THE STAIRCASE AND GUEST ROOMS

請允許我先跳過酒店大堂從臺階說起，盡管GRAN Melia的大堂空間無處不透著時尚性感和快樂的基因。那是我在辦完入住手續(xù)之后，將目光轉(zhuǎn)移到臺階上。對，就是那道讓人覺得還散發(fā)著原木清香的地板上還鋪著厚厚藍色地毯的臺階。我的腦子里以對撞機數(shù)據(jù)碰撞的方式，迅速得出以下這個結(jié)論：在至今所光顧過的四十余個國家數(shù)百座城的酒店，它是極少能讓我心甘情愿放棄電梯婉拒行李員的陪同，拎著箱子走到客房的臺階。我甚至覺得，它要比巴黎麗茲酒店大堂內(nèi)那道因香奈兒小姐的走秀而舉世聞名的臺階，要來的秀美并充滿時代感。

一男一女兩位年輕情侶正在從二樓到三樓的臺階上專心致志地拍照?！癕ontes unemarche”（往上走一下），舉著相機的男子對他那穿著短裙的女友用法語說。一頭金發(fā)的女孩倚靠在修長的原木扶手上，刷成白色的金屬一反近年來充斥世界的土豪金，柵欄每一根線條上同樣被刷成白色的金屬花飾，因排列上的巧妙，似乎有千萬滴水珠不間斷輪回，賞心悅目。

“Pardon”， 在用法語向還被留影的欲望包圍的法國女孩借過后，我探頭看了一下從頂樓垂吊下來的線條狀吊燈，與大多數(shù)酒店為了炫耀奢侈而選用的古典水晶吊燈完全不同。而最巧的是在吊燈燈光滑落的地面，有一只上了年歲的古獸雕塑，它是光環(huán)中的主角。

和法國情侶互道“Bonne journée”（一天愉快）后，我拐入通往客房的長廊。文藝復興后期，西班牙最偉大畫家Diego Vélasquez的“瑪格麗特公主”肖像近在咫尺，這幅應西班牙宮廷要求，顯示出當年鼎盛時期的宮廷生活的作品，被切割后放大在黑色墻面上，盡顯華美。

推開房門，Vélasquez在1629年的巨作“酒神的勝利”，被酒店設(shè)計師截取了勝利者的畫面，打印到絲綢之后就這樣占據(jù)了床頭的整面墻，而被截取選擇的畫面少了敗者為寇的憂傷，讓客房一下子變得溫情滿滿。設(shè)計師對原作的再創(chuàng)作品味讓人心悅誠服。臥室和浴室僅僅是一面透明的玻璃墻之隔，從臥室這邊望去，一池白色的弧形浴缸擺在淋浴的邊上，宛如上了框的油畫。浴室的玻璃墻也并非如眾多酒店那樣僅僅是將工作做了一半，并未考慮到同住朋友間的隱私。在這里，只要將那一簾明亮的黃袍般的簾子沿著浴室外的玻璃墻拉上，房客就與“酒神的勝利”中的兩位男主人公健康的胴體相呼應而成了一個世界。

我喜歡客房中的礦泉水，那是來自貝塔塔區(qū)昆卡山上的泉水，是在地層下醞釀400年才能取得的精華水源。瓶身中央浮雕式的皇家花飾的藍寶石水瓶，也在客房空間中從視覺上脫穎而出，至少讓我愛不釋手。一家好的酒店，一定是具備了能將眾多細小的美好事物匯集在一起的能力嗎？

拉開窗簾，才對酒店臨街但客房卻如此安靜的疑惑恍然大悟。馬德里的貴族住宅中兩面落地窗的隔離，為客人將嘈雜永遠擋在外面。眼底下，街的對面是一家人來人往的迷你酒吧。小小的露天座上是黑椅紅桌邊三三兩兩的品酒人。窗里窗外兩個世界，一片愜意。

Please allow me to skip through the lobby and start with the staircase despite the ubiquitous modern， sexy， and lively atmosphere in the lobby area of GRAN Melia Hotel. I distinctly remember the moment when I just checked in and sighted the staircase， the one covered with thick blue carpet yet seemed to enchant people with a refreshing scent of wood. With a speed of a lightning， I arrived at the following conclusion： of all the hotels in hundreds of cities of over 40 countries that I had visited， the Madrid GRAN Melia Hotel had one of the few stairways that made me gladly give up the elevator， turn down the escort of a hotel porter， and carry my suitcase all the way to my room. It impressed me so profoundly， that it struck as even more splendid and modernized than the stairway in the Hotel Ritz Paris， worldly-famed from the Chanel Metiersd' Art show.

At the time， two young lovers were quite absorbed in taking pictures on the stairs between the second and the third floors. \"Montes unemarche. （Take one step up.）\" The man holding the camera said in French to his girlfriend， a blond girl in a skirt leaning against the long wooden handrail. Quite different from the ones with the flashy but commonplace golden color， the metal on the handrail was painted in white. Every singly line was， too， painted in white， forming beautiful metal floral ornaments. It was so cleverly designed that it was as if thousands of water drops incessantly flowed around， so dazzling and beautiful.

\"Pardon\"， said I to the French girl who was still overwhelmed by the desire of taking pictures. I looked up to the chandelier hanging from the roof. It was formed by linear shapes and was completely different with the kind of classic crystal chandelier that most hotels use to flaunt their extravagance. On the floor and bathed in the lights of the chandelier was an old sculpture of an ancient beast. It was the very center under the spotlight.

After exchanging \"Bonne journée （good day?。‐" with the French couple， I turned to the hallway leading to the guest rooms. I found myself just steps away from the Portrait of the Infants Margarita Teresa of Spain by the greatest Spanish artist in the late Renaissance， Diego Vélasquez. Addressing the Spanish royal family's request， the painting showed the luxurious imperial life in the heyday of the dynasty. The portrait was cropped， enlarged， and hanged on the black wall， showing such beauty and magnificence.

With the door open， my first sight was The Triumph of Bacchus， the masterpiece of Vélasquez in 1629， printed on silk and taking up the whole wall at the bed. Taking only the part of the conqueror， the designer expunged the sorrow of the losers， leaving the guest room with nothing but warmth and coziness. The taste of the designer in his recreation from the original work was absolutely exceptional. Between the bathroom and the bedroom was just a transparent glass wall. Looking from the bedroom side towards the bathroom， one may see a white curved bathtub right by the side of the shower. The sight was just like a painting in a frame. Unlike many hotels that just stopped there， failing to consider the privacy issues between friends， Madrid GRAN Melia Hotel solved the problem with a curtain behind the glass wall outside of the bathroom. Merely by closing the bright yellow curtain， the guest can immerse himself in the world of The Triumph of Bacchus with the two brawny men.

I liked the bottled water in the guest room. It was the essence of the spring water from Mountain in Cuenca， Spain， with an age of over 400 years under the ground. The sapphire-like bottle had a royal floral-patterned cameo design in the center of the bottle， which made the bottle stand out in the guest room visually. At least， the bottled made me go crazy about it. An outstanding hotel must possess the ability of incorporating lots of detailed exquisite elements in a single room.

It was only after opening the curtain that I realized the reason for the quietness in the guest room despite its proximity to the street. The two-folded floor-to-ceiling window separations in the rich neighborhood of Madrid shielded the guests from noises. Look outside， I saw a busy mini-bar across the street. In the little outdoor seating area， there were several people seated at the black chairs and red tables， savoring the wine in their glasses. It was completely two different worlds inside and outside， but both were of relaxation and coziness.