The first time we visited La Mamounia, we had that strange and comforting sensation of time slowing down, of life becoming simpler. Keeping hold of that feeling, we walked around the different spaces, breathing in their potential. Our approach is simple. We put absolute trust in our intuitions, which were registering a slight imbalance of energies between the grandiose promenade – the Allée Majorelle – with its Italian bar and restaurant, and the other social venues such as the Churchill Bar and the Le Français restaurant. Strolling around and happening upon chance encounters with unusual and magical places became our scenario for this new story. “Everything must change so that everything can stay the same,” wrote Giuseppe Tomasi di Lampedusa in The Leopard. Like a director who opens his film with a long tracking shot, where the camera plunges forwards into the view that leads towards the garden, we had the feeling of being a spectator, that everything is in place, as if it had been there forever; because it is this reassuring sensation of time standing still that calls us to peace. And yet on closer inspection, the lights have been redesigned to add a touch of warmth and modernity; in order to remain forever suspended in a present without end, La Mamounia has to reinvent itself perpetually.

当我们第一次来到La Mamounia时，我们有一种奇秒而又舒适的感觉:时间慢了下来，生活变得简单了。抱着这种感觉，我们在不同的空间里走来走去，感受着它们的潜力。我们的方法很简单。我们绝对相信自己的直觉，在宏伟的海滨大道(Allée Majorelle)及其意大利酒吧和餐厅，以及其他社交场所(如丘吉尔酒吧和Le Français餐厅)之间，我们发现了一些能量的不平衡。漫步和偶遇不寻常和神奇的地方成为我们这个新故事的情节。朱塞佩·托马西·迪·兰佩杜萨在《豹》中写道:“一切都必须改变，才能保持不变。”就像导演用一个长镜头作为电影的开场，镜头向前伸入通向花园的视野，我们有一种作为观众的感觉，一切都在原地，好像它一直都在那里;因为正是这种让人安心的时间静止的感觉呼唤着我们去走向和平。但仔细一看，这些灯都经过了重新设计，增添了一丝温暖和现代气息;为了让La Mamounia永远停留在没有尽头的当下，La Mamounia必须不断地改造自己。

Staying at La Mamounia should be a succession of unique experiences, with the different restaurants being the main players in promoting this adventure. Each of them has its own character, all are complementary. We opened up the walls of the former Italian restaurant and transformed it into L’Asiatique by Jean-Georges Vongerichten, a sensual and intimate space. The original traditional Moroccan decor merges perfectly with the spirit of the chef’s cuisine. It is the furniture that makes the transition between the two worlds, with a mixture of Chinese, Japanese and Thai influences. We gave great importance to the lighting, and Stéphane Carratero came to weave his magic so that as night falls, L’Asiatique becomes a restaurant for lovers.

住在La Mamounia应该是一系列独特的体验，不同的餐厅是促进这一冒险的主要参与者。它们各有各的特点，都是相辅相成的。我们打开了原意大利餐厅的墙壁，并将其改造成让-乔治·冯格里腾设计的L’asiatique，一个感性和私密的空间。原始的传统摩洛哥装饰与厨师的烹饪精神完美融合。家具是两个世界之间的过渡，混合了中国、日本和泰国的影响。我们非常重视灯光，Stéphane Carratero来编织他的魔法，当夜幕降临时，L’asiatique成为情侣的餐厅。

Nearby, the former restaurant Le Français becomes “L’Italien”, also under the management of Jean-Georges Vongerichten. It has been enlarged, taking on the form of a winter garden. The relationship between the restaurant and the garden is absolute. The large glazed windows that enclose it open generously onto the vegetation to let in light and cool air. Sanjit and I adore Italy. We spend a lot of time there, for work as well as for pleasure, so it was a joy to associate that great Italian combination of refinement and simplicity with the spirit of La Mamounia. The cooking takes place in front of your very eyes, which is a captivating spectacle, it is the essence of life. We placed the kitchen at the centre of the space, beneath a huge glass installation. A verdant frieze running more than 20 metres along the back wall seems to mirror the garden, adding to a sensation of being somewhere between real and unreal, the past and future. Whether for a family, couple or group of friends, “L’Italien” is a first choice for a sophisticated and relaxed occasion.

附近的Le Français餐厅变成了“L’italia”，同样由Jean-Georges Vongerichten管理。它已被扩大，呈现出冬季花园的形式。餐厅和花园的关系是绝对的。建筑的大玻璃窗向植被敞开，让阳光和凉爽的空气进入室内。桑吉特和我都热爱意大利。我们花了很多时间在那里，不管是工作还是娱乐，所以把La Mamounia的精神联系在一起与精致和简单组成伟大的意大利结合体，是一件令人愉快的事情。烹饪就发生在你的眼前，这是一个迷人的奇观，这是生活的本质。我们把厨房放在空间的中心，在一个巨大的玻璃装置下面。翠绿的饰带沿着后墙延伸20多米，似乎反映了花园，增加了一种介于真实与不真实、过去与未来之间的感觉。无论是家人、情侣还是一群朋友，“L’Italien”都是复杂轻松场合的首选。

La Mamounia’s swimming pool is a must. It sits perfectly within the garden, with a little island that appears to float in the middle adding an air of charming fantasy. A day spent next to the pool or in the garden is an extra gift that La Mamounia offers its guests. You just want to stay forever. The pool pavilion is the land of plenty; we wanted to make it a celebration of generosity and pleasure. In the middle sits a blue ceramic fountain, around which gravitates a curving bar offering a range of temptations, each more appetising than the next, all beneath a vast circular chandelier made out of fabric and brass. For the bar we used one of our favourite materials, enamelled lava stone. It is indestructible and the little crackled effect covering it gives the charm of passing time. A door opens into a new space, which Sanjit calls “the temple of sugar”. In the middle of this space sits a block of peach-coloured marble with a surface of polished, hammered copper, which displays the inventions of the world’s greatest pastry chef, Pierre Hermé.

La Mamounia的游泳池是必游之地。它完美地坐落在花园中，一个小岛似乎漂浮在中间，增添了迷人的幻想气氛。一天花在游泳池或在花园是La Mamounia提供给客人的额外的礼物，你只是想永远留在这里。池亭是丰饶之地;我们想让它成为一场慷慨和快乐的庆典。中间有一个蓝色的陶瓷喷泉，喷泉周围有一个弯曲的酒吧，提供一系列的诱惑，一个比一个更令人胃口大开，所有这些都在一个巨大的圆形吊灯下，由织物和黄铜制成。对于酒吧，我们使用了我们最喜欢的材料之一，搪瓷熔岩石。它是坚不可摧的，覆盖着它的小裂纹效果给人以消磨时间的魅力。一扇门通向一个新的空间，桑吉特称之为“糖的圣殿”。在这个空间的中央，放置着一块桃色大理石，表面是抛光的锻铜，它展示了世界上最伟大的糕点厨师皮埃尔Hermé的发明。

After rethinking the restaurants, we turned our mind to surprises for the guests. You will have to stroll around to discover them. The first is on the way to the spa and occupies two spaces. It is Pierre Hermé’s salon de thé, designed around the principles of Moroccan tearooms with their banquettes facing one another along the walls. They are orientated towards the centre of the first space, where we have installed a fountain that seems to erupt from the marble floor. The water reflects a huge glass chandelier. It is the focal point of the salon and clearly visible from the lobby. Designing our projects, we call these types of installation “les objets extraordinaires”, extraordinary objects. Their purpose is to amaze, to catch the onlooker’s eye, to mesmerise them and incite them to come closer. As the tearoom is not on a main route through La Mamounia, we needed to create a sufficiently powerful architectural feature to bring life to this space; this is the primary function of the luminous sculpture.

在重新考虑餐厅后，我们将注意力转向为客人提供惊喜。你将不得不四处走走去发现它们。第一个是在去水疗中心的路上，占据了两个空间。这是 Pierre Hermé 的沙龙thé，围绕摩洛哥茶室原则的设计，长椅沿墙壁。它们朝向第一个空间的中心，我们在那里安装了一个喷泉，看起来从大理石地板上喷涌而出。水面反射出巨大的玻璃吊灯。它是沙龙的焦点，从大堂清晰可见。在设计我们的项目时，我们将这些类型的装置称为“les objets extraordinaires”，非凡的物体。他们的目的是让旁观者大吃一惊，吸引他们的眼球，迷惑他们，煽动他们靠近一点。由于茶室不在通过 La Mamounia 的主要路线上，我们需要创建一个足够强大的建筑特色，为这个空间带来生机；这是发光雕塑的主要功能。

The experience continues in the adjoining courtyard, the Moroccan riad in all its splendour. We love this place, so quiet, so perfect in its geometry. We just added some seating and lanterns to make guests want to pause here quietly and taste one of Pierre Hermé’s creations, taking time for pleasure.

在毗邻的庭院中，体验继续，摩洛哥里亚德在其所有的辉煌。我们爱这个地方，如此安静，几何形状如此完美。我们只是增加了一些座位和灯笼，让客人想要在这里安静地停留，品尝皮埃尔Hermé的创作，享受时间。

In the evening, a door opens into the Churchill Bar. The bar has always been here and is a landmark for regular guests. We gave it a complete redesign to make it ultra-intimate, a sanctum in smoked oak, in the middle of which is a block of sculpted black marble. Not forgetting La Mamounia’s past relationship with railways, the proportions of this space echo those of a Pullman carriage. The Churchill is also the entrance into a new provision: the cinema. We really indulged ourselves in conceiving the dream experience, mixing culture and comfort. We can’t wait for another viewing of The Man Who Knew Too Much, which Hitchcock filmed right here.

晚上，一扇门通向丘吉尔酒吧。酒吧一直在这里，是常客的地标。我们对它进行了彻底的重新设计，让它变得非常私密，在烟熏橡木的密室里，中间是一块黑色大理石雕刻。不要忘记La Mamounia过去与铁路的关系，这个空间的比例呼应了普尔曼车厢的比例。丘吉尔酒吧也是一个新项目的入口:电影院。我们真的沉浸在梦想的体验中，融合了文化和舒适。我们迫不及待地想再看一遍希区柯克在这里拍摄的《擒凶记》。

We now turn to the enoteca and the tents. These are new arrivals to La Mamounia and a big surprise for the guests. The tents form a transition zone between the swimming pool and L’Italien. Slightly raised to sit back from passage, comfortably installed and protected from the sun, guests can spend a special moment here. You can take lunch, or just read a book. Victor Hugo’s poem La Sieste, perhaps? One of these tents takes the visitor to the Enoteca. You descend down into the ground to a trove where the treasures discovered by the sommeliers of La Mamounia have been stored. A beautiful table in stone and lava stone sits beneath a large opening in the roof, from which light is diffused through a chandelier of cords, illuminating the liquids to reveal their secrets. This work is typical of the exceptional skill of the Moroccan craftsmen, which we have carried through into the 21st century. The fundamental ambition of this project is that La Mamounia should be the living example of the continued reinvention of a culture.

现在我们转向enoteca和帐篷。这些是La Mamounia的新成员，给客人们带来了很大的惊喜。这些帐篷形成了游泳池和L’italia之间的过渡区域。稍微抬高，从通道坐回来，舒适地安装和保护免受太阳，客人可以在这里度过一个特殊的时刻。你可以吃午饭，或者只是看书。也许是维克多·雨果的诗《午睡》? 其中一个帐篷将游客带到Enoteca。你下到地下，来到一个宝库，那里储存着La Mamounia的侍酒师们发现的宝藏。在屋顶的一个大开口下，有一张用石头和熔岩做成的漂亮的桌子，光线从开口中漫射出来，通过绳状枝形吊灯，照亮了液体，揭示了它们的秘密。这项工作是典型的非凡技能的摩洛哥工匠，我们一直保持到21世纪。这个项目的基本目标是La Mamounia应该成为文化持续再创造的活生生的例子。

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