Cube Hotel Zhejiang, China by SUA

In the shadows of the mountains

Project Specs

Location:

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起意
INTENT

建筑的建造条件限制非常明确,建筑高度不可超过12米,用地面积不能超过140平米。140平方米>12米X12米,加之高度也是12米,在设计的几何构成上直接联想到一个12x12x12等边正立方体。

The construction conditions of the building are very clear. The building height shall not be more than 12 meters and the land area shall not be over 140 square meters. It could be seen that 140 square meters ≈12 meters by 12 meters, and the height is also 12 meters. Thus, in the geometric composition of the design, it could be directly associated with a 12x12x12 equilateral cube.

▼视频,video

项目基地位于莫干山度假区,作为长江三角区著名的风景区,翠竹青山,自然风光,延绵不息。为了尽最大可能去糅合山间纯粹的自然景致,设计中考虑的重点在于建筑如何巧妙的与环境和融洽共处。与其滥用乡土情怀,我们更愿意将姿态放低,认真倾听自然与建筑自发的对话,尊重建构与材料的自然结合。建筑造型摒弃繁杂花哨,更不希望呈现多余的文化符号。当场所变成承载人与人,人与自然的情感载体时,不拘泥于任何既定的风格取向,专注于场地本身的思考才能尽最大可能的引起人与建筑,与自然的共情。

The project site is located in the Mogan Mountain International Tourism Resort, which is a renowned scenic spot in the Yangtze river delta area. There are natural bamboo forests and continuous hills. In order to fuse the pure nature of this kind of mountain, the design focuses on how the building fits in with the environment — in harmony with nature. Instead of abusing localism, we prefer to keep a low profile and listen carefully to the spontaneous dialogue between nature and architecture, meanwhile, respecting the natural combination of construction and materials. The Architectural modeling of this project abandons multifarious and flowery, but also does not want to present superfluous cultural symbols. When a place becomes an emotional carrier carrying people, people and nature, only it will create empathy between people, architecture and nature as much as possible by focusing on the site itself and not being confined to any established style orientation.

▼区位图,site map © 素建筑设计事务所

▼总平面图,masterplan © 素建筑设计事务所

那么,一个正立方体可以做成什么样的建筑?也许一个如魔方般简单的房子是其中一个恰当的答案,理性克制,干净纯粹。

Therefore, what kind of building could a cube be? Perhaps the simple Rubik’s cube is one of the appropriate answers — Rational restraint, Clean and Pure.

▼俯瞰建筑,overlooking the architecture © 唐徐国

 

条件
LIMITATION

魔方 ,又叫鲁比克方块,于1974年由匈牙利布达佩斯建筑学院鲁比克‧艾尔诺教授发明。为了帮助学生们认识空间立方体的组成和结构,他从多瑙河中的沙砾汲取灵感,做出第一个魔方的雏形,零件是像卡榫一般互相咬合在一起,不容易因为外力而分开,而且可以以任何材质制作。

The Rubik’s cube, originally and widely known as the “Magic Cube”, was invented in 1974 by Hungarian Sculptor and Professor Ernő Rubik of the Budapest school of Architecture in Hungary. In order to help students understand the composition and structure of the spatial cube, he drew inspiration from the sand in the Danube to create the prototype of Rubik’s cube. Inspired by the Chinese Tenon, each parts interlock together. The holding-on is not easily separated by external forces, and could be made of any kind of materials.

▼形体分析,transformation © 素建筑设计事务所

▼概念分析,conception analysis © 素建筑设计事务所

对于孩童来说,魔方是陪伴度过闲暇时光的最好玩伴;对于魔方运动员来说,魔方是一种精确到0.01秒的竞技信仰;对于建筑来说,魔方或许是一种被创造,重构,再打乱,再复原,再解构的空间意识形态。魔方之“魔”不同于魔术师的手速变换与视觉欺骗,魔方之“魔”更是数学、建造、空间、公式的奇异化学变化,是感性与理性的浑然天成,是克制与放纵的模糊暧昧。

For children, Rubik’s cube as the best playmate accompanies them during leisure time; for Rubik’s cube players, the cube is a competitive belief which could accurate to 0.01 seconds; for architecture, the Rubik’s cube may be a spatial ideology which could be created, reconstructed, disrupted, restored and deconstructed. The “magic” of magic cube is different from the magician’s hand speed transformation and visual deception. The “magic” of Rubik’s cube is a kind of fantastic chemical reaction of mathematics, construction, space and formula. It is a kind of natural combination of sensibility and rationality, and a kind of vague ambiguity of restraint and indulgence.

▼概念分析,concept analysis © 素建筑设计事务所

 

理性与暧昧
SOFTNESS BETWEEN AMBIGUOUS AND RATIONALITY

建筑外立面的设计中根据不同房间的观景及空间的私密性要求,大面积运用了三种玻璃材料,透明玻璃,U型玻璃及玻璃砖作为“魔方”的九宫格,结构上通过加固钢结构来形成“魔方”九宫格的黑色骨架支撑,将整个建筑外立面割裂,形成强烈的戏剧冲突,同时也将理性与暧昧发挥到极致。

▼项目模型,model © 素建筑设计事务所

According to different requirements in viewing and privacy of the space in different rooms, the facade design of this project massively utilizes three types of glass material — transparent glass, u-shaped glass and glass brick to compose the Sudoku of Rubik’s cube; the structure of Sudoku of Rubik’s cube is the black skeleton formed by the reinforcing steel structure. Partitioned by those structural designs, it can form strong dramatic conflicts, intertwined with rational and ambiguous to the limit.

▼建筑概览,overview © 唐徐国

玻璃作为一种两面性和象征性的材料,其透明与反射的双重属性,令人着迷。玻璃反射将“丘峦绵绵,轻波淡染”最大化的引入室内,如一场固化的流体奇观,让人仿佛置身一个漂浮于竹海中的气泡中,所目之处,处处皆情。这是设计中“暧昧”。

Glass as a two-sided and symbolic material, its transparency and reflection of dual properties are fascinating. The mountain-and-waters painting — “continuous and dimming hills, light waves with fade dyeing”— could be largely imparted into the rooms with the reflection of glass, like a solidified liquid spectacle, which makes people feel as if they are floating in a beautiful bubble in a sea of bamboo. That is diving in your eyes. Such “ambiguous” indistinctly exists in this design.

▼建筑入口,architecture entrance © 唐徐国

结构设计中巧妙得将角柱消减,柱网呈井字型布局,通过纵横双向悬挑,把角部空间承托起来。更是由于房屋四角柱子的消失,将建筑形态与力学逻辑的统一,不仅满足了各个功能空间的荷载需要,同时也最大程度的发挥了材料的使用效率。这是设计中的“理性”。

Rationality of this design reflects in the structural design. First, the Angle column is skillfully cut down and the column network is in the form of a typeface layout. The angular space is supported by its network with the vertical and horizontal double cantilever. Moreover, due to the disappearance of the four pillars of this building, the unification of architectural form and mechanical logic not only meets the load demand of each functional space, but also marginally make a full use of the materials.

▼自然与建筑,nature and architecture © 唐徐国

建筑共有四个面,每一面都有9个超规落地窗扇并列垂直放置,面向不同山景,负责窥探重叠山影的四时变化。每一个窗格就犹如时装店门前的“精致橱窗”,恰巧契合了房屋主人礼服设计师的身份。

There are four sides of the building, and each side has nine out-of-order floor-to-ceiling sashes placed side by side and vertically, facing different mountain views and witness four changes of the overlapping mountain shadows. Each pane is like a “delicate show window” in front of a fashion shop, which coincides with the identity of its owner— the dress designer.

▼建筑外观,exterior view © 唐徐国

东方的传统建筑空间形制中,庭院与水的关系是户外空间设计的重点,如何利用水这一元素来给房子增加生气与灵性也是本次设计的重心。在屋顶设计中,用浸没于水中的玻璃天窗替代封闭的楼板,微风拂过,光线透过玻璃,吹皱了一袭诗意,层层叠叠向螺旋通高的白色中庭晕染开来,一切仿佛是静止的,又仿佛一切是流动的。

时光的流逝伴随日光的协奏,既熟稔又疏离,有一种天然的秩序,为了维持这一秩序,设计师在室内软装上,以灰色大理石铺面及木色为主,平衡光影秩序的同时,又营造纯粹、舒适、诗意的居住环境。

In the space form of oriental traditional architecture, the relationship between courtyard and water is the focus of the outdoor spatial design. How to make use of the water to add vitality and innate intelligence to the house is also the focus of this design. In the design of the roof, the enclosed floor is replaced by the glass skylights immersed in water. The light from the breezes through the glass crests poetically, and the white atrium with spiral height is blurred by layers. Everything seems to be still, or everything seems to be flowing.

The passage of time is accompanied by the concerto of sunlight. It is both familiar and alienated. There is a natural order. In order to maintain this order, the designer uses gray marble pavement and wood color in the interior soft decoration to balance the light and shadow order. And create a pure, comfortable and poetic living environment.

▼屋顶眺望远方,the roof looks into the distance © 唐徐国

 

功能
FUNCTION

进入建筑的路被刻意营造出叙事性的入住体验,层层石阶、拾级而上,良田美池桑竹之属,所有的情感在辗转之间,曲折有法,抑扬顿挫,最终进入空间后豁然开朗。

The road into the building is deliberately creating a narrative check-in experience. Layers of stone steps, one level above the other, the genus of Liangtian Michi Sangzhu, all emotions are tossing and turning, with twists and turns, restrained and frustrated.

▼入口立面,entrance facade © 唐徐国

建筑一层作为整个建筑最重要的公共区域,承载入住接待、用餐、交流以及后勤的部分,二层三层为主要客房区域,6个客房涵盖不同房型。考虑到观景和私密的双重要求,每个客房扮演着“主角”与“配角”的双重角色,作为独立的单元空间,拥有一套的完整室内系统,同时拥有独一无二的景观感受。纯白的螺旋通高楼梯作为整个魔方系统的“中心轴”将所有这些房间聚集起来,串联起整个空间的功能流线, 彼此互为“配角”,互相成就。

▼从外部望向室内空间,view to the internal space from outside © 唐徐国

▼首层空间,ground floor space © 唐徐国

The first floor of the building is the most important public area of the whole building. It functions as the reception, dining, communication and rear areas. The second and third floors are the main guest room areas, with 6 guest rooms covering different room types. Considering the double requirement of view and privacy, each guest room plays the dual roles of ” Mortise ” and ” Tenon “. As an independent unit space, each guest room has a complete interior system and a unique landscape experience. The pure white spiral double-height staircase serves as the “central axis” of the entire Rubik’s cube system, gathering all these rooms together and connecting all the functions of the entire space. That’s mutual cooperation and promotion.

▼自然与室内,nature and interior © 唐徐国

▼客房空间,room space © 唐徐国

 

期许
EXPECT

在《知觉现象学》中,梅洛-庞蒂指出:“知觉是模棱两可即暧昧的、荒谬的体验和绝对明证的体验相互蕴含,是难以分辨的。”“魔方”的魅力或许就在于此,从12x12x12的模块式理性构造,到方寸之间,层层递进的空间暧昧。流淌的时间里,建筑与自然,建筑与人逐渐融合产生共情。

In Perceptual Phenomenology, Merlot-Ponty pointed out: “Perception is ambiguous, ridiculous, and absolutely evident experience, and it is difficult to distinguish. Perhaps the charm of the “Magic Cube” lies here. From the 12x12x12 modular rational structure to the square inch, the progressive space is ambiguous. In the flowing time, architecture and nature, architecture and people gradually merge to produce empathy.

▼楼梯细部,stair details © 唐徐国

山中天气,时而朦胧浊茫如雾,时而通透清澈如水。灼灼山影间,亭亭如盖也。

The weather in the mountains is sometimes hazy and cloudy like fog, and sometimes clear and clear like water. Pavilion is like a gazebo.

▼平面分析图,plane analysis chart © 素建筑设计事务所

▼南立面图,south elevation © 素建筑设计事务所

▼西立面图,west elevation © 素建筑设计事务所

▼剖面图,section © 素建筑设计事务所

▼节点,detail © 素建筑设计事务所

项目名称:丛林魔方12³-浅境
项目地点:浙江,中国
建筑及室内设计:素建筑设计事务所 SUA
公司网站:www.suarchitects.com
主持设计师:郭少珣
设计团队:张志坤,梁鑫,姚熠琳,徐桦,叶鑫凯,许文洁,曾秋芬,林仙桂
业主:浅境酒店管理
建筑面积:400 m2
设计时间: 05/2018-02/2020
建造时间:10/2018 -04/2020
摄影:唐徐国
撰文及图纸由素建筑SUA提供

Project Name:Cube Hotel
Project Location: Zhejiang,China
Architecture& Interior Designer: SUA
Website: www.suarchitects.com
Principal designer: Shaoxun Guo
Design team: Zhikun Zhang, Xin Liang,Yilin Yao, Hua Xu,Xinkai Ye, ,Wenjie Xu,Qiufen Zeng,Xiangui Lin
Owner: Qianjing Hotel Management
Area: 400 m2
Design period: 05/2018-02/2020
Construction period: 10/2018 -04/2020
Photographer: Xuguo Tang
Project description and drawings offered by SUA

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