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BIM建筑|雪山下的棲身所：星山月影懸崖民宿 / 萬謙集設(shè)計(jì)

發(fā)布于：2024-11-21 11:39:23

首頁/技術(shù)分享/建筑賞析

1779

網(wǎng)友投稿

設(shè)計(jì)單位? 成都萬謙集環(huán)境藝術(shù)設(shè)計(jì)有限公司

項(xiàng)目地點(diǎn)? 四川四姑娘山

完工時(shí)間? 2024年3月

建筑面積? 1100平方米

本文文字由設(shè)計(jì)單位提供。

四姑娘山，自始至終都在那里

冰斗、陽光、巖石、風(fēng)暴、雪霧和空氣

構(gòu)成四姑娘山最復(fù)雜的美感

是約翰·羅斯金所稱的

“空間無盡的清晰感，永恒之光不倦的真實(shí)性”

我們在其上

投射希望、夢想、崇拜以及恐懼

我們逡巡著從心靈上靠近它

卻始終無法真正抵達(dá)

四姑娘山是一座被嘉絨藏族先民供奉為“斯古拉神山”的圣潔雪山，它高聳巍峨，晶瑩嫵媚，不論天空湛藍(lán)如洗還是風(fēng)暴來襲，它始終不動聲色屹立在那里。與此同時(shí)，這里每年游客與戶外探險(xiǎn)者絡(luò)繹不絕。就在今年，“四姑娘山越野賽”第一次被列入越野黃金聯(lián)賽世界系列賽，與阿爾卑斯勃朗峰站在了一起。四姑娘山下這座以現(xiàn)代藏式建筑為基礎(chǔ)的民宿，正是這大地最隱秘微小美好的褶皺里，最沉浸的棲身之所。

Mount Siguniang is a holy snow mountain which is worshiped as “Sigula Mountain” by the ancestors of Jiajun Tibetan people. It is soaring and charming, no matter the sky is blue as washing, or storms come, it always stands there without moving. At the same time, every year tourists and outdoor explorers are endless here. Just this year, Mount Siguniang cross-country race, for the first time included in the cross-country Golden League World Series, and stood with the Alps Mont Blanc together.Under Mount Siguniang, Xingshanyueying, a bed and breakfast based on modern Tibetan architecture, is the most immersive place to stay in the most hidden and beautiful folds of the earth.

▲ 方案視頻? ?棟物視界

一

光之序：空間的指引

Sequence of Light: Guidance in Space

一堵一疏，寸光寸陰。作為對場地現(xiàn)有條件的回應(yīng)，建筑入口由一堵透光的孔隙片墻所引導(dǎo)，空間的滲透法則從這里便已經(jīng)開始有所展露。高原強(qiáng)烈的陽光，不僅賦予建筑邊界清晰的陰影線與明暗對比，還將富有節(jié)奏的陰影線還原為一種特殊的空間語言，以此建立起空間的情緒與感知。

Walls and holes, inches of light, inches of space.As a response to the existing conditions of the site, the entrance is guided by a light-permeable sheet wall. The law of spatial permeability is already revealed here. The strong sunlight of the plateau not only gives the building boundaries clear shadow lines, but also reduces the rhythmic shadow lines to a special spatial language, thus establishing the mood and perception of the space.

動線在迂回中拉長，空間有了層次感，也就有了穿透力。鋪陳次序，人在游走中，情緒被一種建構(gòu)的靜謐氣質(zhì)所包裹、引導(dǎo)、轉(zhuǎn)換。

The lines of motion lengthen in meandering. The space is layered and penetrating. As one wanders, one's emotions are wrapped, guided and transformed by a constructed atmosphere of tranquility.

行至盡頭，有半闕山水。比之于門外現(xiàn)實(shí)之中的四姑娘山，這山水雖看似簡單，卻是另一種精神的寫照。它以“請”的方式被安置在入口通道的盡頭，帶有東方文化里特有的情愫，是人生境遇的寄托，是感官化的凝集與精神性的縮影。它暗示著場所對心靈感受度的極致要求。

At the end of the line, there is a minimalist landscape. Compared to the reality of Mount Siguniang outside the door, this landscape, though seemingly simple, is a reflection of another spirit. It is placed at the end of the entrance passage in the way of “invitation”, with the unique sentiment of the oriental culture, which is the support of the life situation, the condensation of sensibility and the epitome of spirituality. It implies that the space is the ultimate requirement for spiritual sensibility.

二

樸而拙：物器的在場

Simplicity and clumsiness: the presence of the object

大廳內(nèi)部，樸實(shí)而真切。頂部刻意留出一層高的縫隙，南向的陽光照灑過來，在墻面和地面投下濃郁的光影。一瞬間，空間的精神性被推向了新高度。

The interior of the hall is simple and genuine. With a one-story-high gap at the top, the south-facing sunlight casts light and shadow on the wall and floor, instantly pushing the spirituality of the space to a clear new height.

一列以老藏民房橫梁改造而成的燭臺木雕，依舊保持著古樸厚重的姿態(tài)，召喚牦牛歸家的銅鈴懸掛其間。燭光如豆，照亮著老橫梁與銅鈴。如此簡單誠摯的表達(dá)，真實(shí)地關(guān)聯(lián)起人與物質(zhì)世界的羈絆，樸素而溫潤。由當(dāng)?shù)乩鲜硥酒鸬氖龌鹛翢焿Γ耆饬巳藶樵O(shè)計(jì)的痕跡，回歸到一種過去純粹的時(shí)刻。在石頭與石頭的并不整齊的接縫里，是萬物有靈的原始力量在起作用。

A row of candlesticks made from the beams of old Tibetan houses maintains a simple and ancient posture; the copper bells that summon yaks to their homes are hung between them; the candlelight flickers and reflects their luster. Such a simple and sincere expression is truly related to the bond between human beings and the material world, simple and warm. The stone smoke wall built by the local old masons completely dissolves the traces of design, returning to a pure moment of the past. In the untidy joints between the stones, the primitive power of the spirit of all things is at work.

為了還原一種豐富細(xì)膩的生活感，開放的吧臺分為吧臺本身與懸掛的組件兩部分，一上一下兩相對應(yīng)，由實(shí)木、鐵藝、石材構(gòu)成。大小炊具、雙耳銅盆、平底鐵鍋等，均是日常家用的器物，在這里因隨意懸掛而有了場景感，令人懷念與暢想。人與物的關(guān)系再一次被拉近，貼近煙火，貼近藏族牧民傳統(tǒng)中的日常。

In order to restore a delicate sense of life, the open bar is divided into two parts: the bar itself and the hanging components. The two parts, one above the other, are made of solid wood, iron and stone. Cooking utensils of various sizes, copper pots with two ears, and flat iron pots are all daily household objects, which are hung randomly to create a sense of scene, making people nostalgic and reminiscent of the past. The relationship between human and objects is once again brought closer, close to the fireworks and the daily life in the Tibetan pastoral tradition.

每一個(gè)過去的物件上，都有時(shí)間浸潤留下的痕跡，顏色會頹褪，表面會凝結(jié)。它們有一種來自廢墟之中的美：暗啞、靜謐，是緩慢的生命力在蔓延。而這種對平常事物的敬重，本身便包含了對時(shí)間的理解。物與時(shí)間沉默著，卻總能激發(fā)起人在意識深處細(xì)膩而微妙的共鳴。

There are traces left by time on every object from the past, colors faded, surfaces polished. They have a beauty that comes from the ruins, dark and quiet, a slow spread of vitality. And this respect for ordinary things, itself contains an understanding of time. Things and time are silent, but they can always inspire a delicate and subtle resonance in the depths of one's consciousness.

三

坐而望：風(fēng)景的滲透

Sitting and looking: the penetration of the landscape

空間建立著向內(nèi)的情緒，也提供著向外望見雪山與林地的視角。一內(nèi)一外，人文與自然的兩種視角在空間內(nèi)部轉(zhuǎn)換，并通過人在其中的游走移動，形成完整的體驗(yàn)。

The space establishes an inward-looking atmosphere, and also provides an outward-looking perspective of the snow-capped mountains and woodlands. One inside and one outside, the two perspectives of humanity and nature shift within the space and form a complete experience through the movement of people wandering through it.

火塘邊是開闊的落地窗，餐桌前是橫亙綿延的橫窗。陽光傾斜著灑落，玻璃窗外是一年四季變化交替的落葉林：春季盎然，夏季濃郁，秋季層林浸染火紅一片，冬季白雪皚皚，一直延伸到積雪終年不化的幺妹峰盡頭。

By the fire pit are the open floor-to-ceiling windows, and in front of the dining table are the horizontal windows stretching across. The sunlight pours down at an angle, and outside the windows is a deciduous forest that changes and alternates throughout the year. Spring is full, summer is rich, fall is drenched in red, and winter is snow-capped all the way to the end of Yaomei Feng, where the snow never melts.

四

移步向內(nèi)：建立秩序的筋骨

Moving inward: establishing order

建筑一共四層。從大廳到各層客房均有樓梯與走廊相連。隨著動線的引導(dǎo)、延伸，人在空間垂直與水平的兩個(gè)方向上探索，新的秩序與情緒被建立起來。樓梯被一種折線型的雕塑感所塑造，靜默而沉斂。走廊則再一次回歸到有節(jié)奏的光影之中，構(gòu)建著敘事鋪陳中的呼應(yīng)關(guān)系。

The building has four floors. Stairs and corridors connect from the lobby to the guest rooms on each floor. Following the guidance of the moving lines, one explores the space in both vertical and horizontal directions, and new orders and moods are established. The staircase is shaped by a sense of folded sculpture, silent and astringent. The corridors, on the other hand, return once again to rhythmic light and shadow, building an echoing relationship in the narrative.

五

歸與屬：時(shí)間的讓渡

Attribution and belonging: the cession of time

臥室是最純粹的獨(dú)處空間。實(shí)木的使用，一直貫穿整個(gè)室內(nèi)空間，從大廳到走廊再到臥室。實(shí)木的溫和質(zhì)地以潤物無聲的方式滋養(yǎng)著場地，自然而然地發(fā)生。這里沒有狹隘的技術(shù)觀念，沒有高調(diào)的處理手法。設(shè)計(jì)始終保持謙卑克制，誠摯地接納著材料自身所特有的天然痕跡，只為融入窗外那抹原始的風(fēng)景之中。

The bedroom is a moment of solitude in its purest form.The use of solid wood continues throughout the interior, from the hall to the corridor to the bedroom. The gentle texture of solid wood nourishes the sense of belonging to the site in a silent way. It occurs naturally . There are no narrow technical concepts here, no high-profile treatments. The design is always humble and restrained, sincerely accepting the natural traces of the material's own admission, just to be able to blend into the original landscape outside the window.

客房內(nèi)，光影因空間氛圍變得更私密而有了柔和細(xì)膩的變化。木質(zhì)家具、帶著一定灰度的白墻、柔軟的紡織物、光影下的器物，共同營造出一個(gè)精神與意志均有所歸屬的場地。在這里，悄悄移動的陰影線，仿佛讓時(shí)間的流逝變得有跡可循。

Inside the guest rooms, the light and shadows also have a soft and delicate change due to the more intimate atmosphere of the space. Wooden furniture, gray walls, soft textiles, and artifacts in light combine to create a venue where both spirit and will belong. Here, the quietly moving lines of shadow seem to make the passage of time traceable.

時(shí)間在這里無盡讓渡，陽光與雪山在這里無盡照拂。

Time gives way endlessly, and sunlight and snow-capped mountains shine endlessly.

六

身與心：自然的歸返

Body and Mind: Return to Nature

與雪山的對話，最終在頂樓露臺全面敞開。火塘與水汽蒸騰的露天浴場，構(gòu)建出一個(gè)坦誠而原始的親密場景。人們與自然相依，與天地為伴，看日照金山，觀隆冬飄雪，體驗(yàn)一種對自然從身到心徹底的歸返。

The conversation with the snow-capped mountains finally opens up on the top floor terrace. The fire pit and the steamy open-air bath create a frank and primitive scene of intimacy. With nature, with heaven and earth as companions, watching the mountain of sunrise, watching the snow drift in winter, experiencing a complete return to nature from body to heart.

極致的冷、強(qiáng)烈的日照、凄厲的風(fēng)雪、凜冽的山峰，諸多被現(xiàn)代社會日常抵擋在外的現(xiàn)實(shí)，被一一找回，并從中體會出無限的美好。在這里，所有極致的條件最終將會以最崇高的豐富體驗(yàn)反饋給心靈，并與周遭的一切結(jié)為一種精神共同體。人置身其中，被催化、被感知，最終成為眼前美好景象的一部分。

Extreme cold, intense sunlight, harsh snowstorms, biting peaks, many realities that are blocked out by modern society's daily routine, are retrieved one by one, and infinite levels and beauty are experienced.Here, all the extreme conditions will, in the end, be fed back to the mind with the most sublime richness of experience, and with everything around them to form a kind of spiritual community, in which people are catalyzed and perceived. Ultimately, one becomes part of a beautiful scene.