paix which crosses it and extends it, both the heart of Paris and the most perfect representation of its history”. A hotel opened here is destined to gain endless prestige.
Park Hyatt ParisVendôme opened in 2002 at 5 Rue de la Paix, integrating five historic buildings, including the original site where French couturier Jeanne Paquin opened her fashion house in 1891.
When historic buildings in Paris are transformed into hotels, decisionmakers often submit to the wish to restore historicism. Park Hyatt ParisVendôme, however, is quite the opposite.
As guests enter the hotel through a discreet entrance and walk past the elegant columns, they encounter a constant flow of business people in sleek black suits. The hotel‘s signature scent fills the air and the ambiance feels fresh and new.
The framework of the traditional architecture hints at its palace identity, yet excessive ornateness has been stripped away, enhancing the beauty of classic French materials, such as the Paris stone in neutral tones, the classical mahogany and bronze, the rich and understated fabrics, infusing the environment with a sense of simplicity, order and tranquility.
This is the masterpiece of the late American architect Ed Tuttle, who undertook the architectural and interior design of the hotel‘s public areas, guestrooms and suites. His contemporary interpretation of French classicism has earned the hotel the reputation of the first modern palace in Paris.
When Ed Tuttle infused the hotel with his talent and a modern touch, art was not absent. Carefully selected contemporary artworks from around the world adorn the various spaces, with the most remarkable being a collection of over 5,000 pieces of bronze sculptures by French sculptress Roseline Granet. These sculptures, all sharing the same theme but varying in shape, size and posture, can be seen throughout the hotel, even transforming into wall sconces, chandeliers, door and window handles in the guest rooms, completely breaking the boundaries between art and the public.
