蒼山洱海邊的風花雪月

蘭往-Ladésee Hotel：凝固的窗框，偶然的風景

The Fixed Window Frames, The Ever-changing Scenery

蒼山。洱海。

環(huán)海路。桃源村。

▲ 航拍俯瞰圖   

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，寧靜的生活  

房子建在離桃源碼頭不遠的地方。面朝洱海，跨過門口的環(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，以及生長于水中的濕地樹林，再稍遠些便是桃源碼頭。房子的背后是蒼山，近處可見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>

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，長條形的開窗方式在橫向和豎向上為建筑的外立面帶來平穩(wěn)與簡潔的現(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，向外微微擴張，塑造著建筑的張力。

▲ 建筑外立面

從當?shù)厥现虚_采出來的有色石皮，或雜白或青綠或銹黃，以點綴的手法鑲嵌于立面之上。自然的嶙峋表皮，彰顯著來自山中之石的桀驁，輸出在地性的同時，也給建筑增添了渾厚與質樸的氣息。

▲ 建筑外立面墻皮與細節(jié) 

從環(huán)海西路進入酒店前的淺巷，伴隨著低矮的當?shù)仄唇邮绞^墻與延伸的巷道小景，白族傳統(tǒng)的門頭作為主入口佇立在淺巷的盡頭，白色古樸的照壁透過門楣，形成景深式的視覺文化符號體驗。

青磚青瓦、翹角飛檐，古樸而幽遠，空間場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.

▲ 主入口 

與此同時，院落格局從傳統(tǒng)進出方向的排列上被挪轉為并列的橫向結構，傳統(tǒng)性作為一種文化元素與美學氛圍，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?？聪蚪ㄖ?夜景    

▲ 夜晚，建筑外立面的局部   

邊界/延伸 Boundary and Extension

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.

▲ 黃昏時的前院

▲ 前院的照壁   The traditional wall in front yard

▲ 前院的水景   The waterscape in front yard

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，通向市井熙攘的桃源碼頭。這是蘭往酒店另一個幽蔽的入口，蜿蜒的墻壁下設立可供休憩的區(qū)域，濃蔭蔽日的天氣里，駁雜的墻壁上日影潺潺；橫向開鑿的窗洞，在邊界上留下了可供視覺穿透的印跡。

▲ 后門外側   The outside of back gate

院墻連接房屋，古樸的瓦楞窗與通往室內的雕花扇門以邊界的方式被保留下來，但隔而有間的傳統(tǒng)園林意境，使得視覺上的滲透與延伸從未停止。

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

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

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，與直覺相關聯(lián)的物質提供著建筑空間的細部。

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.

▲ 一樓客廳的光影與細節(jié)   

▲ 由一樓客廳通向餐廳 

空間的轉換，從地面開始。深邃的地面接納著客廳動線的延續(xù)，并向內部收縮、匯聚，形成束口，最后轉為兩個窄仄的行為方向：一個沿著黑色的扶梯往上，一個繼續(xù)向內部探索。

▲ 餐廳   The dining room

方形窗框依舊克制而準確，但窗框不再成為親密接觸的對象，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。靜謐在強烈的明暗中豐富著空間的形態(tài)，因此而廣闊，而深邃。

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

簡潔的空間構成、當?shù)氐乃囆g品、樸厚的家具、日常的器皿，它們代替傾聽與觸摸，成為新的空間感官，在無新也無舊的平常生活里，一點一點回溯著，重建物與物、人與物之間親密樸實的情感聯(lián)系。

窗框/風景 Window frames and Landscape

▲ No.1林岸房，位于二樓，有露臺 

▲ No.2山庭房，位于二樓，朝向院景

▲ No.3峰隱房，位于二樓，窗外是石榴樹以及海景

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.

▲ No.4月柔房，位于三樓，榻榻米雙床，可以躺著看日出

并不是每樣東西都應該照得透亮，也并不是每個房間都應該全部打開。小小窗景，因克制而被雕琢，因此往往比全幅的落地大景來得更有凝視的欲望。

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，建構著克制內斂的內外關系，制造空間阻隔，但同時提供著對周圍風景最為主觀視角的描述，并反過來為內部空間的感受與氛圍，營造著向內心探索的感知欲望。

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，開闊的海景視野

六個不同的空間，在格局、尺度與形式的差異之間，營造出不同的場所氣質。與自然相對應的材質、被窗框的邊緣所切割的光線、室內與室外安靜生長的植物以及房間內散發(fā)的香氛，引導人向空間深層探索。

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，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，但這絕不是一處靜止的下榻地，也不是一座冰冷的觀景臺。懂得其最核心的落腳點，便能明白這其中的迂回的意義。

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獨立式燃木壁爐

▲ ladésee時裝展區(qū)兼會客廳，位于二樓

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.

▲ 樓梯間以及樓梯細節(jié)

在這場迂回的敘事游戲中，人們從體驗空間本身，轉而到體驗對蒼山洱海的遙望，最終，空間在一覽無余的頂端，把旅行的人們送返至對蒼山洱海本身的體驗之中。

▲ 頂樓觀景平臺以及燒烤區(qū)

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)，開闊的海景視野

這是一座關于面向自然的房子。在這里停留，重要的是如何與這個地方產生真實的聯(lián)系，體會與眾不同的此刻與當下。

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.

設計/對話 Design and Dialogue

Q1：酒店建筑很好的融入了當?shù)氐淖匀画h(huán)境，是通過怎樣的過程來表現(xiàn)在地性的？

與其說是融入當?shù)氐淖匀画h(huán)境，不如說更多是融入當?shù)氐娜宋沫h(huán)境。比如建筑外墻上運用了當?shù)厝耸止ゅN鑿的麻石；庭院內有白族傳統(tǒng)的照壁與門頭，同樣經由傳統(tǒng)的手藝人制作而成；庭院與室內空間之間，由六扇雕花扇門相隔，可開可闔。

在對自然環(huán)境的處理上，我們更多是以開窗借景的方式，把蒼山的蒼翠秀麗與洱海的平闊靜謐引入到室內的每一個房間內。在蘭往，每一扇窗都是一道不同的風景，每一道風景里都蘊藏著蒼山與洱海的不同氣質。

Q2：通過怎樣的細節(jié)設計來同時保留建筑的傳統(tǒng)性和現(xiàn)代性？

傳統(tǒng)性與現(xiàn)代性，聽上去總是給人一種矛盾對立的狀態(tài)，而這種矛盾與對立似乎也總是被很多人看作是一個亟待解決的問題。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間上的承接關系，它們最吸引得我不是它們的不同，而恰恰是它們在時間的脈絡上得以延續(xù)承接不變的東西，如概念、形態(tài)等。

比如，在蘭往的庭院設計中，我們把中國傳統(tǒng)文人對于山水的理解延續(xù)了下來，但卻改變了水池的形式，用以更現(xiàn)代的方形水池來替代。在水中放一臥石代表山，這也是傳統(tǒng)文化中“拳石當山”的概念，只是我們在選取石頭的審美上更現(xiàn)代，少了古人對于頑石、多孔石的偏愛。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)，只是通過現(xiàn)代的材料與工藝，讓它更具現(xiàn)代感。

因此，我們在設計過程中，更多的是在考慮傳統(tǒng)性的現(xiàn)代性表達，而不只是把傳統(tǒng)的物件與現(xiàn)代的器物并置這么簡單。

Q3:項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？

一共有四個壁爐分布在蘭往的各個區(qū)域。大廳有一個內嵌式銅質酒精壁爐、餐廳和二樓會客廳各有一個小壁爐、花園還有一個戶外壁爐。

對于大廳和花園里的兩個大壁爐來講，它們不僅承擔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中對于火、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來的范圍，便成為了人們互動最密集的場域，人們在火光的偎依中，在相互的溝通中，慰藉自己，療愈生活。

Q4：淺談下最具亮點的一處壁爐的運用。

位于大廳里的銅質酒精壁爐是比較特別的一個。首先在于它的外形，為了呼應洱海的漁船我們給它設計了一個船頭的造型，用全銅的材質進行構建，賦予壁爐溫暖的感覺。與此同時，它的火苗也很具觀賞性，溫和，持續(xù)，在空氣的擺動下微微的躍動。

它在操作上更簡單，不會產生灰燼，更適合室內，可以根據(jù)需要調整火量的大小。如果說戶外壁爐，更有火光熊熊的氛圍，那么這個酒精壁爐則更像一位沉默的、無需照顧的老友，給你溫暖和陪伴。尤其是在蘭往冬日的清晨，太陽光和壁爐的火光同時升起，那種溫暖直抵人心。

Q5：在壁爐的前期溝通與后續(xù)的施工過程，MOLONEY團隊給您留下了哪些深刻印象?

在前期根據(jù)實際需求勘驗尺寸并選品的過程中，MOLONEY團隊都給予了專業(yè)而細致的指導與服務，幫助我們很好的匹配到最合適的壁爐的產品型號。而后，MOLONEY通過此前的溝通對壁爐進行方案的深化，解決一系列諸如排煙測試、管道安裝方式等具體的問題，讓壁爐的落地安裝變得輕松且有效。

作為一個設計師，MOLONEY的專業(yè)性服務是最打動我的地方。

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