ROMEO Roma, Rome, Italy

Posted in Projects on 24 February, 2025

New openings are always exciting – it’s what we’re here for. Throw into the mix the late great Zaha Hadid, an undisclosed budget, a nine-year delay – and the ebony floor’s all yours. Welcome to ROMEO Roma.

Words by Emma Kennedy

Centrally located in Via di Ripetta, a stroll south of Piazza del Popolo, Hotel ROMEO Roma is the second property in the ROMEO Collection’s growing portfolio. Outside, a row of planters sprouting vivid green cacti guard the pink stuccoed walls of the historical building. It’s an unusual choice of planting for a five-star hotel in the heart of Rome, but it’s also in keeping with a hotel that is far from ordinary.

ROMEO Roma, Rome, Italy. Photographs by Chris Dalton

Housed in a 16th-century palazzo with a storied past involving royalty, nobility, and the Papacy, the property has undergone significant changes over time. In 1939 under the direction of its then-inhabitants – a community of Jesuit priests – three adjacent buildings were acquired, demolished, and rebuilt, substantially expanding its footprint. By 1951, it had become home to government offices, before ultimately capturing the attention and imagination of ROMEO Collection’s CEO, Alfredo Romeo.

Following an extensive 12-year transformation, ROMEO Roma has finally opened its doors, unveiling a 74-room luxury hotel designed by Iraqi-British architect Zaha Hadid, in what was to be one of her final projects.

Beset with structural challenges from the start – exacerbated by the discovery of an archaeological site mid-build, and the miles of red tape that followed – the renovation was far from straightforward. Yet, while acknowledged clashes of design ambitions between Hadid and Romeo, along with long-drawn-out planning applications (250 in total) hampered progress, interest and intrigue only grew in anticipation of the long-awaited opening.

Hotel ROMEO Rome is bold if nothing else. Fortunately, for the sake of its guests, there’s an awful lot of something else going on from the moment you step across the threshold.

Offering the first taste of the rich materiality that flows throughout the hotel is the reception. Here, huge plant-like structures rise up from the floor, clad in a clamshell pattern of shimmering brass tiles. Casting shards of light that illuminate the amorphous desks below, they shine like beacons against walls of Carrara marble. Underfoot, islands of slate float on a sea of ebony edged with inlaid gold. It’s an exciting start to the drama that follows.

While the overall design bears the unmistakable vision of Hadid, the ebony finish marks a departure from the bright white interiors she was best known for.

Outside in the lobby, the design takes an unexpected turn, led by the cascading thrum of a digitally engineered waterfall jettisoning down in a rainbow of colours. Sporadically spelling out ‘Welcome’ and ‘Romeo’ as it tumbles down, it’s a strong contender for the hotel’s Instagram moment. Unable to compete acoustically with its watery neighbour, a scarlet grand piano stands alone, suggesting Liberace has left the building.

The Lobby, once the Piazza’s courtyard, connects the three buildings under a canopied structure of stainless-steel spines. Standing at its centre, Ivan Russo, ROMEO Group’s Director of Architecture, admires his work. “This is the beauty of the hotel,” he tells me. “The structural challenge here was to bring everything to the same level to accommodate all the guest areas – the restaurants, the bar, the spa etc – so we could reduce the flow of traffic on the guest room floors above.” This is just as well, given the marble and hardwood ‘carpets’ in the corridors above, where passing guests are heard – if not seen. But back on the ground floor, the design works well, with each space flowing seamlessly into the other, through deep Carrara marble archways. And upstairs, the passing guests are indeed, few and far between.

The scarlet piano, a ROMEO signature note, is a rare pop of colour in a hotel awash with dark ebony. Following the distinct modernist hand of Zaha Hadid’s design that stretches its sinuous form throughout the building, it climbs walls, reaches out across ceilings, and flows with purpose around corners. It swims directionally along floors, with shoals of Carrara marble and steel guiding guests from one area to the next. There is a yacht-like feel to the design, in part created by the application of glossy marine varnish to the ebony, but also in the efficiency of the design, especially in the guest rooms and suites. But more on those later.

While the overall design bears the unmistakable vision of Hadid, the ebony finish marks a departure from the bright white interiors she was best known for. “Initially, she was resistant to the idea of ebony,” Russo tells me. “For one, she couldn’t comprehend the cost of using it in such vast quantities. She also doubted the design could be executed in wood, insisting it could only be achieved with a manmade material. But Romeo was insistent, and eventually, she agreed to experiment with the ebony.”

Once the technical challenges of applying the ebony veneer to myriad curvaceous surfaces were overcome, there appears to have been no stopping Romeo in his quest for an ebony-drenched hotel.

Marking his Roman debut, Alain Ducasse has brought his Michelin stars to ROMEO Roma with Il Ristorante Alain Ducasse. Unlike the rest of the hotel, the restaurant is open to the public, making its design all the more exciting for those who haven’t experienced the ebony overload beyond. Much like the reception area, the restaurant is immediately impressive. Here, the ebony appears in the form of tree-like structures whose crowns morph into the ceiling. Concealed lighting channels its glow through the gaps where the stepped structure overlaps, creating a modernist interpretation of a woodland setting. Entering the restaurant from the private dining area, discreetly positioned at the back of the restaurant, Monsieur Ducasse looked at home as he drifted between the trees to greet us.

From the central lobby, a marble staircase leads up to the aptly named ‘Fresco Suites,’ the last remaining rooms of the original Piazza. In the suite we are shown, ancient frescoes wrap around the walls, depicting a variety of vistas. They are stunning and, surprisingly, unprotected – the owners preferring to trust their guests rather than install glass panels. The high ceiling allows for a sweeping staircase to wind its way up to a mezzanine bedroom, its curve continuing down to embrace a sculptural bathtub. In the real world, its placement might raise eyebrows, but here – where apparently anything goes – it somehow works. The juxtaposition of old and new reaches a heady climax with the ebony Hadidist curves enveloping the bathroom, dressing room, and kitchen area, like a capsule.

The yacht-like feeling mentioned earlier truly comes into its own in the rooms and suites throughout the rest of the hotel. Housed in the former government offices, the look is futuristic, with materials continuing the themes of the ground floor. Swathes of glossed wood conceal cupboards and drawers in unexpected places. Walls and floors sometimes appear to merge into one, while a TV screen cleverly morphs into a mirror when switched off. The jacuzzi hidden behind the bed might have taken the concept of space-saving a step too far, and the fake fire tucked behind the veneered swell of a panel feels a little unnecessary. But there’s a sense of fun here – whether intentional or not – as you explore the space.

Beset with structural challenges from the start – exacerbated by the discovery of an archaeological site mid-build, and the miles of red tape that followed – the renovation was far from straightforward.

ROMEO Roma is a bold addition to a city already rich in luxury hotels, and the big names involved – Zaha Hadid and Alain Ducasse – add a final layer of gloss to a very shiny property. The curated artworks from Romeo’s personal collection, the exceptional craftsmanship, and the sheer originality of its design make it a strong contender for those in the market for luxurious lodgings. At 2,400 euros, the starting price of a night’s stay at ROMEO Roma is not for the faint-hearted, but privacy comes at a cost. Its glass doors are opened with due diligence to guests – and guests alone – which, in a city that attracts around 10 million tourists a year, will be an attractive draw. Like any hotel that dares to march to the beat of its own design drum, it is going to attract a lot of opinions. The pervasive use of ebony can at times feel excessive, and certain design elements – the placement of the piano, the statement water features – can feel at odds with the Hadidist aesthetic. Yet, from my perspective, there is a lot to like. Often intriguing, frequently surprising, and occasionally perplexing, ROMEO Roma is many things, but never dull.

theromeocollection.com/en/romeo-roma