云廬酒店，桂林，廣西，中國(guó)

建筑設(shè)計(jì): 劉宇揚(yáng)建筑事務(wù)所，景會(huì)設(shè)計(jì)

Architects: ATELIER LIU YUYANG ARCHITECTS， ARES partners

云廬酒店，桂林，廣西，中國(guó)

建筑設(shè)計(jì): 劉宇揚(yáng)建筑事務(wù)所，景會(huì)設(shè)計(jì)

Architects: ATELIER LIU YUYANG ARCHITECTS， ARES partners

“云廬”位于從廣西桂林到陽朔的半途，是一座深藏于漓江沿岸好山好水之間的精品生態(tài)酒店。基地是當(dāng)?shù)匾粋€(gè)自然村中的幾戶人家的多棟老農(nóng)宅。項(xiàng)目便是從老農(nóng)宅的改造開始，逐步梳理宅與宅之間的空間，并將一棟老宅拆除擴(kuò)建為餐廳和客人可聚集的場(chǎng)所。設(shè)計(jì)采取一種對(duì)當(dāng)?shù)匚幕椭車迕竦淖鹬睾椭?jǐn)慎姿態(tài)，規(guī)劃與景觀設(shè)計(jì)在最大程度上融入了村落結(jié)構(gòu)，并在周邊不另設(shè)圍墻或其他防護(hù)設(shè)施。在不破壞原外觀的前提上，老的夯土建筑被改造為符合當(dāng)代生活品質(zhì)的酒店客房。新建的餐廳則用了一種更為低調(diào)的建筑語匯，以變截面鋼結(jié)構(gòu)和玻璃中軸門窗系統(tǒng)與毛石外墻、炭化木格柵和屋面陶土瓦形成一種材料對(duì)比，新老建筑形成的空間對(duì)話和延續(xù)感則是維系外來酒店與本土農(nóng)村自然共生的基本法則。

在室內(nèi)設(shè)計(jì)中，依然遵循了自然共生的法則。為了不影響依山傍水的好風(fēng)景及與老村落的協(xié)調(diào)，低調(diào)的新建餐廳為一層樓高的坡屋頂建筑，并盡可能地降低了尺度，而室內(nèi)空間在滿足了空調(diào)等功能需求的前提下，盡可能地提升了層高，與建筑呼應(yīng)，讓空間明快、簡(jiǎn)潔、流暢。

原有農(nóng)宅的室內(nèi)雖然久經(jīng)年代的風(fēng)雨而顯得破舊，但卻不失空間上的趣味，典型的一棟青瓦黃土磚屋為三開間，中間為2層挑高的廳堂，兩側(cè)各有4小間房，二層為雜物儲(chǔ)藏用。在改造中，保留了原建筑的木結(jié)構(gòu)，黃土墻，坡屋面及頂上透光的“亮瓦”。在功能上一層的廳堂保留并設(shè)有吧臺(tái)、沙發(fā)，是客人小聚的社交空間，客廳的兩側(cè)各有一間客房，廳堂中增加了通向二層的兩間客房的樓梯。對(duì)于東西方向的室內(nèi)墻面，只是作了必要的清潔和修繕，南北方向的墻面在土磚墻以內(nèi)增加了輕鋼龍骨石膏板墻，新舊墻體中間的空隙滿足了所有管線、管井走向的需求。室內(nèi)改造中側(cè)重于思考現(xiàn)代人的生活方式與原生態(tài)空間的對(duì)話、空間本身與光影的對(duì)話、室內(nèi)與室外空間的互動(dòng)。在材料的運(yùn)用上，選擇了素面水泥、再生老木、竹子和黑色鋼板，力求樸實(shí)、自然、簡(jiǎn)單的原則。

1外景/Exterior view

2 首層平面圖/Floor 0 plan

3.4改造前外景/Exterior views before renovation

5.6模型/Models

Yun Lu is a boutique eco-resort nestled within a village of the northeastern part of Yangshuo resting along the dramatic landscape of the Li River. The site consists of nine renovated farm houses and one new addition which functions as an all-day dining restaurant for hotel guests. Taking on a sensitive approach to the local culture with villagers still living nearby， the overall planning and landscape design blends into the original village structure without creating new boundaries to the villagers. The rammed earthed buildings were retrofitted to accommodate refreshing and uncompromisingly contemporary living， while the new restaurant addition adopts an understated presence with the use of steel frame， glass pivot doors in contrast with the locally sourced rough-cut stone blocks， charcoal treated wooden louvers and terra-cotta roof tiles to provide a rich tactile experience. The spatial dialogue and the sense of continuity between old and new buildings maintain an order of symbiosis between the foreign （hotel） and the local （village）. The same design principle extends into the interior space of the hotel. The dialogue between people， space， light and landscape is well thought out. The typical layout of the vernacular house here is a three bay structure with a double height volume in the middle bay. Each typical building consists of four guest rooms with a shared living and hangout space in the center. Bamboo， wood， galvanized steel， concrete finishes and pebble washed stones are main materials used in the interior. Most of wood beams and existing wooden doors are being refurbished and reused in the project.

There are issues within and beyond our expectation. The owner prefers a certain number of guest rooms that require an additional floor. To make sure the houses are structurally stable after renovation is a major concern. For the interior space， we decided to keep the east and west ram earth brick walls as they are and adding new gypsum boards to the south and north walls. The aperture between the new added gypsum boards and the existing brick walls is used for all M&E ducts and pipes. However， the detailing at the corners wherethe new and old meets takes quite an effort. Besides all the technical issues， we also have to come up with adjustments to comments and demands raised from the villagers live nearby on daily bases.

Our objective is not to simply preserve these traditional houses. We would very much like to see the symbiosis of nature and architecture of conflicting entities， such as concerns of tradition， local villagers，visitors （intruders）， and present and past. These conflicting entities being in an interactive collaboration evokes multivalent and ambivalent meanings through differences and tension.

The main material we selected for the interior is concrete， wood and natural finish black steel. We wanted to avoid glitz and glamour in this project. The main idea is to bring clam and tranquility atmosphere into the space. We wanted people to concentrate on enjoying the spatial relationship， the dialogue between indoor and outdoor space and how natural light casts onto the surface throughout different time of the day and of the year rather than concentrate on many different materials. The exterior building material is quite modest and unpretentious to echo to the interior as we expected.

7夜景/Night view

項(xiàng)目信息/Credits and Data

客戶/Client: 曲明（云廬酒店）/QU Ming （YunLu Resort）功能策劃/programming: 劉宇揚(yáng)建筑事務(wù)所，景會(huì)設(shè)計(jì)/ ATELIER LIU YUYANG ARCHITECTS，ARES partners

總體規(guī)劃/planning: 劉宇揚(yáng)建筑事務(wù)所/ATELIER LIU YUYANG ARCHITECTS

新建筑設(shè)計(jì)/New Architecture: 劉宇揚(yáng)建筑事務(wù)所/ ATELIER LIU YUYANG ARCHITECTS

老建筑改造/Renovation: 景會(huì)設(shè)計(jì)/ARES partners

景觀設(shè)計(jì)/Landscape: 景會(huì)設(shè)計(jì)/ARES partners

室內(nèi)設(shè)計(jì)/Interior: 景會(huì)設(shè)計(jì)/ARES partners

設(shè)計(jì)總監(jiān)/Design principals: 劉宇揚(yáng)（ALYA），汪瑩（ARES）/LIU Yuyang （ALYA）， WANG Ying（ ARES）

設(shè)計(jì)團(tuán)隊(duì)/Design Team：楊明喜，劉曉宇，馬鐘理（ALYA），程輝，徐雅婷（ARES）/YANG Mingxi， LIU Xiaoyu， MA Zhongli （ALYA）， CHENG Hui， XU Yating （ARES）綜合設(shè)計(jì)院/LDI: 劉濤（結(jié)構(gòu)），顏兆軍（設(shè)備）/LIU Tao （structure） YAN Zhaojun （facility）

施工單位/Construction Team: 上海卓浩裝飾工程有限公司/Shanghai Zhuohao Construction Co.

結(jié)構(gòu)性質(zhì)/Building Structure: 鋼結(jié)構(gòu)（新建筑），夯土（現(xiàn)存建筑）/Steel frame （new architecture）， rammed earth （existing buildings）

基地面積/Site Area: 3700m2

建筑面積/Floor Area: 3000m2

項(xiàng)目造價(jià)/Cost: ￥8，000，000

設(shè)計(jì)時(shí)間/Design Stage: 2012.8-2013.5

施工時(shí)間/Construction Stage: 2013.5-2014.5

攝影/photos: 蘇圣亮/SU Shengliang

1 該項(xiàng)目及周邊區(qū)域此前面臨的突出問題是什么？

現(xiàn)場(chǎng)原有的老房子比較破敗，改造的挑戰(zhàn)很大，投入也會(huì)不小，而且業(yè)主希望做得高檔一些，符合都市人的消費(fèi)習(xí)慣。我們沒有在廣西桂林做過項(xiàng)目，就對(duì)那里的施工等各方面做了初步了解，覺得找不到讓我們放心的施工團(tuán)隊(duì)，于是我們希望核心的施工是由上海的施工隊(duì)來完成。

最大的難點(diǎn)來自于此類項(xiàng)目沒有先例，至少在國(guó)內(nèi)沒有。業(yè)主和設(shè)計(jì)方都需要面臨許多的未知：市場(chǎng)定位、受眾接受度、工程實(shí)施性、對(duì)設(shè)計(jì)調(diào)性的掌握等等。另外，就是如何拿捏酒店與周邊村落的關(guān)系，物理空間的和心理感受層面的。

2采用了哪些方法解決或改善這些問題？

由于是私人投資項(xiàng)目，經(jīng)費(fèi)和操盤經(jīng)驗(yàn)都很有限，所以對(duì)事情的預(yù)判、信任和勇氣就變得更為重要。

思考這個(gè)基地的時(shí)候，我們是憑自己直接的感受來思考：用怎樣的姿態(tài)介入村落？首要的一點(diǎn)是不破壞村落的肌理，通常設(shè)計(jì)師做規(guī)劃考慮比較多的是把空間規(guī)劃整齊，車流、物流、人流都要?jiǎng)澐智宄?。但是，我覺得村落有自己的脈絡(luò)，是自然生發(fā)的，有自己的道理，作為都市人應(yīng)該尊重農(nóng)村原有的肌理，不應(yīng)該破壞它。但是也要找到一個(gè)可以切入的點(diǎn)，可以做一些新的建筑，就象是找到針灸的穴位，就可以激活全身的脈絡(luò)一樣。當(dāng)時(shí)我們看中了入口區(qū)的一棟老宅，將其拆除，把它做成了用餐區(qū)。開始想要做得更通透，后來與業(yè)主討論后，決定把餐廳靠外的墻做得厚重一些，靠?jī)?nèi)院的部分則做得輕盈通透一些，有一種開放的感覺。

3在設(shè)計(jì)與實(shí)施過程中最大的困難是什么？如何應(yīng)對(duì)？

開始接觸項(xiàng)目時(shí)，周邊很開闊，是很美好的田園風(fēng)景，這對(duì)做酒店來說是一種理想的狀態(tài)。沒想到，一個(gè)月后我再去時(shí)，周圍村民已經(jīng)開始建造自己的房子。業(yè)主在咨詢過我之后，立即就將20年的租金全部付給了農(nóng)民，老宅的主人拿到錢后就開始在周邊建房子。對(duì)我們來說，這種情況有點(diǎn)難以接受。但是業(yè)主有一種理念，這一點(diǎn)我從她身上學(xué)到很多，他認(rèn)為在農(nóng)村做項(xiàng)目就應(yīng)該要融入當(dāng)?shù)?，村民在我周圍建房，說明我真的能夠融入他們之中。如果一定要讓村民離我很遠(yuǎn)蓋房子，那就是在畫地自限，不讓人與你接近。我們接受了業(yè)主的想法，只要周圍的房子不影響使用功能就可以。這也讓我改變了先入為主的觀念，比如說酒店周邊一定要干凈，不能雜亂。設(shè)計(jì)的一開始我通過手繪草圖推敲，把原來的建筑聚落中唯一的一棟磚混建筑拆除，重新規(guī)劃為公共活動(dòng)和餐飲區(qū)，其他幾棟夯土房子則保留作為客房區(qū)。用餐區(qū)旁邊有一個(gè)廚房，廚房旁邊設(shè)置了一個(gè)小院子，餐廳旁還做了一個(gè)開放的酒吧區(qū)。當(dāng)時(shí)就將幾個(gè)立面、剖面和透視圖設(shè)定，一張圖就將整個(gè)大的格局確定了，可能整個(gè)靈魂就在這里。我們同時(shí)另外還拆除了一些院落隔墻，也保留了一些隔墻，使整個(gè)村子的肌理更有層次感。

4使用者的反饋是怎樣的？

客人特別喜歡餐廳與院子的感覺。曾經(jīng)有位歐洲著名建筑師來到時(shí)提到，由于院子、餐廳和周邊山的空間尺度關(guān)系，客人在用餐前后和在夜間圍著院子的聚集和交流，讓他想到在希臘山城中的廣場(chǎng)（agora） 空間氛圍。當(dāng)然也有客人提出房間里沒有電視，或浴缸與房間之間沒有門的問題。

8夜間外景/Exterior view at night

9.10剖面/Sections

11餐廳/Restaurant

評(píng)論

魏春雨：該設(shè)計(jì)有兩個(gè)值得推薦肯定的設(shè)計(jì)價(jià)值觀：其一是延續(xù)原有小聚落的尺度與肌理，低矮的坡頂處理，融入村落的結(jié)構(gòu)形態(tài)；其二是建筑單體設(shè)計(jì)語言保持了本土的原真性，毛石、碳化木格柵、陶土瓦等地域材料的使用，遵循了與本土共生的自然法則。

Comments

WEI Chunyu： There are two highlights in its design value orientation that are worthy of recommendation: one is to retain the small scale and texture of the original settlement by skillfully disposing the low crest and integrating the structural morphology into the village；the other is that the design language of a single building maintains the native authenticity，and that the use of local materials， such as rubble， carbonized wood grill， and clay tiles follows the natural law: symbiosis of nature and architecture.

龍灝：在旁邊典型的中國(guó)農(nóng)村近20年來的自建磚混結(jié)構(gòu)農(nóng)房和遠(yuǎn)方喀斯特山巒的映襯下，本項(xiàng)目的意義并不在于利用了多少現(xiàn)存建筑空間、使用了多少材料對(duì)比語匯，非專業(yè)人士也并不見得都能理解建筑師試圖表達(dá)的現(xiàn)代生活方式與原生態(tài)空間的對(duì)話、空間本身與光影的對(duì)話等等，而在于以這樣的一種姿態(tài)為項(xiàng)目當(dāng)?shù)厝罕娔酥粮鼜V泛的農(nóng)村地區(qū)呈現(xiàn)了傳統(tǒng)老屋的一種別樣新生的可能性——拆舊建新，并不是唯一途徑。

LONG Hao： Standing out of surrounding self-built brick-concrete farmhouses which are typical for Chinese villages in recent two decades， and the faraway Karst mountains in background， the significance of this project does not lie in how much existing architectural space was occupied or how many kinds of material contrast language were used. And despite the fact that non-professionals may not understand the dialogue either between modern lifestyle and original eco-space， or between the space itself and the light and shadow，which the architect seeks to express， it is meant to present to local people and even a wider range of villages a new possibility for traditional old houses to refresh， as demolishing and reconstructing is not the only approach.

12-14 內(nèi)景/Interior views

Yun Lu Resort， Guilin， Guangxi， China， 2015