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舟山海街民宿

現代簡約 790平方m2

回憶總是比現實美好,近兩年開始,村里開始掀起了翻建房子的熱潮, 我們第一次去項目現場的時候,看到滿山遍野正在建設中的“歐式”大別墅,就如同在浙江其他城市近郊農村的光景完全一樣。寧靜的漁村已然成為一個大工地,熱火朝天蓋房子的同時也充滿了焦躁和不安。

However, memories are always better than realities, the village is no longer a quiet place. When we first visiting the site, we found that the whole village was becoming a big construction site, each family wanted to build a “European Style” villa, which is the same as other countryside in Zhejiang Province. The fishing village was full of anxiety and uneasiness.

▼樟州灣漁港,the fishing port of Zhangzhou Bay

▼漁村變成了大工地,the fishing port turned to a construction site

項目基地在村子的最西北邊,面對海灣和一片沙灘。我們接手的時候,三層建筑主體已經封頂,房子是磚混結構,東北側朝向大海,南側面對山和通往村鎮的道路。建筑的東西兩側的鄰居家也在同步進行住宅翻建,建筑之間都只留出兩米的通道,非常緊湊。設計任務是在這樣的條件下做出一個有12間客房的民宿酒店。設計之初,面對充斥漁村的“歐式”建筑立面符號語言的壓迫,我們本能地開始抵抗,并希望能夠在建筑學的語境中尋找方法,以此來掙脫漁村的時空撕裂感,帶來另一種在地的建筑可能性。

The site is right at the north-west part of the village, facing the bay and a sandy beach. The main structure of this four-story building was almost finished when we began to start the design process, neighbours on both side were under construction at the same time, with a intensive distance of 2 meters from each other. The assignment is to design a 12-room mini hotel with this circumstance. Confronting the overwhelming “European Style” facade language which was fullfilling in the fishing village, we started with resistance instinctively, and turned to find an alternative way within the context of architecture, so as to bring another possibility of the site-specific residential building.

▼場地面對著大海和沙灘,the site is facing the beach and the sea

曾經在西南歐漫長海岸線上的旅行經歷或許能夠給我們帶來一些啟發,讓我們從狹隘的形式語言和狂熱的消費世界中獲得救贖??虏嘉饕涍@樣形容卡普里島的房子:“一座巖石的延續、一叢島嶼的分支,如同建筑地衣從卡普里島的土地中生長出來,成為凝視自然的工具”。在那些由石灰巖和花崗巖建筑構成的堅固的村落,生長于海邊山坡上,與大地緊密相連,既有常年抵抗海風的粗糲性格,又有很強的在地性。舟山的諸多海島上,漁村的建筑形態也經歷了幾次演變:最早期的村落一般在背風的山岙里,建筑多由花崗巖和塊石砌筑而成的單層坡頂石頭房;第二階段的翻建后大多是有二層外廊的磚瓦小樓,建筑多為磚混結構,樓板和陽臺普遍采用水泥預制板;近年的第三階段的翻建使房子層數又一次加大,同時,由大規模工業化生產帶來的廉價而庸俗的“歐式符號”裝飾元素徹底成為了主導建筑形式語言,并舍棄了陽臺、露臺等日常生活中非常重要的功能空間。

▼舟山民居演變,the evolution of the residence in Zhoushan

▼第二、三代漁村民居照片,the residence from the 2nd and third generation

The experience of traveling on the long coastline of south-west Europe may provide us some inspiration to redeem ourselves from the narrow formal language and a frenetic consumer world. Le Corbusier once described the house on Capri as “A continuation of rock, a branch of island, buildings growing like lichen from the land of Capri and becoming a tool for gazing into the nature”. Those sturdy villages, made up with granite and limestone, grown on the hillside of the sea, and closely connected to the earth, have a rough character as well as a site-specific identity. On many Zhoushan islands, the building type in the fishing village has already experienced several evolutions: from the earliest single-story stone house to the prefabricated concrete building with an external balcony on the second floor, until the recent reconstructions, the cheap and vulgar “Euro-style” facade decoration brought by mass-production has become the dominate building style language, with the completely abandon of necessary functional space such as balcony, terrace and so on.

▼立面設計概念,facade design concept

▼立面和入口透視,entrance perspective

我們決定采用去裝飾化的方式,通過建筑自身的元素定義空間形態。改造前的住宅平面布局希望能夠有盡可能多的使用面積而忽略了建筑空間與海的互動關系。于是在朝向大海的一側,我們植入了“陽臺”元素對原有建筑格局進行干預,產生了一個新的看海界面。新加的陽臺不但豐富了建筑面對自然過渡的空間層次,也形成了“框景”的效果。

We decided to find a way to define spatial patterns by the building element itself, instead of the decorative facade. The former floor plan layout required more usage area but ignored the interaction between building space and the sea. So we intervene the original structure by bringing “balcony” element, resulting a new sea-viewing interface.

▼入口局部,entrance partial view

受建筑師伍重在馬略卡島自宅的啟發,這種有限定性的“框景”使得從每個房間看出去,都可以得到屬于自己的那一片不同的海景。相比于那些格外開闊的海景視野,這種處理方式卻反而提供了一種更加強烈的途徑,讓人們可以自內而外的去感知建筑外的世界。當房間的主角是一個為你提供觀看外部世界的“框”的時候,你發現大海和那些島嶼會愈發清晰、甚至充滿張力的呈現在你的面前。另外一方面,“框景”也為房間里的人很好地回避了當今的漁村亂象,從而更加專注眼前這一片海帶來的寧靜。

▼海景一側互動界面,the interface facing the sea

With the inspiration of Can Lis from the great architect Jorn Utzon, the added-balcony not only enrich the spatial layer from the interior to the seaside, but also form a “frame view” from the inside-out, which could benefit each room for its unique seaside view. Rather, this approach provides a more intense way for people to perceive the world outside the building from the inside-out than the extra-open view of the sea. For the people in the room, “frame view” is also able to avoid today’s chaos in the fishing village, and also helps people more focuse on the sea in front of the tranquillity.

▼從早餐區看院子,view to the courtyard from the breakfast area

▼窗景,the framed scenery

在南側朝向山和道路的一側,陽臺功能的加入帶來了跌落錯動的建筑形體,與山呼應,簡潔有力,同時對從村鎮前來的人們來說也增加了可辨識度。我們希望改造后的建筑在表層的粗糲中帶著柔軟的性格,就像海邊礁石上長出的花,堅韌不拔。我們也試圖尋找在剝離了庸俗的裝飾符號之后可能產生的樸素的建筑特征:它是功能性的和在地性的;也是文學的和生活方式的。我們希望這種樸素的建筑語言,能夠讓漁村鄉鄰看到在流行的“歐式”立面之外的建筑可能性,從而讓向海而生的人們在建造宅院的時候能將生活方式作為首要考量因素,而不僅僅是通過跟風庸俗的裝飾符號來尋求自我的身份認同。

▼山景一側互動界面,the interface facing the mountain

On the south side towards the mountain and the way-out the village, the added-balcony brings a stacking form, simply and powerful, which is also indicating the mountain shape. We hope to give the building a soft character with a roughness surface, like the flowers growing on the seaside reefs. We are also trying to find the simple building features after stripping away its vulgar decorative symbols, it could be functional and site-specific, it might also be literary and lifestyle. We hope to provide the local people the other possibility with these simple facade language, instead of the symbolic “Euro-style” decoration, so that people who live by the sea could able to build  houses with the primary consideration of their own lifestyle, rather than defining the self-identity by blindly following the symbolic building facade.

▼三層客廳,living room on the second floor

過去,在漁村里的大樹下,總是聚集著一撥撥親戚鄰里在拉著家常。我們希望在設計中將這種生活方式在新的場所里保留下來。原有場地的高差在設計中得以保留,并用以路徑引導的方式定義出在運動中的連續景觀體驗:從場地西北側較低處的院子入口的大樹旁,背對著大海進門,沿著西側高大的圍墻拾階而上,徑直進入室內或者側身走進大樹蔭庇的觀海平臺,在樹影的搖曳里靜靜坐下來。觀海平臺借由場地里原有的五棵樸樹而形成。這是伴隨著孩童長大,并且經歷了數次臺風,卻仍能在海邊沙地上頑強生長的樹木,因此尤為珍貴。

People living in the village often gathered under the trees in the past, we hope to maintain this traditional living activity in the new place. The height difference on the original site is preserved, and the new design creates a continuous landscape experience by guiding movement from the seaside to the front door. The path starts under the tree shadow at the north-west corner: you turn back to the sea, enter the front gate, go up the steps alongside the wall until the sea-view platform.

▼正立面和院子,the front facade and the yard

▼院子和樸樹,the yard with greenery

在面向大海的方向,建筑入口延伸至樹的邊界,形成折線形退讓開闊的場地,場地上以不同的材質層層區分宛如海浪潮水,在大樹的蔭庇下形成天然的休憩場所。 大樹下的平臺上,從小在漁村里長大的主人邀約著村里的鄉鄰和路過的旅人到此喝茶看海,是童時記憶,也為反哺故里。

The platform is built with the five trees originally on site, as an extension from the internal floor to the sea, forming a fold-shaped retreat to the open field. Three different materials is applied to this geometric platform in order to form a wave-like pattern, and connect the wooden floor to the sand beach. On the platform under the five trees, the master grown up in the village would invite neighbors and passers-by to come and have a drink, it is a childhood memory, and also for the back-feeding of hometown.

▼庭院景觀和海,view to the sea from the yard

▼景觀和海鳥瞰,aerial view

作為一個度假居住場所,其內部公共空間處理也是設計的重點。在建筑中,我們設置了兩個不同高度與景觀互動的公共空間:面向大海一側的是與觀海平臺連接的首層大廳,作為餐廳、接待和休閑區功能;以及四層面山的空中客廳,作為四層客房和閣樓房間的公共起居室使用。

As a resort space, the design also paid more attention on the interior public space. We set two public space in different levels, with the sight view of sea and mountain. For the sea side, it is the main living and dining space on the ground floor, providing reception and leisure functions; while the sky living room which is facing to the mountain on the fourth floor, is used as the sharing living space for the upper level rooms and attic room.

▼首層大廳,lobby

原有建筑的首層大廳層高受限而且柱子較多,因此設計中通過黃和白兩種色調對比分區來營造空間:周圍的黃色區域作為入口、餐廳和茶吧功能;被黃色包裹的中央白色區域作為客廳和前臺功能使用。白色區域的梁柱露明,并通過室內照明將頂棚照亮,烘托出建筑結構的自身張力,這種處理方式同時也增加了原本低矮的空間的舒適度。為了能夠在大廳里得到更好的觀賞視線,我們在面對大海的一側設計了四扇玻璃推拉門,在涼爽的季節,可以把門完全打開,讓首層大廳和觀海平臺融為一體。

The original ground floor has lots of columns and a very limited height, so we introduce two colors to create the space, by contrasting partitions in yellow and white. The surrounding yellow part is used as front door, dining space and tea bar, while the central white part, which is wrapped by the yellow, is used as reception and leisure space. We deliberately exposed the beams and columns in the white part, and illuminated them by indoor lighting, so as to show the tension of the building structure themselves, and it is also good for increasing the comfort in the low height space. We also design a four-glass sliding door,  which can be completely open,  allowing the integration of the interior space and the exterior sea-viewing platform.

▼入口關系,view to the lobby from the entrance

▼從大廳洞口看早餐區,view to the breakfast area

由于鄉村建造技術的限制,原有建筑中產生了小柱跨的密柱空間,對空間劃分不利。然而逆向思維告訴我們,暴露現狀結構和借由材料對比,可以借用建筑元素本身營造出一種抽象的體驗。它仍然是簡潔、樸素的,并且時刻讓人們關注遠方的海面和島嶼。在這里,客人們可以靜靜地待上一整天,感受在密柱空間的紀念性和臨海起居空間的日常性之間不停轉換的體驗。

▼首層大廳分析圖,lobby diagram

Limited by the rural construction technology, there are many dense column space in the building, however, it also helps to create an abstract experience with the building elements themselves, for example, by exposing structure and contrasting with different materials. The space is ought to be simple, and make others focusing on the sea and the dispearing horizon . One can also spend a whole day quietly in this space, willing to catch the experience shifting between the monumentality brought by dense pillars and the everyday nature of the seaside life.

▼大廳密柱空間,the column system

海街11號民宿酒店改造項目,自設計到施工持續近一年。由于當地管理政策的變化和繁雜的鄰里關系,設計落地過程相當不易。項目落成時,每天都能看到路過的鄉鄰和游客們好奇地張望打量,詢問點評。這更加堅定了我們希望能夠借助樸素的語言和建筑元素本身來探索漁村下一代建筑可能性的信心,并希望能夠借助這種建筑和空間形式帶給人們新的空間認知,發展在地性的生活方式。

The Summer Hotel renovation project lasted nearly one year from design to completion. It is a very difficult time during the construction process, due to the ambiguous local management policy and the complicated neighbourhood relationships. Once after it realized, every day you can see that passing neighbors and tourists curiously look out for questions. This also gives us more confidence of discovering the next generation building in the fishing village, with the concept of architectural elements and simple building language. And we also hope the building character and the functional space will bring people new spatial awareness of architecture and help to develop a local daily life.

▼樓梯和走廊空間,stair and corridor

▼客房內部,guest room interior view

▼陽臺景觀,balcony view

▼夜間立面全景,facade view by night

▼項目模型,project model

▼場地平面圖,site plan

▼首層平面圖,ground floor plan

▼立面圖,elevation

▼剖面圖,section


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