蘭往-Ladésee Hotel，坐落在大理環(huán)海西路的桃源村，一個(gè)寧?kù)o、質(zhì)樸的白族村莊。這里東接洱海，南鄰周城，向西便能望見(jiàn)蒼山云弄峰。
蘭往-Ladésee Hotel：凝固的窗框，偶然的風(fēng)景
The Fixed Window Frames, The Ever-changing Scenery
蒼山。洱海。
環(huán)海路。桃源村。
Huanhai Road. Taoyuan Village.
▲ 航拍俯瞰圖
蘭往-Ladésee Hotel，坐落在大理環(huán)海西路的桃源村，一個(gè)寧?kù)o、質(zhì)樸的白族村莊。這里東接洱海，南鄰周城，向西便能望見(jiàn)蒼山云弄峰。Lan-Ladésee Hotel is located in Taoyuan Village, Huanhaixi Road, Dali, a quiet and pristine Bai village. It is bordered by Erhai Lake in the east, Zhoucheng in the south, and Yunong Peak of Cangshan Mountain can be seen to the west.
▲ 傍晚的村莊，寧?kù)o的生活
房子建在離桃源碼頭不遠(yuǎn)的地方。面朝洱海，跨過(guò)門(mén)口的環(huán)海西路，便是近海漫灌向岸邊的湖泊、夏日蓮葉田田的荷景，以及生長(zhǎng)于水中的濕地樹(shù)林，再稍遠(yuǎn)些便是桃源碼頭。房子的背后是蒼山，近處可見(jiàn)蒼山腳下綿延的村落，以及人們春種秋耕土地。
The house is built facing the Erhai Lake. The Huanhaixi Road across the door is the lake that floods the shore, the lotus scenery of summer lotus leaf fields, and the wetland woods that grow in the water. A little further away is the Taoyuan Wharf. Behind the house is Cangshan Mountain, and the villages at the foot of Cangshan Mountain can be seen nearby, as well as people planting land in spring and autumn.
▲ 朝霞之下的建筑
1
現(xiàn)代/傳統(tǒng) Modernity and Tradition
這是一幢擁有三層樓高、帶庭院和屋頂?shù)慕Ｃ窬臃俊?/span>
建筑的立面采用當(dāng)?shù)氐氖模练€(wěn)低調(diào)，質(zhì)樸自然，表皮粗糲的肌理給人以獨(dú)特的感知，喚醒著建筑與自然的親近關(guān)系。白色的巨型飛翼作為現(xiàn)代建構(gòu)工藝的產(chǎn)物，其形態(tài)卻與傳統(tǒng)的飛檐翹角相呼應(yīng)。它起落在屋頂?shù)纳戏剑喾帏B(niǎo)，象征著自由，也意味著向往，并延展出對(duì)于居與旅的想象。This is a three-story offshore residential house with a courtyard and a roof.The facade of the building is made of local stone, calm and low-key, simple and natural, and the rough skin texture gives people a unique perception, awakening the close relationship between the building and nature. The white giant flying wing is a product of modern construction craftsmanship, but its shape echoes the traditional flying cornice. It rises and falls on the roof, sails and birds, which means freedom and yearning, and extends the imagination of living and traveling in it.
▲ 從荷葉叢生的近海湖看向建筑
重新鑿墻辟窗，長(zhǎng)條形的開(kāi)窗方式在橫向和豎向上為建筑的外立面帶來(lái)平穩(wěn)與簡(jiǎn)潔的現(xiàn)代性，方形的窗孔則隨著窗框大小的變化為建筑注入呼吸感。深灰色的三角斜挑作為一種偶然，向外微微擴(kuò)張，塑造著建筑的張力。
The windows are reopened. The rectangular window opening method in the horizontal and vertical directions brings clean and concise modernity to the building's fa?ade, while the square window openings inject a sense of breath into the building as the size of the window frame changes. The dark gray triangles are slanted as an embellishment, expanding slightly outwards, forming the tension of the building.
▲ 建筑外立面
從當(dāng)?shù)厥现虚_(kāi)采出來(lái)的有色石皮，或雜白或青綠或銹黃，以點(diǎn)綴的手法鑲嵌于立面之上。自然的嶙峋表皮，彰顯著來(lái)自山中之石的桀驁，輸出在地性的同時(shí)，也給建筑增添了渾厚與質(zhì)樸的氣息。
Colored stone skins mined from local stones, or mixed white, turquoise or rusty yellow, are inlaid on the facade with embellishments. Natural rugged skin, reveals the unruly from the mountains of stone, while the output of the local characteristics, but also added a vigorous and rustic atmosphere to the building.
▲ 建筑外立面墻皮與細(xì)節(jié)
從環(huán)海西路進(jìn)入酒店前的淺巷，伴隨著低矮的當(dāng)?shù)仄唇邮绞^墻與延伸的巷道小景，白族傳統(tǒng)的門(mén)頭作為主入口佇立在淺巷的盡頭，白色古樸的照壁透過(guò)門(mén)楣，形成景深式的視覺(jué)文化符號(hào)體驗(yàn)。
青磚青瓦、翹角飛檐，古樸而幽遠(yuǎn)，空間場(chǎng)所的在地性身份因此而顯現(xiàn)。
Entering the shallow alley in front of the hotel from Huanhai West Road, along with the low local stone wall and extended lane landscape, the traditional door of the Bai nationality stands at the end of the alley as the main entrance. White quaint screen wall through the doorway, forms a depth-of-field visual experience with cultural symbol.
The blue bricks, blue tiles, and angled cornices are quaint and quiet, and the identity of the locality space is thus revealed.
▲ 主入口
與此同時(shí)，院落格局從傳統(tǒng)進(jìn)出方向的排列上被挪轉(zhuǎn)為并列的橫向結(jié)構(gòu)，傳統(tǒng)性作為一種文化元素與美學(xué)氛圍，得到靈活取用。
The courtyard layout has been shifted from the traditional arrangement to the parallel horizontal structure. Tradition, as a cultural element and aesthetic atmosphere, is used flexibly.
▲ 從洱海看向建筑-夜景
▲ 夜晚，建筑外立面的局部
邊界/延伸 Boundary and Extension
院落被置于傳統(tǒng)照壁與門(mén)頭之間，流動(dòng)的水景均勻分布于以入口為核心的兩旁，水中的臥石與粗質(zhì)陶缸分別安置在兩個(gè)水景之中，形成延綿山勢(shì)與水中圓月的縮影。青灰色的地面介于傳統(tǒng)性與現(xiàn)代性的中間地帶，與房子外立面的石材以及傳統(tǒng)門(mén)頭照壁的灰色，形成流暢的視覺(jué)延伸性體驗(yàn)。The courtyard is placed between the traditional wall and gate，and the landscapes with flowing water is evenly distributed on both sides with the entrance as the core. The lying rocks and the coarse pottery jars in the water are placed in two water-scapes respectively, forming the epitome of the rolling mountains and the full moon in the water.
The blue-gray ground lies between the traditional and the modern, and forms a smooth visual extension experience with the stone on the facade of the house and the gray of the traditional gate and wall.
▲ 黃昏時(shí)的前院
▲ 前院的照壁 The traditional wall in front yard
▲ 前院的水景 The waterscape in front yard
院子以或抬高或下沉的方式在水平方向上向南端延伸，延伸至白色抿石鋪地的后花園。水池旁的五彩石矮片墻與連通后門(mén)的院墻，圍合成休閑的后花園一隅。潔凈的戶外沙發(fā)，雜植以現(xiàn)代植物與花卉，羽毛楓、月季、繡球，并設(shè)一座戶外的取暖壁爐。在景觀氛圍的營(yíng)造上，稍稍與正門(mén)的水景庭院拉開(kāi)距離，以此建立起在感受上的豐富度與差異性。The yard extends to the south by raising or sinking, extending to the back garden on the white stone ground.The clean outdoor sofa, mixed plants with modern plants and flowers, feather maple, rose, hydrangea, and an outdoor heating fireplace. In order to establish the richness and difference in experience, in the creation of the landscape atmosphere, it is slightly separated from the waterscape courtyard at the main entrance.
▲ 后院/后花園 Back yard
后花園連通后門(mén)，通向市井熙攘的桃源碼頭。這是蘭往酒店另一個(gè)幽蔽的入口，蜿蜒的墻壁下設(shè)立可供休憩的區(qū)域，濃蔭蔽日的天氣里，駁雜的墻壁上日影潺潺；橫向開(kāi)鑿的窗洞，在邊界上留下了可供視覺(jué)穿透的印跡。
The backyard is connected to the back door, leading to the bustling Taoyuan Wharf. This is another secluded entrance of the Ladésee Hotel. There is an area for rest under the winding wall. In the thick and shaded weather, the shadows on the complex wall are gurgling. The window holes excavated horizontally leave a mark for visual penetration on the boundary.
▲ 后門(mén)外側(cè) The outside of back gate
而庭院的另一側(cè)則通向室內(nèi)，形成酒店的門(mén)廳與入口。向外飛起的廊檐翹角，在形式上呼應(yīng)著庭院中傳統(tǒng)的飛檐形象，并與樓頂?shù)娘L(fēng)帆形成連續(xù)的視覺(jué)體驗(yàn)。院墻連接房屋，古樸的瓦楞窗與通往室內(nèi)的雕花扇門(mén)以邊界的方式被保留下來(lái)，但隔而有間的傳統(tǒng)園林意境，使得視覺(jué)上的滲透與延伸從未停止。
The other side of the courtyard leads to the interior, which forms the entrance hall and entrance of the hotel. The angled corners on the eaves of the corridor echo the image of the traditional flying eaves in the courtyard and form a continuous visual experience with the sails on the roof.The courtyard wall connects the house, and the primitive corrugated windows and carved doors leading to the interior are preserved as boundaries, but the traditional gardening technique never stops the visual penetration and extension.
▲ 一樓客廳外的廊檐下
光影/日常 Shadow and Daily life
并不絕對(duì)的邊界狀態(tài)，催生著完全不同的空間內(nèi)外關(guān)系。在一樓的公共空間內(nèi)，窗洞的開(kāi)孔方向，門(mén)扇的排列格局，使得邊界因光影的攀升與下沉浮動(dòng)著，孕育著一種氤氳的氛圍和動(dòng)人的詩(shī)意，營(yíng)造出一種與錯(cuò)位和微妙有關(guān)的平衡。The unclear internal and external boundaries give birth to completely different internal and external spatial relationships.The direction of the window and the arrangement pattern of the door leaves make the boundary floating due to the rising and sinking of light and shadow, giving birth to an tranquil atmosphere and moving poetry, creating a balance related to dislocation and subtlety.
▲ 一樓客廳 The first floor living room
條形窗框面朝洱海，近處是環(huán)海路的道路沿線園林景觀，遠(yuǎn)處可見(jiàn)水中茂盛的濕地樹(shù)林。條窗的高度為視域服務(wù)，被精確地計(jì)算著，條窗下的曲形休閑座區(qū)，向室內(nèi)的深處延伸。窗框的水平線提供了作為地平線的廣度，它是大自然的一部分。而座椅的延展式排列，挪用著戶外的經(jīng)驗(yàn)，以此讓每一個(gè)座位上的人都更靠近自然。strip-shaped window frames face the Erhai Lake, and the scenery along the Huanhai Road is close by, the wetland woods in the water can be seen in the distance. The height of the slatted window serves the field of vision and is accurately calculated, and the curved leisure seating area under the slatted window extends to the depths of the room.The horizontal line of the window provides the breadth as the horizon, which is part of nature. The extended arrangement of the seats borrows outdoor experience to bring everyone in each seat closer to nature.
▲ 一樓客廳 The first floor living room
空間通透，與直覺(jué)相關(guān)聯(lián)的物質(zhì)提供著建筑空間的細(xì)部。
銅質(zhì)的船頭造型壁爐，與條窗外的陽(yáng)光相對(duì)應(yīng)。頂面是廢舊的老木板拼貼，腳下是淺米色的巖板。白色的乳膠漆墻面作為簇新的中間層，指引著動(dòng)線的行進(jìn)方向，并在墻面的盡頭制造流暢而彎曲的內(nèi)收口。The space is transparent, and the material connected with intuition provides the details of the space.The bronze bow-shaped fireplace corresponds to the sunlight outside the window. The top surface is a waste old plank, and the bottom is a light beige rock slab. The white latex paint wall serves as a new middle layer, guiding the direction of movement, and creating a smooth and curved inward opening at the end of the wall.
Moloney Bioethanol Fireplace
▲ 一樓客廳的光影與細(xì)節(jié)
精確的細(xì)節(jié)在這里并不易察覺(jué)，連同空間層次微妙的遞進(jìn)，也一起被統(tǒng)一進(jìn)視覺(jué)的延續(xù)性里，并被整體的氛圍所替代，形式、光線、材質(zhì)、藝術(shù)品融為一個(gè)整體，在時(shí)間的逡巡中緩緩流動(dòng)。The precise details are not easy to detect here. Together with the subtle progression of the spatial hierarchy, they are unified into the visual continuity and replaced by the overall atmosphere. Form, light, material, and artwork are integrated as a whole, flowing slowly in the traversal of the time.
▲ 由一樓客廳通向餐廳
空間的轉(zhuǎn)換，從地面開(kāi)始。深邃的地面接納著客廳動(dòng)線的延續(xù)，并向內(nèi)部收縮、匯聚，形成束口，最后轉(zhuǎn)為兩個(gè)窄仄的行為方向：一個(gè)沿著黑色的扶梯往上，一個(gè)繼續(xù)向內(nèi)部探索。
以光為輪廓的垂直門(mén)洞，與被門(mén)幅截取的橫向條桌，為這個(gè)端口的隱秘空間，創(chuàng)造著與安靜有關(guān)的秩序。The transformation of space starts from the ground first. The deep ground accepts the continuation of the living room's circulation, shrinks and converges to form a funnel, and finally switches to two narrow behavior directions: one goes up the black escalator, and the other continues to explore the interior.The vertical doorway with light as the outline, and the horizontal table intercepted by the door width, create an order related to quietness for this secret space.
▲ 餐廳 The dining room
方形窗框依舊克制而準(zhǔn)確，但窗框不再成為親密接觸的對(duì)象，而被一種帶著距離的凝視所替代。凝視與距離塑造了這里的靜謐。靜謐在強(qiáng)烈的明暗中豐富著空間的形態(tài)，因此而廣闊，而深邃。
這里的靜謐仿佛是為了去收集什么，收集海潮拍打卷岸的聲音、傍晚海邊集市熙熙攘攘的聲音，收集天光與云彩、雨水和朝露，也收集蒼山一動(dòng)不動(dòng)的聲音。The square window frame is still restrained and accurate, but they no longer become objects of intimate contact, and are replaced by a gaze with distance. Gaze and distance shape the tranquility here. Quietness enriches the form of space in the strong light and darkness, so it is broad and deep.The tranquility here seems to be to collect something, collect the sound of the sea tide hitting the shore, the sound of the hustle and bustle of the seaside market in the evening, collect the sky and clouds, rain and morning dew, and collect the motionless sound of Cangshan.
▲ 圖為MOLONEY西班牙Hergom真火燃木壁爐
Moloney-Spainish Brand Hergom Wood Buring Fireplace 通過(guò)知覺(jué)去構(gòu)建空間感，日常生活的形態(tài)在這里捏塑成型，身體、情緒與空間之間的信任，成為自然生長(zhǎng)的一部分。簡(jiǎn)潔的空間構(gòu)成、當(dāng)?shù)氐乃囆g(shù)品、樸厚的家具、日常的器皿，它們代替傾聽(tīng)與觸摸，成為新的空間感官，在無(wú)新也無(wú)舊的平常生活里，一點(diǎn)一點(diǎn)回溯著，重建物與物、人與物之間親密樸實(shí)的情感聯(lián)系。
To construct a sense of space through perception, the form of daily life is molded here, and the trust between body, emotion and space becomes a part of natural growth.Simple spatial composition, local artwork, simple furniture, and everyday utensils, they replace listening and touching and become new spatial senses. In ordinary life without new and old concepts, they look back little by little, rebuilding the intimate and simple emotional connection between things and things, and between people and things.
窗框/風(fēng)景 Window frames and Landscape
作為一個(gè)有且僅有六個(gè)房間的酒店，其客房的非標(biāo)準(zhǔn)性被利用到一種極限，制造著全然不同的入住體驗(yàn)，這些體驗(yàn)有時(shí)因窗外的風(fēng)景而濃烈，有時(shí)又因不同的行為指引而帶來(lái)意想不到的收獲。As a hotel with only six rooms, the non-standard nature of its guest rooms has been used to a limit, creating a completely different stay experience. These experiences are sometimes intense due to the scenery outside the window, and sometimes they bring unexpected gains due to different behavior guidelines.
▲ No.1林岸房，位于二樓，有露臺(tái)
每個(gè)房間的開(kāi)窗尺度與方向，因戶外的風(fēng)景而呈現(xiàn)不同的狀態(tài)，接納著不同的風(fēng)景。與此同時(shí)，窗自然地落成房間里一道內(nèi)觀的景致，窗與空間的物理關(guān)系鏈接向更深層的心靈空間，自然本能地予以每個(gè)房間不同的性格。
The size and direction of the windows in each room are different due to the outdoor scenery, accepting different scenery. At the same time, the window is naturally completed as an introspective view in the room, and the physical relationship between the window and the space is linked to a deeper spiritual space, which naturally instinctively gives each room a different character.
▲ No.2山庭房，位于二樓，朝向院景
▲ No.3峰隱房，位于二樓，窗外是石榴樹(shù)以及海景
這是一所真正意義上為窗外風(fēng)景而開(kāi)放的房子。與傳統(tǒng)意義上的開(kāi)窗不同，在這里，所有的窗口不論是橫向還是豎向還是方形，都因其所對(duì)應(yīng)的景觀而有了美學(xué)上的意義。
用窗框，捕捉真實(shí)的、稍縱即逝的瞬間。晨曉、黃昏、夏日雨天、冬季夜晚，這里的窗景從不定格也從不重復(fù)。
This is a house open for the scenery outside the window. Different from windows in the traditional sense, here, all windows, whether they are horizontal, vertical or square, are established by the corresponding landscape.
Use window frames to capture real, fleeting moments. At dawn, dusk, rainy summer days, and winter nights, the window scenes here are never fixed or repeated.
▲ No.4月柔房，位于三樓，榻榻米雙床，可以躺著看日出
并不是每樣?xùn)|西都應(yīng)該照得透亮，也并不是每個(gè)房間都應(yīng)該全部打開(kāi)。小小窗景，因克制而被雕琢，因此往往比全幅的落地大景來(lái)得更有凝視的欲望。
畫(huà)幅大小的窗框，在房間中依次散落。方形的窗戶是凝視的出口，橫條形的窗戶是緩緩的山水長(zhǎng)卷。當(dāng)人在對(duì)外觀看中建立起知覺(jué)，并以此進(jìn)行自我關(guān)照時(shí)，個(gè)人的真實(shí)經(jīng)驗(yàn)才能因此獲得。Not everything should be illuminated clearly, and not every room should be fully opened. Small window scenes are sculpted due to restraint, so they often have more desire to stare than full-frame floor-to-ceiling scenes.
Frame-sized window frames are scattered in the room one by one. The square windows are the outlets for gaze, and the horizontal windows are the slow scrolls of mountains and rivers. Only when people build up their perceptions in external viewing and take care of themselves, the true experience of the individual can be obtained.
▲ No.5云舒房，位于三樓，帶超大淋浴間以及觀景浴缸
如同這所房子其他區(qū)域的窗框一樣，它們作為一種空間敘事的元素，建構(gòu)著克制內(nèi)斂的內(nèi)外關(guān)系，制造空間阻隔，但同時(shí)提供著對(duì)周?chē)L(fēng)景最為主觀視角的描述，并反過(guò)來(lái)為內(nèi)部空間的感受與氛圍，營(yíng)造著向內(nèi)心探索的感知欲望。
在這里，風(fēng)景是旅人們欣賞的對(duì)象，但也是內(nèi)心深處關(guān)于自我最有效的參照。Like the window frames in other areas of this house, they serve as a spatial narrative element, constructing restrained and restrained internal and external relations, creating spatial barriers. But at the same time, they also provide the most subjective description of the surrounding scenery, and in turn create the feeling and atmosphere of the internal space, creating a desire to explore inwardly.
Here, the scenery is the object that travellers appreciate, but it is also the most effective reference for the self deep in the heart.
▲ No.6海漫房，位于三樓，開(kāi)闊的海景視野
六個(gè)不同的空間，在格局、尺度與形式的差異之間，營(yíng)造出不同的場(chǎng)所氣質(zhì)。與自然相對(duì)應(yīng)的材質(zhì)、被窗框的邊緣所切割的光線、室內(nèi)與室外安靜生長(zhǎng)的植物以及房間內(nèi)散發(fā)的香氛，引導(dǎo)人向空間深層探索。
由此，以視覺(jué)為主導(dǎo)的關(guān)系被復(fù)合型感知所替代。The six spaces create different place qualities among the differences in pattern, scale and form. The materials corresponding to nature, the light cut by the edge of the window frame, the quietly growing plants indoors and outdoors, and the fragrance emitted in the room, guide people to explore the space in depth.
As a result, the visual-dominated relationship is replaced by compound perception.
▲ No.4月柔房和No.5云舒房之間的露臺(tái)，可以打通，并成為大家庭式套房
迂回/敘事 Roundabout and Narrative
盡管以上種種敘說(shuō)，但這絕不是一處?kù)o止的下榻地，也不是一座冰冷的觀景臺(tái)。懂得其最核心的落腳點(diǎn)，便能明白這其中的迂回的意義。
女主人作為大理白族的本地人，這種迂回可以理解為近鄉(xiāng)情怯，但更直接地，更有可能來(lái)源于她對(duì)這方山水的熱愛(ài)。女主人把她的熱愛(ài)，分享在空間的細(xì)縫里，同時(shí)也在時(shí)裝設(shè)計(jì)領(lǐng)域，用她最擅長(zhǎng)的語(yǔ)言，以更濃烈地方式傳遞著。Despite all the above narratives, this is by no means a static place to stay, nor is it a cold viewing platform. Only by knowing its core foothold can one understand the meaning of the circuitousness.
As a native of the Bai nationality in Dali, the hostess can be understood as being close to hometown, but more directly, it is more likely to come from her love for the landscape. The hostess shared her love in the crevices of the space, and also in the field of fashion design, using her best language to convey it in a more intense way.
▲ 圖為MOLONEY西班牙Hergom獨(dú)立式燃木壁爐
Moloney-Spainish Brand Hergom Wood Buring Fireplace
▲ ladésee時(shí)裝展區(qū)兼會(huì)客廳，位于二樓
被房間內(nèi)部的小幅窗景所誘惑的下榻者們，很難不沿著扶梯拾級(jí)而上，登上屋頂，一覽這方土地的全部風(fēng)貌。這是一種為原始的力量所鼓勵(lì)的沖動(dòng)，扶梯在垂直方向上誘惑著，牽引著躍躍欲試的探索者們。But for those who are tempted by the small windows inside the room, it is difficult not to climb the stairs up the escalator, climb the roof, and get a glimpse of the entire landscape of the land. This is a kind of impulse encouraged by the original power, and the escalator tempts in the vertical direction, and leads the explorers who are eager to try.
▲ 樓梯間以及樓梯細(xì)節(jié)
在這場(chǎng)迂回的敘事游戲中，人們從體驗(yàn)空間本身，轉(zhuǎn)而到體驗(yàn)對(duì)蒼山洱海的遙望，最終，空間在一覽無(wú)余的頂端，把旅行的人們送返至對(duì)蒼山洱海本身的體驗(yàn)之中。
In this roundabout narrative game, people go from experiencing the space itself to experiencing the distant view of Cangshan and Erhai. In the end, the space is at the top of the unobstructed view, sending people traveling back to the experience of Cangshan and Erhai itself.
▲ 頂樓觀景平臺(tái)以及燒烤區(qū)
這仿佛是一個(gè)逐漸遠(yuǎn)去的畫(huà)面：旅行的人被建筑空間所吸引，從山腳與海邊來(lái)到這里，而屋頂?shù)拈_(kāi)闊與寬廣，巨細(xì)靡遺地把山和水呈現(xiàn)在人們眼前，并使人重新萌生起再一次踏訪山水的欲望。This seems to be a picture that is gradually going away. Travelers are attracted by the architectural space and come here from the foot of the mountain and the sea. And the openness and breadth of the roof presents mountains and water in front of people's eyes with great detail, and people regenerate their desire to visit Cangshan and Erhai once again.
▲ 頂樓休閑區(qū)，開(kāi)闊的海景視野
這是一座關(guān)于面向自然的房子。在這里停留，重要的是如何與這個(gè)地方產(chǎn)生真實(shí)的聯(lián)系，體會(huì)與眾不同的此刻與當(dāng)下。
去真切地感知風(fēng)、感知云、感知萬(wàn)物四季的變化，蒼山下，洱海邊，也許不止是一個(gè)旅行之地，也是一個(gè)故鄉(xiāng)，這個(gè)故鄉(xiāng)正在慢慢蘇醒。This is a house about the cherishment of nature and the countryside. Therefore, to stay in a place, the important thing is how to make a real connection with this place and experience the unique moment.
To truly perceive the wind, perceive the clouds, perceive the changes of all things in the four seasons, under the Cangshan Mountains, Erhai Beach, perhaps not only a place of travel, but also a hometown, this hometown is slowly waking up.
設(shè)計(jì)/對(duì)話 Design and Dialogue
Q1：酒店建筑很好的融入了當(dāng)?shù)氐淖匀画h(huán)境，是通過(guò)怎樣的過(guò)程來(lái)表現(xiàn)在地性的？
與其說(shuō)是融入當(dāng)?shù)氐淖匀画h(huán)境，不如說(shuō)更多是融入當(dāng)?shù)氐娜宋沫h(huán)境。比如建筑外墻上運(yùn)用了當(dāng)?shù)厝耸止ゅN鑿的麻石；庭院內(nèi)有白族傳統(tǒng)的照壁與門(mén)頭，同樣經(jīng)由傳統(tǒng)的手藝人制作而成；庭院與室內(nèi)空間之間，由六扇雕花扇門(mén)相隔，可開(kāi)可闔。
在對(duì)自然環(huán)境的處理上，我們更多是以開(kāi)窗借景的方式，把蒼山的蒼翠秀麗與洱海的平闊靜謐引入到室內(nèi)的每一個(gè)房間內(nèi)。在蘭往，每一扇窗都是一道不同的風(fēng)景，每一道風(fēng)景里都蘊(yùn)藏著蒼山與洱海的不同氣質(zhì)。
Q2：通過(guò)怎樣的細(xì)節(jié)設(shè)計(jì)來(lái)同時(shí)保留建筑的傳統(tǒng)性和現(xiàn)代性？
傳統(tǒng)性與現(xiàn)代性，聽(tīng)上去總是給人一種矛盾對(duì)立的狀態(tài)，而這種矛盾與對(duì)立似乎也總是被很多人看作是一個(gè)亟待解決的問(wèn)題。而我更愿意把現(xiàn)代性和傳統(tǒng)性看作是一種文化歷史時(shí)間上的承接關(guān)系，它們最吸引得我不是它們的不同，而恰恰是它們?cè)跁r(shí)間的脈絡(luò)上得以延續(xù)承接不變的東西，如概念、形態(tài)等。
比如，在蘭往的庭院設(shè)計(jì)中，我們把中國(guó)傳統(tǒng)文人對(duì)于山水的理解延續(xù)了下來(lái)，但卻改變了水池的形式，用以更現(xiàn)代的方形水池來(lái)替代。在水中放一臥石代表山，這也是傳統(tǒng)文化中“拳石當(dāng)山”的概念，只是我們?cè)谶x取石頭的審美上更現(xiàn)代，少了古人對(duì)于頑石、多孔石的偏愛(ài)。頂樓的大型飛帆，也正是取自白族傳統(tǒng)建筑中翹角飛檐的形態(tài)，只是通過(guò)現(xiàn)代的材料與工藝，讓它更具現(xiàn)代感。
因此，我們?cè)谠O(shè)計(jì)過(guò)程中，更多的是在考慮傳統(tǒng)性的現(xiàn)代性表達(dá)，而不只是把傳統(tǒng)的物件與現(xiàn)代的器物并置這么簡(jiǎn)單。
Q3:項(xiàng)目在幾處使用了真火壁爐？壁爐在空間中被賦予怎樣的意義？
一共有四個(gè)壁爐分布在蘭往的各個(gè)區(qū)域。大廳有一個(gè)內(nèi)嵌式銅質(zhì)酒精壁爐、餐廳和二樓會(huì)客廳各有一個(gè)小壁爐、花園還有一個(gè)戶外壁爐。
對(duì)于大廳和花園里的兩個(gè)大壁爐來(lái)講，它們不僅承擔(dān)著取暖提供熱量的功能，它們還為人們圍爐而聚提供了明確的心理依據(jù)，勾起我們集體潛意識(shí)中對(duì)于火、食物、人與人之間最溫暖最真摯的原初記憶。于是以壁爐為中心所輻射開(kāi)來(lái)的范圍，便成為了人們互動(dòng)最密集的場(chǎng)域，人們?cè)诨鸸獾馁艘乐校谙嗷サ臏贤ㄖ校拷遄约海熡睢?/span>
Q4：淺談下最具亮點(diǎn)的一處壁爐的運(yùn)用。
位于大廳里的銅質(zhì)酒精壁爐是比較特別的一個(gè)。首先在于它的外形，為了呼應(yīng)洱海的漁船我們給它設(shè)計(jì)了一個(gè)船頭的造型，用全銅的材質(zhì)進(jìn)行構(gòu)建，賦予壁爐溫暖的感覺(jué)。與此同時(shí)，它的火苗也很具觀賞性，溫和，持續(xù)，在空氣的擺動(dòng)下微微的躍動(dòng)。
它在操作上更簡(jiǎn)單，不會(huì)產(chǎn)生灰燼，更適合室內(nèi)，可以根據(jù)需要調(diào)整火量的大小。如果說(shuō)戶外壁爐，更有火光熊熊的氛圍，那么這個(gè)酒精壁爐則更像一位沉默的、無(wú)需照顧的老友，給你溫暖和陪伴。尤其是在蘭往冬日的清晨，太陽(yáng)光和壁爐的火光同時(shí)升起，那種溫暖直抵人心。
Q5：在壁爐的前期溝通與后續(xù)的施工過(guò)程，MOLONEY團(tuán)隊(duì)給您留下了哪些深刻印象?
在前期根據(jù)實(shí)際需求勘驗(yàn)尺寸并選品的過(guò)程中，MOLONEY團(tuán)隊(duì)都給予了專業(yè)而細(xì)致的指導(dǎo)與服務(wù)，幫助我們很好的匹配到最合適的壁爐的產(chǎn)品型號(hào)。而后，MOLONEY通過(guò)此前的溝通對(duì)壁爐進(jìn)行方案的深化，解決一系列諸如排煙測(cè)試、管道安裝方式等具體的問(wèn)題，讓壁爐的落地安裝變得輕松且有效。
作為一個(gè)設(shè)計(jì)師，MOLONEY的專業(yè)性服務(wù)是最打動(dòng)我的地方。
相上文象創(chuàng)始人&創(chuàng)意總監(jiān)
從事室內(nèi)設(shè)計(jì)十余年，擅長(zhǎng)不同空間場(chǎng)所獨(dú)特氣質(zhì)的營(yíng)造。在設(shè)計(jì)過(guò)程中，以視覺(jué)觀察、身體感受、直覺(jué)體驗(yàn)為設(shè)計(jì)先導(dǎo)，結(jié)合場(chǎng)所特性與在地文化，提煉空間形式語(yǔ)言，并有效引導(dǎo)空間情感表達(dá)的自然流露。在雜糅中把握傳統(tǒng)性純粹，在拙樸中攫取現(xiàn)代性鋒芒。相上文象創(chuàng)立于2012年，團(tuán)隊(duì)以室內(nèi)設(shè)計(jì)項(xiàng)目為主要方向；業(yè)務(wù)范圍涵蓋建筑、室內(nèi)、景觀、品牌和產(chǎn)品領(lǐng)域的創(chuàng)意設(shè)計(jì)。旨在滿足用戶對(duì)于項(xiàng)目的實(shí)用性與個(gè)性化需求，提供整套完整而高效的創(chuàng)造性解決方案。
項(xiàng)目名稱丨蘭往-Ladésee Hotel項(xiàng)目地址丨大理 · 海西桃源村
設(shè)計(jì)總監(jiān)丨李萬(wàn)鴻
設(shè)計(jì)執(zhí)行丨任向東，陳彬彬，唐靚，羅晗，唐俊
結(jié)構(gòu)設(shè)計(jì)丨欒櫨構(gòu)造設(shè)計(jì)
建筑改造、室內(nèi)、軟裝、景觀丨相上文象團(tuán)隊(duì)
項(xiàng)目面積 | 1000㎡
項(xiàng)目攝影與攝像丨翱翔
項(xiàng)目視頻剪輯丨Harrylil
EMBL系列
MALù 8 IVORY / BLACK顆粒壁爐
莫洛尼
莫洛尼
