Jingshan Boutique Hotel 杭州徑山精品酒店

Jingshan Boutique Hotel 杭州徑山精品酒店

設(shè)計(jì)單位: 久舍營(yíng)造工作室（場(chǎng)地規(guī)劃/建筑設(shè)計(jì)/室

內(nèi)設(shè)計(jì)/景觀設(shè)計(jì)）

設(shè)計(jì)團(tuán)隊(duì): 范久江、翟文婷、呂爽爾、高琦、黃鑾鐸

建設(shè)單位: 杭州都市快報(bào)報(bào)業(yè)集團(tuán)

項(xiàng)目地點(diǎn): 杭州?徑山

項(xiàng)目類型: 精品酒店

項(xiàng)目規(guī)模: 約1 100 m2

專業(yè)顧問(wèn): 盛健康、花勇剛、朱丹、黃建寶

設(shè)計(jì)時(shí)間: 2014年11月-2015年8月

建成時(shí)間: 2016年7月

攝影團(tuán)隊(duì): SHIROMIO工作室

Design company: Continuation Studio

Design Scope: Site Planning/Architecture/ Interior / Landscape

Lead Architects: Jiu-jiang Fan, Wen-ting Zhai, Shuang-erLyu, Qi Gao, Luan-duo Huang

Client: Hangzhou Urban Express Newspaper Group

Location: Jingshan, Hangzhou

Project Type: Boutique Hotel

Area: Approx. 1 100 m2

Consultants: Jian-kang Sheng, Yong-gang Hua, Dan Zhu, Jian-bao Huang

Design Time: 2014.11-2015.08

Completed Year: 2016.07

Photographs: SHIROMIO Studio

這是一個(gè)從場(chǎng)地經(jīng)營(yíng)開始的設(shè)計(jì)。場(chǎng)地約一畝地大小，坐落于水庫(kù)大壩一側(cè)的山脊轉(zhuǎn)折處。綠樹環(huán)繞的基地內(nèi)原有一幢兩層高的80年代的三合院宿舍樓，圍合的院中有一棵姿態(tài)優(yōu)雅的高聳松樹，樹冠籠罩著部分建筑與半個(gè)院落，成為了院子中最強(qiáng)烈的控制力。而項(xiàng)目所在地——禪茶道的發(fā)源地徑山，又使這塊場(chǎng)地天然具備了深厚的歷史文化氛圍。因此，保留院落結(jié)構(gòu)與松樹并塑造出潛在的場(chǎng)所精神，成為設(shè)計(jì)開始就確立的目標(biāo)。

This is a project that started from engaging with the site. The site is located up on a mountain ridge, next to a reservoir’s dam. There was previously a two-story “San-Ho-Yuan” style dormitory block built back in the 1980s, with a courtyard surrounded by the concave form of the block. There stands an ancient pine in the centre serves as the heart of the courtyard, with its dense canopy covering half of the courtyard and part of the building. Meanwhile, the historical context of the site, to the north of the Jing-Shan Mountain that once gestated the Zen tea ceremony, has prepared it with a deep historical and cultural ambiance. As a result, to preserve the courtyard structure as well as the ancient pine, in order to generate its potential spatial spirit,has been established as our design proposition.

通過(guò)對(duì)周邊景觀資源的研判，西側(cè)建筑的高度被降低為一層，西側(cè)層層遠(yuǎn)山的輪廓成為了院中及客房陽(yáng)臺(tái)的重要景觀，金色的夕陽(yáng)也可以以接近水平的角度照進(jìn)院中，朝西主立面在夕陽(yáng)和水面的多維度強(qiáng)化下顯現(xiàn)出強(qiáng)烈儀式感，塑造出“禪院”的意象。南側(cè)以160公分高的院墻把山林與院子隔開。沿著山風(fēng)吹來(lái)的路徑，U形建筑北側(cè)兩個(gè)角部被打開：西北角的主入口設(shè)置了對(duì)角交錯(cuò)的兩個(gè)門洞，從門外便可恰好看到院內(nèi)保留的松樹；而東北角增加了交通院，通透的直跑鋼樓梯以黑色金屬格柵與綠林相隔，引入山風(fēng)的同時(shí)一并接納了清晨的陽(yáng)光。這兩處斜向的對(duì)角院落『門廳』設(shè)置，也拉長(zhǎng)了視線的距離，使原本140平米左右的院落被無(wú)限延伸。

為了強(qiáng)化“禪院”的體驗(yàn)，“山”的意象也在體驗(yàn)中被一再提示，不僅進(jìn)入酒店前需要真實(shí)的爬山，一條“游山”的路徑也被設(shè)計(jì)進(jìn)了酒店內(nèi)部：入口及院落被分解在多個(gè)標(biāo)高，爬升行為被有意識(shí)地與場(chǎng)所光線的曖昧差別聯(lián)系起來(lái)。光線被挑檐、水面、柱廊、格柵、天窗等要素仔細(xì)控制后，由下至上形成由暗『晦澀』及明『現(xiàn)代』的氛圍轉(zhuǎn)換，最終在只能看見天與樹冠的屋頂露臺(tái)達(dá)到明的極致，建筑『人工』從視線中消失。

在觀景體驗(yàn)的營(yíng)造上，設(shè)計(jì)著重表達(dá)了與自然“對(duì)坐”的觀念。充滿儀式感的框景角度與院落軸線，無(wú)不提醒使用者思考“人——天『自然』”這一組對(duì)象的對(duì)話關(guān)系。而自然、在地的材料使用：木、石、鐵、白色涂料及玻璃，也暗示著一種自然建造的鄉(xiāng)野現(xiàn)實(shí)。

Through the study of the surrounding landscapes, the decision was made to reduce the height of the west side of the building to one story, providing the courtyard and the rest of the building with the view of the outlines of distant hills from the west. Said method also induces the sunset nearly horizontally into the courtyard, sprinkling the main fa?ade. Multilayers of water and light together paint the picture of a “Zen temple”, with an intense sense of ritual. On the south side of the yard, there lies a wall with the height of 160cm, separating the courtyard from the wild forest. Paths that come along with the mountain breeze go through the two corners opened up on the north side of this concave building. Through the two diagonally staggered doors on the north-west corner that is the main entrance, the pine retained in the yard can just be seen. While to the north –east entrance, a foyer of tra ffi c is placed. The colours of black metal from this translucent steel stair and the green from the nature melt into each other, inducing the wild breeze and the morning sunshine. The establishment of these two foyers also expands the spatial sensation of the courtyard beyond its actual 140 m2.

In order to enhance the prospect of “Zen Temple”, the imagery of “mountain” has been implied along the experience process. It is revealed in the actual mountain climbing required before entering the hotel, as wellas in the tour path inside the hotel that resembles a walk in mountain. The entrance and the courtyard is decomposed into various heights, generating nuances of light between di ff erent spaces, associating with the physical action of climbing with a subtle intension. The light within the space is controlled delicately by the eaves, the water, the colonnade, the grille, the skylines and other sorts of elements. The di ff erences of light achieve the transition of ambiance from the dark “obscure” to the bright “modern” from the lower ground to the higher, and eventually reach its acme of brightness on the roof terrace, where only the sky and the pine canopy are in sight, from which the arti fi cial beings of architecture simultaneously disappear.

The design method, regarding the viewing experience, focuses on the notion of “sitting face to face” with nature. Both of the ritualistic perspective angles and the axis of the courtyard intrigue beholders to ponder the relation between “nature” and “humanity”. For another, in terms of the use of natural materials on site, such as wood, stone, iron, white paint and glass, it also implies the naturality and rurality that lies in architectural renovation.