攝影：Pedro Pegenaute

鄭州建業(yè)艾美酒店

攝影：Pedro Pegenaute

Le Meridien Zhengzhou

游走一個城市的脈絡(luò)

總部位于中國上海的如恩設(shè)計研究室，將位于河南省省會城市鄭州的建業(yè)艾美酒店，打造為鄭州的全新地標(biāo)。河南，曾是中國古老的政治經(jīng)濟及文化中心，也是帝王定都之地，如今吸引著世界各地的旅人。為了通過藝術(shù)（文學(xué)，自然，飲食，戲劇以及圖案）展現(xiàn)河南的歷史，建筑師的設(shè)計理念就是將新舊手工藝品“歸檔”，形成為當(dāng)?shù)鼐用衽c旅客的觀光熱點。

檔案理念在建筑立面上表現(xiàn)為一系列堆疊的盒子，以彼此錯落的方式堆疊組成，切分原始的龐大結(jié)構(gòu)，同時又與周圍的建筑產(chǎn)生生動的視覺對比。為區(qū)分盒子的大小，盒子的玻璃幕墻分別采用稍顯不同的綠色，而盒子之間則用了無色的玻璃。由黑色及咖啡色金屬飾板構(gòu)成的盒子側(cè)面以穿孔的方式構(gòu)成一種河南本地的花卉——月季花的紋理。由多根銅桿支撐著的兩個懸浮天蓬引領(lǐng)游客進入主入口。

這座25層的建筑由5層高的裙房公共區(qū)域以及350間客房的主樓組成。裙房的靈感來源于附近的歷史遺跡龍門石窟——將中國佛教文化開鑿于石灰石絕壁的山洞之中最精美的實例之一。挖掘與雕刻的建筑概念極強地表現(xiàn)在中心中庭周圍開鑿的不同孔洞，視覺上連接了多層的公共區(qū)域。通過上方的天窗，自然光束進入整個空間，在沉積的灰色中國砂巖鑲嵌的墻面上變幻。綠色的窗戶及定做的吊燈裝置懸掛在空間上方。

中庭上方的周圍，洞穴概念更細致與低調(diào)的體現(xiàn)在折疊而下的木盒。木盒是反復(fù)出現(xiàn)的建筑元素，將有機體的輕巧與石墻的厚重并列。宴會前廳整個天花板及墻面都由折疊的核桃木盒構(gòu)成，不規(guī)律但嚴(yán)格地擺放在同一個高度。特定的盒子成為了看向中庭空間的窗戶，理療空間的盒子成為了嵌入其中的鏡子。

木質(zhì)箱柜的特征尤為引人注目地在日式特色餐廳中實現(xiàn)，整個天花板上的核桃木盒高低起伏，許多大的木盒向下降低創(chuàng)造出了半開放的私人包房。地面模仿上方天花板的圖案，像起伏的景觀，鋪蓋著不同高度的橡木平臺，有些用于就餐。一條之字形白色水磨石小路切入剩余的空間作為主動線。從室內(nèi)延展至室外，木盒的概念繼續(xù)體現(xiàn)到了屋頂花園，其中就有照亮中庭的天窗。

鄭州建業(yè)艾美酒店還有兩間餐廳，通過底板上的垂直開口在視覺上互相連接。中式餐廳私人包房是一系列黑色突出的網(wǎng)狀盒子，通過開口延伸到下方的全日餐廳。在下方它們以懸浮燈盒體塊出現(xiàn)，照亮自助餐區(qū)域鋪開的美食。全日餐廳的地板和墻壁飾面為定制的瓷磚，結(jié)合了古典的代爾夫特藍色陶瓷和中國傳統(tǒng)繪畫的筆觸，同時混合靈感來自于附近著名的少林寺功夫的主題。

酒店最閃耀的場所是三樓的舞會廳，設(shè)計的設(shè)想是懸掛金色金屬網(wǎng)和水晶吊燈的籠子，戲劇性地彰顯著奢華質(zhì)感。墻面向內(nèi)傾斜，開拓出一條通道的空間，這是酒店另一獨特的特征。這條詩意小徑不僅為注重健康的客人提供了跑道，也是一條觀景的休閑步道。這一環(huán)路在途中緩緩升起，在最高處可以欣賞屋頂花園的全景，接著再回落到達地下，與其他健身俱樂部設(shè)備連接。

客房設(shè)計的核心概念是明暗對比。起居及臥室區(qū)采用灰色墻面與核桃木壁板，而最小的衛(wèi)浴則全部使用白色瓷磚，外立面圍繞著帶有月季花的蝕刻玻璃。為了突破典型酒店電梯大堂和客房走道無止盡的重復(fù)和單調(diào)，整個客房塔樓由一系列的三層高的中庭組成，空間有藝術(shù)裝置的成列。每一個中庭代表了一個不同的主題，如神話，自然及文化，利用垂直性將故事的片段分布在客房的每一層。

這是如恩設(shè)計研究室目前接手過的規(guī)模最大、范圍最廣的多元化設(shè)計：任務(wù)包括在原有基地完成全新建筑設(shè)計，從客房、公共空間到特色餐廳的全部室內(nèi)，定制家具、標(biāo)識、景觀概念及其中的一些藝術(shù)裝置。通過探索不同的比例、肌理、材料及空間，如恩設(shè)計用各種各樣的框架創(chuàng)造了一個檔案陳列所。通過與客戶緊密的合作以及對于城市背景的引用，如恩設(shè)計策劃了一棟對于旅人而言，不僅是一場空間的旅途，也是作為敘述序列去享受城市的建筑。

Framing a Journey through the City

In their design for Le Meridien hotel, Shanghai-based firm Neri&Hu envisions a new landmark for Zhengzhou, the capital of Henan province. Henan, once the ancient political, economic and cultural center of China and home to many Emperors, today welcomes the international traveler. To showcase Henan’s history through its Arts (of Literature, Nature, Food, Theater, and Pattern) the architects conceived of the building as an "archive" of new and old artifacts that becomes a point of discovery for residents and travelers alike.

Externally the archives are expressed as cantilevered stacked boxes, each carefully composed with subtle ins and outs to break down the bulky proportions of the original structure, while offering a dynamic visual counterpoint to the neighboring buildings. To differentiate the volumes the glass front of the each box is a slightly different tint of green and the negative space between boxes is clear glass. The sides of the boxes are clad in black and coffee colored metal panels textured with perforations patterned after the local Henan wild rose. Two floating canopies supported by a cluster of bronze poles leads the visitor to the main entrance.

The 25-storey building consists of a 5-storey podium of public functions and a tower of 350 private guestrooms. For the podium, inspirations are taken from the nearby historic Longmen Caves, one of the finest examples of Chinese Buddhist art carved into limestone cliffs. The architectural expression of excavation and carving is most strongly experienced in the various openings surrounding the central atrium that visually connect the public spaces across multiple floors. Skylights above pierce the space with shafts of natural light that highlight the sedimentary pattern on the grey sandstone clad walls. Green tinted windows and an extensive custom designed chandelier installation fill the high space with a diffusion of light and color.

Near the top of the atrium, the cave is represented by a more delicate articulation of dark timber boxes which fold down onto the walls. These wood boxes are a recurring architectural feature, a filigree of organic lightness juxtaposed against the heavy stone. In the Pre-function area the entire ceiling and wall is dominated by the folding waffle boxes arranged irregularly but rigidly at the same height. Certain boxes become windows looking across the atrium space, and in the Spa a few boxes become inset mirrors.

The timber coffer is perhaps most spectacularly realized in the Japanese Restaurant where the entirety of the ceiling of walnut boxes is constantly shifting in both height and size, several of the largest drop down low enough to form semi-private dining rooms. The ground beneath mimics the pattern of the ceiling above, and like an undulating landscape, it is populated by oak platforms of various heights, some meant to be occupiable by diners. A zigzagging path of white terrazzo carves its way through the leftover space as the main circulation. Extending from interior to exterior, the language of wood boxes continues seamlessly onto the Roof Garden, which is occupied by the very skylights that light up the atrium.

The hotel features two more restaurants which are visually connected vertically with strategic cuts in the floor. The Chinese Restaurant Private Dining Rooms are a series of black mesh volumes which then extend down into the All Day Dining Restaurant through the cuts. From below they appear as floating light boxes which illuminate the culinary delights laid out on the buffet stations below. The floors and walls of the All Day Dining are clad in custom designed tiles that combine the classic look of Delft blue ceramics with the traditional brush stroke of Chinese painting, while incorporating a Kungfu motif inspired by the proximity of the project to the renowned Shaolin Temple.

The jewel of the hotel is the Ballroom which is conceived of as a hanging cage draped with gold metal mesh and crystalline pendant lights, a theatrical celebration of opulence. The walls slope inwards near the top of this room and allow space for a path to be carved out, serving as another unique feature of the hotel. The Poetry Walk functions as both a running track for the fitnessmotivated guest, or a casual strolling path complete with scenic landscape views. This looping track slopes gently upwards culminating in a panoramic outlook towards the Roof Garden and then descends back into the subterranean where it links up with other Health Club facilities.

The core concept of the Guestroom design is a contrast of light and dark. The living and sleeping areas are defined by a palette of grey walls and a stained timber wainscot, while the minimal bathrooms are clad exclusively in white subway tiles and enclosed by a glass panel etched in white with the same floral motif as the exterior. To break through the endless repetition and monotony of typical hotel elevator lobbies and room corridors, the entire Guestroom tower features a series of three story atriums, spaces reserved for art installations. Each atrium represents a different theme such as Myth, Nature, or Culture, and takes advantage of the verticality to give each guestroom floor a unique fragment of the story.

This is the most extensive and largest scale inter-disciplinary design project Neri&Hu has undertaken, including: a re-design of the architecture from its previous concrete shell, full interior design from guest rooms to public spaces and restaurants, custom furniture design, signage design, landscape concept, and a few of the art installations. Through exploring different scales, textures, materials, and spaces, Neri&Hu created a showcase of archives by various ways of framing. Working closely with the client and the contextual references, Neri&Hu has curated a not only a spatial journey but a narrative sequence to serve the traveler and their experience of the city.

一層平面

二層平面

三層平面

四層平面

五層平面