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設計單位? goa大象設計

項目地點? 江蘇蘇州

建成時間? 2024年

建筑面積? 55400平方米

本文文字由設計單位提供。

在蘇州做度假酒店，必定繞不開園林。自古園林就與“居”“游”相關。最初依托真山真水，于其間建房舍，作為游山玩水的據點；后來把山水復刻在庭院中，疊山理水、移植花木，以便靜觀或賞游；這兩種建筑與園林的關系，在獅山項目中均有存在，多層次嵌套的空間結構，重疊出更加豐富的居游體驗。

——張迅，設計總建筑師

When designing a resort in Suzhou, one inevitably engages with the local tradition of gardening. Since ancient times, Suzhou gardens have been about dwelling and wandering. Initially, buildings were set amidst landscape. Later, miniature landscapes – hill, water body and flora - were recreated within courtyards for contemplation or enjoyment. Both modes of integrating architecture and landscape are present in this project, where a multi-layered space offers an interwoven experience of living and roaming.

——ZHANG Xun, Principal

園內構筑

Crafting Architecture Amid the Park

姑蘇俗諺有云：“獅子回頭望虎丘”，奇峭險峻的獅子山向東瞻望以虎丘為首的五座姊妹山峰與蘇州古城。城市的擴張將這一區域包裹進現代CBD的邊界時，留存了獅山公園的一隅山水。圍繞公園，眾多地標建筑拔地而起。蘇州悅榕莊項目選址獅山南麓，南鄰運河，北依山水，以傳統建筑與古典園林融會的庭院布局構成了文化場域中一塊至關重要的拼圖。

As a Suzhou proverb goes, "The Shishan (Lion) Mountain gazes back at Huqiu (Tiger) Hill," where its towering grandeur looks eastward toward the five peaks crowned by Huqiu Hill and the ancient city beyond. Urban expansion has encased this area within the downtown while preserving a piece of landscape within Shsihan Park. Surrounding this park, landmark buildings rise in harmony with nature. Nestled at the southern foot of the hill, the project stands bordered by the canal to the south and backed by mountains to the north.

獅山公園是一片完全開放的城市綠地，如何在公共場域中構建私密性空間成為了項目面臨的首要挑戰。建筑師面向本土語境尋求總體規劃的靈感，傳統的封閉圍墻被放棄，以建筑群整體抬升為客房制造高差，避免與外界的直接視線交流，“臺基”容納了酒店的公共功能；在此之上，以江南民居的尺度為參照，大堂與客房被分解入小體量的1至3層坡屋頂單體中；其高度限定在12米，以含蓄的姿態融入環境。

The site in a public park posed a primary challenge to the architects: to create a serene space within a highly visible location. Seeking inspiration from local vernacular, the architects abandoned enclosed walls. Instead, they elevated the entire complex to create topographic separation, deflecting direct sightlines from the surroundings. This raised platform base accommodates the most public functions of Banyan Tree and Angsana hotels. Above it, referencing the scale of traditional South China residences, the lobby, restaurant, and guestrooms are dispersed into smaller volumes with pitched roofs. Capped at 12 meters above ground, these structures merge into the landscape with restraint.

場地的南北兩側分別與獅山公園與城市界面相接，建筑布局因此成為了兩種不同肌理的過渡——長度不一的短橫建筑沿東西向排布，通過錯動擬合了湖泊水體的弧線輪廓。直面獅山的中心軸線開闊疏朗，散落主入口、大堂與全日餐廳等空間；悅榕莊與悅椿酒店的客房分別在東西兩側展開，自西向東高度遞減的形式由功能決定，同時巧妙地契合了丘陵的形狀。

Flanked by the park to the north and the city to the south, the site demanded a layout mediating distinct textures. Varying-length volumes align east-west, adopting an arrangement that traces the contour of the lake. Along the central axis facing Shishan Mountain, an expansive openness unfolds, dotted with spaces like the main entrance, lobby, and dining. To either side, guest rooms of the Banyan Tree and Angsana hotels extend, their heights stepping down as a configuration dictated by functional needs while artfully hugging the hill topography.

筑間造園

Weaving Gardens Between the Structures

蘇州以園聞名。“半城園亭”的蘇州古城中，高密度的城市界面中藏園林，園林中又散落著富有趣味的建筑小品。就獅山公園而言，山麓的悅榕莊恰如“園中之筑”；而著眼于項目本身的尺度，單體建筑之間錯雜的景觀又構成了“筑中之園”。由園而筑，由筑及園，多尺度的層累讓建筑與景觀的邊界定義顯得模糊；由此，在獅山悅榕莊，古代城園合一范式中園林與建筑的圖底關系得到反轉。

Suzhou is celebrated for its gardens. Within the ancient city, courtyards nestle amidst high-density urban fabric, while whimsical architectural vignettes scatter through the gardens themselves. At Shishan Park, the hotel emerges as a "structure within a garden"; yet at the project’s own scale, interlaced landscapes between its buildings transform it into "gardens within the structure.” This multi-scalar layering dissolves boundaries between building and landscape. Thus, the figure-ground relationship of gardens and structures intrinsic to Suzhou’s classical paradigm is inverted.

建筑單體在保持統一尺度呈現出各異的形態，體量間的錯動為圍合造園提供了契機。多重庭院如同獅山余脈的延續，綠色植被滲透進建筑的間隙，直抵水岸，聯通嵌套，處處成景。建筑師嘗試模山范水，探尋平面造園手法的現代性表達：以近在咫尺的獅山為憑依，構筑出跌宕起伏如山勢的立體庭院。平地升而為臺，降則成谷，一系列 “臺園”與“谷園”彼此串聯，形成了獨一無二的景觀體驗。

While maintaining a uniform scale, the individual structures adopt distinct forms, allow garden-making through enclosure. In multiple courtyards, verdant vegetation permeates interstitial gardens, reaching the waterfront and connecting nested scenes—each frame a vista. The architects abstracted the motifs of landscape to explore modernity in design, sculpted three-dimensional courtyards that undulate like hills. Platforms rise from flat ground to form terraces, while depressions become valleys; a series of interconnected "terrace gardens" and "valley gardens" culminates in a singular landscape experience.

重塑景觀

Reframing the Familiar Scenery

受蘇州園林多變造景手法啟發的建筑師為來訪者創造多層次的景觀體驗：主軸線上的宴會廳、健身房等公共區域被藏于升高的臺基之下，使得坐落其上的大堂可以直面獅山，臺基造成的錯落高差允許多數客房將檻外山水借入戶內，成為遠景；客房建筑圍合出由窗框框定的中景；別墅客房南北兩側的內院則提供了觸手可及的私密景觀體驗，是為近景。

Inspired by Suzhou Gardens’ ever-shifting scenography, the architects crafted multi-layered landscape experiences: Public areas including the banquet and gym, along the central axis, are concealed beneath the elevated base, allowing the lobby above to command unobstructed views of the park. The platform’s tiered height differentials enable most guest rooms to draw mountain vistas as scenery, framing distant landscapes. Enclosed by buildings, courtyards emerge as a framed middle ground. Meanwhile, internal gardens flanking the villas deliver intimate landscapes within reach as a curated foreground experience.

建筑師選取特定的立面材料轉譯傳統意蘊。立面中使用的木紋轉印鋁板幕墻向中國木構傳統致敬；鋁花格窗與陶磚鏤空墻材質的選取則受到蘇州園林中花窗與漏屏風營造的半透明界面啟發，《園冶》曾云：“佳則收之，俗則屏之”，半透明的質感恰巧介于墻體與玻璃之間，景觀由此非收非屏地漏入人的眼中。建筑下部的石材是對蘇州式磚砌院墻的效法，沉郁的質感與上半部輕盈的半透明材質形成對比。夜幕降臨時，立面如同華燈初上的亭臺，而材質輕重帶來的微妙的平衡將被明與暗的鮮明對照取代。

The architects translated cultural heritage through material choices. The wood-grain aluminum panel cladding pays homage to China’s timber construction traditions. Meanwhile, lattice windows and terracotta walls echo The Craft of Gardens’ adage: “Capture the refined, screen the vulgar.” Their semi-translucency, mediating between solid walls and transparent glass, filters landscapes into view neither fully captured nor entirely concealed. Below, stone cladding emulates local brick walls; its somber texture contrasts with the upper section’s ethereal transparency. At dusk, the fa?ade transforms into a lantern-lit pavilion, where the balance of material weight yields stark dialogues of light and shadow.

《四景山水圖》中，宋代畫家劉松年嘗試描繪文人生活中山水與建筑的理想關系：雙坡頂小筑坐落于親近水面的平臺上并眺望遠山。一座處于城市與自然交界之處的度假酒店有機會復現這一場景，建筑師希望迎接挑戰——尋求傳統語匯與現代表達之間的平衡點。古人希望將無限復雜的宇宙容納在自己擁有的方寸之地中時，曾經用景觀象征更為遠大的維度；幽山曲水環抱中的蘇州悅榕莊延續并在一定程度上扭轉了這一路徑——門檻之外的事物舉目可見，卻被窗格妥善容納，于是，在此與環境若即若離的個體，得以開展自我實現的活動，例如思考世界。

In the Four Seasons of Landscapes scroll, Song dynasty painter Liu Songnian captured an ideal relationship between architecture and nature in scholarly life: a gabled retreat perched on a waterside platform, gazing toward distant peaks. A resort hotel at the urban-natural interface now reimagines this scene. The architects seek an equilibrium between traditional vocabulary and contemporary expression. Where ancient scholars once symbolized the boundless cosmos within their intimate domains, the project extends then subverts this tradition: vistas beyond the threshold remain visible, yet contained by window grids. Thus, the guest maintains a proximity to the world, pursuing self-actualizing activities, such as contemplating the universe.

設計圖紙 ▽

完整項目信息

項目名稱：蘇州獅山悅榕莊及悅椿酒店

項目類型：商業建筑、酒店

項目地點：江蘇蘇州

建成狀態：建成

項目時間：2024年

項目面積：55400平方米

建筑設計：goa大象設計

室內設計：HBA、金螳螂

景觀設計：詩加達、MEDG現工設計
施工圖設計：蘇州建設（集團）規劃建筑設計院
酒店管理：悅榕莊
攝影：此間建筑攝影、陳曦工作室

本文文字及部分圖片由如goa大象設計授權有方發布。歡迎轉發，禁止以有方編輯版本轉載。

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