Nobis Hotel Palma
Nobis Hotel Palma is a boutique hotel within a twelfth-century palace in Palma de Mallorca's old town. The transformation was developed by Wingårdhs in collaboration with Jordi Herrero of JHA Architecture Studio and Eduardo Garcia Acuna of EGA Arquitectura, revealing the building's many historical layers while adapting it for contemporary hospitality. Original arches, stone walls, courtyards and historic ceilings are carefully preserved and contrasted with contemporary interventions in steel, glass and bespoke interiors. The hotel comprises 37 rooms and suites, together with a restaurant, bar, spa, library, rooftop terrace and a sequence of interconnected indoor and outdoor spaces organised around two historic courtyards.
Layers of Time
For close to a thousand years, people have resided in these very rooms. Ceiling inscriptions, in what today is the reception, are dated to the 12th century. During a renovation in Gothic style in the 15th century, arches were added and two hundred years later the house was dressed in a Baroque style.
Seven years ago, Nobis in collaboration with Wingårdhs began the work of bringing the long-dormant building back to life. Now, Nobis Hotel Palma stands ready – completely transformed, yet perhaps more authentic than ever.
– When we visited the building for the first time in 2016, it was admittedly very run down and had been empty for many years, but I immediately realized that this was the project and challenge of a lifetime, says Helena Toresson, architect at Wingårdhs.
The renovation was demanding. Every stone in the courtyards was lifted and placed back. Layers of plaster were peeled off and analysed, and the history of the building slowly emerged — vaulted arches, underground passages.
The architectural approach has been to let all the layers of the building come to the fore and to make the new additions clear and sharp — an ambition developed together with Jordi Herrero of JHA Architecture Studio and Eduardo Garcia Acuna of EGA Arquitectura.
Some unorthodox solutions follow from the building itself: the reception and lobby are partially outdoors, and a sequence of two open courtyards takes the visitor from the entrance gate into the restaurant, bar and sun terrace. Outside and inside intertwine into a whole.
"We tried to balance the power of the building and its raw material palette with Nobis' desire for intimate, friendly rooms and environments."
— Helena Toresson
In the 37 hotel rooms, the sharpness is evident in the bathrooms’ metal shells and mirrored surfaces. The line between the bathroom and the sleeping area is fluid, which creates an airy studio feel. The interior’s earthy material palette with a strong sense of craftsmanship can be seen in the headboards from Carl Hansen designed by Wingårdhs and the free form of the wooden desks. Collaborations with local artists and craftsmen are present in both ceramics and textile wall hangings.
While the hotel rooms exude a tranquil expression, the public areas hold more energy. The grand lounge bar is the heart of the hotel. The walls show the archaeologists’ exploratory work, clearly presented with an exposed border between plaster and stone. In the middle of the room, with a ceiling height of nine meters, a gigantic lamp designed for the project floats. A mirrored bar and sweeping draperies frame the room. The furniture is plush, and the rugs’ pile is high.
Guests can also experience a library, small gym and spa, a sun terrace embedded with Mediterranean plants and a roof terrace overlooking the Cathedral of La Seu. The two intimate courtyards vividly illustrate the different layers of history and our contemporary additions.
The architectural approach
The architectural approach has been to let all the layers of the building come to the fore and to make new additions clear and sharp. An ambition that was developed together with the architects Jordi Herrero, JHA Architecture Studio, and Eduardo Garcia Arcuna, EGA Arquitectura.
This approach, which was eventually approved by careful authorities, consisted of two attitudes. On one hand, to clearly present new additions with both contrasting materials and shapes, and on the other, to try to show the building's different layers and styles by removing layers of plaster and paint and presenting them as honestly as possible.
Archaeologists and conservators have followed and analyzed the building's different layers of time, all of which are considered equally important.
As peeling of layers, arches were found, and they were filled with new modern glazing and bay windows. Floor tiles and stone pavings were lifted so that installations could be added underneath.
All original stone and tiles were put back again. Classic wooden ceilings have been renovated and new were produced in the same style.
Many of the building's walls, ceilings and floors had conservation value. Some were so old and considered so valuable, that they could not be touched with new installations.
