建筑設(shè)計(jì)：CHAT建筑師事務(wù)所，瓦魯?shù)隆ど绸R叻巴

南達(dá)遺址酒店，曼谷，泰國(guó)

建筑設(shè)計(jì)：CHAT建筑師事務(wù)所，瓦魯?shù)隆ど绸R叻巴

1 場(chǎng)地模型，可看出酒店建筑位于現(xiàn)代城市（灰色部分）與老的棚戶區(qū)（木制部分）的交界處/Site model, showing the building as a threshold between the modern city (in grey) and the old shantytown (in wood)

南達(dá)遺址酒店坐落在曼谷新城與一個(gè)歷史老棚戶區(qū)的交界處，在新舊世界間的夾縫地帶。酒店前面是一條快速干道，通往跨越湄南河的拉瑪8號(hào)橋，酒店背后就是百年老城區(qū)布里那?！ご簺_（Purinayok Chumchon）。建筑的前身是始建于1920年的傳統(tǒng)歐式柚木建筑，重建后被改造成充滿現(xiàn)代氣息、環(huán)境宜人的特色酒店。

客房外墻覆蓋混凝土外殼，像深色的廣告牌一樣標(biāo)示著酒店的存在，同時(shí)，它為位于建筑中央的露天“私家”庭院提供了一個(gè)保護(hù)區(qū)。標(biāo)志性的沿街立面帶有明顯的水平“加速”線條，與現(xiàn)代城市的大尺度、快節(jié)奏相呼應(yīng)（實(shí)際上，它們是有著功能性的滴水沿槽）。使用水平線條的最初目的是為了在表皮上刻印名字的時(shí)候標(biāo)注出印刷線。實(shí)際上建筑立面真的成了現(xiàn)代大道與老城小巷交匯處的一個(gè)功能標(biāo)志或者廣告牌。然而，一旦轉(zhuǎn)過街角來到側(cè)巷，你會(huì)發(fā)現(xiàn)建筑的體量降低成4層，與小巷內(nèi)沿街店鋪的尺度相匹配。在這里，水平線條變成豎向的建筑緣線，模仿沿街店鋪凸窗的造型。就像這樣，即便是一條再簡(jiǎn)單不過的混凝土邊緣線條的細(xì)節(jié)處理也可以成為與城市環(huán)境相呼應(yīng)的設(shè)計(jì)工具。這些線條與人行道上方滿布的電線、電話線也達(dá)成某種和諧。這是建筑設(shè)計(jì)中特意采用的調(diào)和元素，一句話，“如果你不能避免它們，那么就試著融入它們吧”。在面向老城區(qū)的一側(cè)建筑部分只有2層高，在內(nèi)院中就可以看到老城的景象。

與外立面的現(xiàn)代風(fēng)格相反，隱蔽的建筑內(nèi)庭設(shè)計(jì)則頗為復(fù)古。其精致纖細(xì)的白色鋼構(gòu)架，取自酒店主人家老公館遺存下來的已有百年歷史的舊柚木，都被設(shè)計(jì)所采納并賦予了新的意義。從老建筑拆卸下來的門、木窗戶、地板、通風(fēng)嵌板、木樓梯和扶手、回收再利用的中葡風(fēng)格的陶瓷鋪磚、老照片、一個(gè)老茶館保存下來的木制桌椅等老物件被重新組合在一起，共同營(yíng)造出一種復(fù)古的環(huán)境氛圍。從街邊的小入口進(jìn)入其中，就來到了一個(gè)奇妙的新舊交替的世界。

內(nèi)庭這種即興拼湊的設(shè)計(jì)是學(xué)習(xí)棚戶區(qū)的經(jīng)驗(yàn)——那里的人們用各種回收材料建造家園。純凈的白色鋼制構(gòu)件將各種老舊的木制品框固起來，使它們像博物館中的一件藝術(shù)品一樣被展示。這樣設(shè)計(jì)的目的不是試圖重現(xiàn)懷舊的場(chǎng)景，而是客觀展示這些歷史木制品的真實(shí)狀態(tài)——在這里，現(xiàn)代的建筑元素鋼和混凝土就顯然是格格不入、不合時(shí)宜的了?！酰L 譯）

The Nanda Heritage Hotel sits on a site between the old and the new world, a threshold between Bangkok's new city and an old historic shanty town. With a high-speed on ramp to Rama 8 Bridge crossing the Chao Phraya River in front and a 100-year-old Purinayok Chumchon (community) in back, the heritage of its ancestor, a European style teak house built in 1920, is reworked as a unique hotel with a contemporary modern design and a charming surrounding atmosphere.

The dark billboard-like concrete outer shell is filled with guest rooms. It acts as a protective buffer zone to the central open air "secret" courtyard in the middle of the building. The monumental street front elevation, with its horizontal "speed" lines (actually, they are functional drip edges), responds to the large scale and fast pace of the modern world. The initial intent of the horizontal lines was to use them as typographical lines for names to be stenciled onto the facade. The elevation becomes a functional sign or billboard for the area, a meeting place of modern avenues and historic alleys. Once the mass of the hotel turns the corner into the side alley, it dips down to a four-storey height to match the scale of the shophouses along the smaller side street. Here, the horizontal speed lines turn 90 degrees to become vertical "Koohah" (building) lines that mimic the shophouse bay. Thus, even a simple concrete edge detail can become a responsive tool at the urban level. These lines also speak to the tangle of electrical and telephone lines strewn above the sidewalk. The blend of elements follows the "if you can’t beat them, join them" philosophy. The building drops another two storeys to frame the view of the Chumchon from the courtyard.

The hotel's hidden courtyard, unlike it's zippy exterior, is inspired by the past. Its delicate frame of thin white steel members and old historic wood--from the remains of the owner's family's 100-yearold teak wood mansion--is adapted to produce new meaning. Dismantled doors, wood windows, floorboards, ventilation panels, wood staircase and handrails, recycled Sino-Portuguese paving ceramic tiles, old photos, wooden chairs and tables saved from an old teahouse are all recombined to create a vintage atmosphere. It is a mysterious eclectic space of the old and new accessed through a small portal from the street.

The inner court improvises its design from lessons learned in the shantytown where people constructed their homes from scavenged building materials. The clean white steel members frame each individual antique wooden element like a museum artifact. The attempt is not to create a nostalgic environment, but rather to present the historic wooden elements as they truly are-out-of-place and out-of-time amongst the modern elements of steel and concrete.□

2 沿街立面全景/Overall view of the street elevation

3 首層平面/Floor 0 plan

4 3、4層平面/Floor 2&3 plans

5 從入口庭院望向抬起的泳池內(nèi)院/View from the entry court to the elevated pool court

評(píng)論

韓林飛：南達(dá)遺址酒店坐落在泰國(guó)曼谷的新城與舊城之間，地處一條高速公路匝道口，后面是一個(gè)100多年延續(xù)著當(dāng)?shù)貧v史文化的老社區(qū)。在這樣一個(gè)特殊的位置，CHAT選擇用黑色外殼圍合出了一個(gè)封閉的內(nèi)庭院的形式設(shè)計(jì)旅店。從外面的車行道看去，純黑色的外殼確實(shí)醒目，并且極具現(xiàn)代感，但鳥瞰整個(gè)區(qū)域，不難發(fā)現(xiàn)其與周邊歷史建筑格格不入。相反，內(nèi)部的庭院利用外連廊使得空間變得更加靈活，大面積地使用當(dāng)?shù)爻Ｓ玫慕ㄖ牧稀静?，并且重新利用回收的舊窗戶、舊百葉，這一切使得內(nèi)庭院設(shè)計(jì)變得即興、有趣。小院與整個(gè)建筑外面包裹的黑色外殼也形成強(qiáng)烈的對(duì)比，使這個(gè)藏身于新、舊城市之間的旅館建筑詼諧、幽默。

王彥：一座矛盾交織的建筑。

白色輕盈的下部承托著黑色堅(jiān)實(shí)的上部；沉穩(wěn)封閉的外墻抵抗住城市的喧囂，守護(hù)安靜隱秘的內(nèi)院；而有著上百年歷史的木門，恰到好處地嵌入現(xiàn)代鋼結(jié)構(gòu)環(huán)廊，呈現(xiàn)出新老材料交織的獨(dú)特意境，耐人尋味。窗臺(tái)滴水板水平展開，形成具有張力感的建筑立面，這無疑讓酒店在場(chǎng)地環(huán)境中脫穎而出。容易積聚熱量的黑色是否適合當(dāng)?shù)貧夂蚬们也徽?，那種冷酷的氣勢(shì)卻頗讓人感到有些緊張。雖然沿街底層的木色溫暖親切，卻絲毫沒有準(zhǔn)備對(duì)街道上的路人開放，不禁唏噓。

Comments

HAN Linfei: The Nanda Heritage Hotel is located between the old and new cities of Bangkok. The building is positioned between a highway ramp and an old residential community, a locus of community history and culture for more than a hundred years. The black facades of the building wrap a light courtyard at the center of the scheme. From the lanes surrounding the hotel, the pure black color is impressive and modern. But in the context of the neighborhood, it seems incompatible with the historic fabric of the surrounding buildings. The inner courtyard incorporates a lot of local wood as well as reclaimed old windows and shutters that are more in keeping with the traditional building motifs of the neighborhood.The space is flexible and attractive. The strong contrast between the black exterior of the building and the gentler natural finishing of this inner core gives the building a witty and humorous tone.

WANG Yan: A Complicated Construction.

The solid black volume is supported by a light-coloured graceful podium. The calm enclosing wall of the hotel keeps out the hustle and bustle of the modern city while it embraces a quiet and peaceful inner courtyard. Two-hundred year old wooden doors punctuate the steel structure of the building's corridors. This mixing of new and old construction materials is truly interesting. The hotel's exterior window sills run on beyond the openings they serve. They morph into the strong horizontal datum of the facade. The hotel stands out in its site and environment. The black color of the building too easily absorbs the heat of this place but also establishes an imposing tone that makes people feel a little nervous. Although the wood material used in places at street level is warm and kind, it is used in a way that is opaque and does not open up the experience of the hotel interior to passersby in the street.

項(xiàng)目信息/Credits and Data

客戶/Clients: Sarnanda and Medhavin Lekhyananda

室內(nèi)設(shè)計(jì)/Interior Designers: 公共區(qū)域/Public Areas：CHAT建筑師事務(wù)所（與瓦魯?shù)隆ど绸R叻巴合作）/CHAT Architects (in collaboration with Varoot Samalapa)；客房/ Guest Rooms: 客戶/Owner

場(chǎng)地面積/Site Area: 1266m2

建筑面積/Floor Area: 4000m2

設(shè)計(jì)時(shí)間/Design Period: 2009

攝影/Photos: Ketsiree Wongwan

Nanda Heritage Hotel, Bangkok, Thailand, 2014

Architects: CHAT Architects, Varoot Samalapa

6 私密內(nèi)庭實(shí)景/View within the secret courtyard