Vintage Czech

Rooms are notable for their size.
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Set across seven historic buildings in the heart of Prague, Rocco Forte’s The Augustine hotel is steeped in cultural significance.

Of the seven buildings, the largest and most important is the 13th century Augustinian Saint Thomas monastery, from which the 101-room hotel has taken its name. Other buildings within the complex include the monastery’s former brewery, and a building belonging to the ministry of the interior.

“The Saint Thomas monastery and church complex where The Augustine is housed holds undeniable importance in the early development of Prague as a city,” explained Hanning Matthiesen, the hotel’s general manager.

“When the Augustinian religious order first arrived in Prague in 1285, Malá Strana, the Lesser Town, where The Augustine is located, then comprised of a closely parcelled area of land nestled below the royal castle promontory, or Hradcany, and separated from the Staré Mesto, or Old Town, of Prague by the sinuous and unpredictable Vltava river,” Matthiesen detailed.

Back to basics

London-based design firm, RDD, worked with Olga Polizzi, The Rocco Forte Collection’s director of design, to transform these seven buildings into a hotel that was suitably high end, but also respectful of the site’s heritage. The buildings were carefully preserved and restored, using, wherever possible, original masonry and materials.

“The designers have ensured that historical features, such as the cloistered gardens, painted ceilings, vaults and stone arches, have been preserved. The interior of the main restaurant incorporates two fully-grown listed trees. A bar located in the monastery building from the 13th century features preserved stuccos and late baroque ceiling paintings,” Matthiesen explained.

The hotel has 101 rooms and suites, which are notable for their size. It also offers a high ratio of suites to rooms, meaning that guests have a greater choice of higher-end rooms. Standard rooms measure in excess of 40m², while suites average in at 62m². There is also a 150m² presidential suite.

All rooms boast striking views over the courtyards, the monastery chapel or Prague Castle. Each room is different, with the majority offering quirky architectural and structural features such as vaulted ceilings and ornate doors.

Room 117, for example, includes unique 18th century features that were exposed and lovingly restored during the renovation. “The upper floors of the original monastery building housed the monks’ living quarters and in many cases two or three of the ‘cells’ have been combined to create the new rooms and suites,” Matthiesen added.

Care has been taken to ensure that the rooms retain a sense of authenticity, explained Polizzi. “We wanted the hotel bedrooms to reflect The Augustine’s rich monastic history and the strong cultural heritage of Prague, by using a simple design with a distinctly ecclesiastical feel. Plaster finishes and timber floors have been used in many of the bedrooms, in keeping with the requirements of the listed building authorities, as well as reflecting the design philosophy,” she explained.

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Against this backdrop, RDD and Polizzi opted for accessories inspired by early 20th century Czech cubism. Many of these, including timber chairs by Pavel Janak and chaise-longues by Aldolf Loos, are reproductions by Czech design specialist Modernista. Rooms are also equipped with custom-made beds designed specifically for Rocco Forte hotels, with traditional hand-tufted Hypnos mattresses.

The rooms have distinct colour schemes, which inlcude green with purple accents and grey with orange accents. They feature heavy linens and velvets in papal-inspired shades of purple, red and orange. In a further nod to the hotel’s spiritual past, many of the bathrooms have a sculpted angel wing mounted above the bath.

An even more acute sense of history is evident in the hotel’s main bar. “Housed in the cellar of the original brewery building, The Brewery Bar features stalactites and stalagmites dating back to the 17th century, and an authentic underground water source which has been glazed over and incorporated into the design. A lit, floating terracotta floor has been laid to protect and highlight the stalactites and stalagmites,” Matthiesen said.

The walls of the bar were given a rough finish to reinforce a monastic feel. Cubist overtones were once again incorporated, in the form of Vlastislav Hofman-designed chairs, complemented by an angular bar. Meanwhile, Tom’s Bar, which is found in the monastery’s former vaulted double-height refractory, features restored eighteenth century baroque frescoes.

In direct contrast to the historic buildings, the lobby and The Monastery restaurant are new, contemporary structures. A custom-made glass and metal sculptural light by British artist Anthony Critchlow is an arresting focal point. All in all, a total of 1,500 different types of light fittings, including custom-created lines, were used in the hotel.

“The lobby has been created in an area which once formed part of the entrance courtyard and has a stunning wood-panelled reception with a desk incorporating woven leather and a large open fireplace,” said Matthiesen.

But even in the most ‘modern’ parts of the hotel, historical elements are never hard to come by, he added. “The light-filled ‘Monastery’ restaurant sits in a glazed courtyard and incorporates three protected horse chestnut, Canadian maple and sycamore trees, with outside seating during the summer months. The restaurant has bespoke gold leafed panels and chairs based on a 1930’s Bauhaus-inspired design.”