Xiamen SPA

concept 1

与场地的回应
HUG THE SITE
一条狭窄的走廊连接着同样的酒店房间,已经成为了亘古不变的酒店格局。这种重复性的布局逻辑成了经济收益的先决条件,将每个住宿客人简单地看作为一个被管理的单体(一把“钥匙”),强行把不同的个体统一化。我们的设计通过挑战一个长条形被限制的地块,运用书法中弯曲、迂回、辗转、拉升的线条,形成了最终折线形的建筑体块,拥有自身的逻辑以及建筑语言的表达。这个理念尤其在地块西侧被淋淋尽致的表达出来。
It is the ubiquity of long corridors and repetitive rooms that has consigned most hotels into a cliché. This repetitive logic, seen as an economic imperative, treats the individual as a mere manageable entity (a ”key”) and subjugates difference into uniformity. Our design takes the challenge of a narrow and restricted site to push and pull against the constraints, articulating a calligraphic line that flexes and hugs the opposing edges of the site. This sinuous line draws the rooms out along the linear dimension of the plot, generating its own logic and expression against the rigid massing of tower blocks and residential towers that defi ne the sites to the west.

concept 2

与河水的连接
LINK TO RIVER
我们将酒店房间均设计为面向西方是为了优先客房的水景山景。客房布局有三种不同独特的布局和分配。通过标准的建造方式,这种多样性使得建筑东立面独具一格。房间的跨度或宽或窄,或长或短。建筑西立面则展示了一个优雅的玻璃线条,婀娜柔软,仿佛一条美丽的白蛇。
The view to the river and distant hills is given priority and preference for the hotel rooms, with all rooms focused eastwards. The rooms themselves are defi ned by three different and distinct internal layouts and proportions. This diversity, achieved within a standard construction format, creates a highly articulated fa?ade to the east,with rooms being wider or narrower, longer or shorter. The western elevation displayed a graceful glass line, supple and twisting like the back of an albino snake or serpent.

concept 3

被提升的视野
LIFT FOR VIEWS
酒店房间分布于二层和三层,它们占据着最优的居住地理位置。酒店入口,娱乐,聚会和服务位于酒店房间下方。酒店客房可以直接透过景观竹林欣赏河景,远处的山景以及享有自然光线的照射。折线型建筑形状,曲曲折折,带个每个房间不同的视线角度和方向。
The hotel rooms are elevated above the ground plane, situated on top of the reception, bar/restaurant and gallery. They exist as a distinct domain of habitation, raised above the functions of entry, entertainment, congregation and service. The rooms gain views across the immediate landscape and are afforded views to the river, the distant hills and the sky. The meandering line that defines this upper level, twists and turns, shifting the orientation and the viewpoints.

concept 4

建筑+花园
BUILDINGS + GARDENS
建筑+花园:整个地块被分为两个主要部分——酒店和花园画廊。前台,办公,服务,餐厅/咖啡厅和酒吧主要设立在地块北侧,酒店坐落在其上方。主要的体量集中在地块北侧,遗留一小部分的酒店客房在地块南侧。南侧部分是一个混合组成体块,一系列的画廊分散在花园景观里,或者说是一系列的景观庭院嵌入了美术馆内部。
The site is divided into two main sectors – the hotel building and its necessary components and the gallery-garden. The northern half of the site contains the main hotel functions: reception, offi ces, services, restaurant/café and bar, with hotel rooms situate don two levels above. This main massing is concentrated to the north, with a section of the hotel rooms trailing across to the southern half of the site. The southern half is itself a hybrid composition, with galleries dispersed in a garden landscape, or alternatively, a series of landscape courtyards embedded in a gallery complex.

concept 5

封闭&开放
SOLID & OPEN
地块北端由一条折线型的建筑体块蜿蜒穿过开放的空间。地块边缘保持开放,以便使用者进入建筑本身或穿行。地块南段由闭合的美术馆立面与精心设计的景观墙,闭合的花园以及内部景观构成了一个四周闭合的空间。
The northern sector of the site is an open fi eld with a sinuous object meandering across. The edges remain open to entry and to passage across. The southern half of the site is a closed perimeter, with gallery surfaces and fi ligree walls enclosing gardens and internal landscapes.

concept 6

画廊-花园
GALLERY-GARDEN
这种室内与室外空间相交错的设计手法将花园的平静和安宁与画廊的展览融合为一体。从建筑内部到外部,从画廊的展品延伸到画廊外的自然景观,在画廊与花园之前游憩,两种对比强烈的视觉与心理感受,前者是对展览作品的仔细揣摩,后者是对绿色自然的拥抱放松。隐私,亲密关系以及参观者独享的特权,通过封闭的画廊以及半围合的花园的设计表达手法被传达出来。
This hybrid interior and exterior composition brings together the display galleries with the gardens of quietude and repose. Moving between gallery and garden, between intense focus and relaxed gaze, these two contrasting domains are conjoined to generate a sequence of varied moments and experiences, moving from inside to outside, from the display of objects to the presence of nature. These sealed gallery volumes and the walled garden enclosure conveys privacy,intimacy and restrained privilege.