建筑設(shè)計(jì)：米琳達(dá)·帕蒂拉賈，甘加·拉特納亞克/穩(wěn)健建筑工作室

1 外景/Exterior view

這個(gè)建筑項(xiàng)目既涉及它所在的城市，也關(guān)乎一個(gè)無可辯駁的使命：一座建筑必須使它緊鄰的地形條件、所確定的適宜技術(shù)語匯、策劃的功能和體驗(yàn)相符。

這座精品酒店坐落在風(fēng)景如畫的康提湖南岸，意在從中營造出一個(gè)具有獨(dú)特魅力和美的場所。其特征是精心推敲的空間體形、當(dāng)?shù)貏?dòng)植物點(diǎn)綴的內(nèi)部景觀，以及展示湖面和遠(yuǎn)方秀色的全景。

不過，該建筑的設(shè)計(jì)源于創(chuàng)造一種建筑類型的愿望。這種類型一方面會應(yīng)對城市愈發(fā)退化的建筑文化，另一方面呼吁以更人性的方式將當(dāng)?shù)刭Y源和景觀用于旅游相關(guān)產(chǎn)業(yè)帶來的經(jīng)濟(jì)收益。隨后將建筑置于起伏地形中的做法，特別突出了保護(hù)地段的生態(tài)和城市的整體，并以此提出一種使康提山走向負(fù)責(zé)任旅游的替代建筑類型。

在過去的幾十年中，康提具備歷史價(jià)值的有形肌理被徹底破壞，而原因是旅游相關(guān)活動(dòng)毫無章法的增長，以及隨之而來的設(shè)計(jì)低劣、危害環(huán)境的建筑單體。在跨越城市商業(yè)中心的商業(yè)街上，由鋁復(fù)合板與玻璃覆板構(gòu)成的立面成為常規(guī)做法，使康提一度備受稱贊的雄偉城市形態(tài)一般化；在城市宗教中心周圍的山上，玻璃和混凝土盒子競相疊壓、爭取開闊的視野，結(jié)果毀掉了作為康提生態(tài)和文化環(huán)境重要組成部分的自然景觀。

這座建筑試圖設(shè)計(jì)一個(gè)方案來展示最美的城市景色，而不改變從城市遠(yuǎn)望山丘的視覺和天然景觀，并以此逆轉(zhuǎn)上文所述的潮流。而后讓建筑掩映在青山中、營造語境的手法一部分是從現(xiàn)象上的回應(yīng)，一部分是一種形式的社會激進(jìn)主義。這是呼吁人們在保護(hù)湖畔山中僅存的生態(tài)地區(qū)上擔(dān)起更大的責(zé)任。

從技術(shù)上看，雖然傳承了過去的傳統(tǒng)并進(jìn)行了重新詮釋，但目標(biāo)無疑還是應(yīng)對當(dāng)下的現(xiàn)實(shí)和未來的可能。這個(gè)地區(qū)傳統(tǒng)的建筑類型（比如敞亭式/帶柱廊的空間、闌干式）和手工藝（比如石作、木作）與現(xiàn)成的工業(yè)構(gòu)件（比如白鐵管、金屬屋面）和替代工藝（比如鋼焊接、水泥澆筑）相輔相成，探索了一種新的生產(chǎn)和消費(fèi)文化。它是戰(zhàn)略性的、強(qiáng)勁的、經(jīng)濟(jì)的，所以能開辟未來重構(gòu)城市與建筑產(chǎn)業(yè)的替代之路。

這個(gè)干預(yù)方案是為一個(gè)當(dāng)?shù)厣倘藚f(xié)會設(shè)計(jì)的，該協(xié)會在一定程度上負(fù)責(zé)決定城市在近期發(fā)展的形態(tài)方向。無論這種過程會有多么曲折，這個(gè)項(xiàng)目也是一次與那些具有舉足輕重作用的人提出、探討和傳播城市建設(shè)的替代性觀點(diǎn)、精神和實(shí)踐的機(jī)會?！酰ㄉ袝x 譯）

2 遠(yuǎn)景/Distant view

3-5 外景/Exterior views

This building project is as much about the city that nestles it, as it is about the incontestable commitment a building must lend to its functional and experiential programme, its immediate topographical conditions, and its definition of an appropriate technological vocabulary.

Located in the southern banks of the picturesque Kandy Lake, this boutique hotel seeks to carve out a place of distinctive charm and beauty,characterised by a fine play of spatial volumes, an internal landscape enriched by local fauna and fl ora,and panoramic views capturing the scenic splendour of the lake and the beyond.

However, the genesis of the architectural design stemmed from an urge to develop a building typology that, on the one hand, reacts against the city's increasingly degrading building culture and,on the other hand, calls for a more humanistic approach in using local resources and landscape for economic gains promoted by tourism-related industries. Subsequently, the placing of the building in its undulating topography has given a special emphasis on protecting the ecology of the site as well as the city as a whole, thus proposing an alternative typology for building on the hills of Kandy, attractive to responsible tourism.

Over the last few decades, Kandy's historically significant physical fabric has been drastically altered by unplanned growth of tourism-related activities and the subsequent proliferation of poorly conceived and environmentally-undesirable building units. In the commercial streets spanning across the city's business centre, fa?ades made of aluminium composite panels and glass claddings have become the practice to follow, thereby normalising the once much-celebrated grandeur of Kandy's urban morphology; on the hills surrounding the city's sacred centre, glass and concrete boxes peep one above each other in search of expansive views,thereby obliterating the natural landscape that is very much part of Kandy's ecological and cultural setting.

This building attempts to reverse the above trend by devising an architectural proposition that captures the best of city views, but without altering the visual and physical landscape of the hills as seen from the city. The subsequent contextual approach of veiling the building amongst the green landscape is partly a phenomenological response and partly a form of social activism, which calls for greater responsibility in protecting the ecological pockets left in the hills above the lake.

Tectonically, while past traditions are acknowledged and re-interpreted, the aim has certainly been to respond to the realities of the present and the possibilities of the future.Traditional building typologies of the region (such as pavilion-type/colonnaded spaces, elevated platforms) and craft practices (such as stonemasonry, timber-work) are complemented by off the-shelf, industrial components (such as G.I tubes,metal roofing) and alternative trades (such as steel welding, cement casting) to explore a new culture of production - and consumption - that is strategic,robust, and economical, and therefore can trigger an alternative path for future restructuring of the city and its building industry.

Designed for a society of local businessmen who have been more or less responsible in determining the morphological directions the city has taken in recent times, this intervention was also seen as an opportunity to raise, discuss, and disseminate alternative views, ethos, and practices of city building with those that matter the most, regardless how intricate such process could be.□

6 首層平面/Ground floor plan

7 二層平面/First floor plan

8 三層平面/Second floor plan

9 屋頂平面/Roof floor plan

10.11 剖面/Sections

12 立面/Elevation

項(xiàng)目信息/Credits and Data

客戶/Client: Sinhala Welanda Peramuna, Kandy

建筑設(shè)計(jì)/Architects: Robust Architecture Workshop

設(shè)計(jì)團(tuán)隊(duì)/Design Team: Milinda Pathiraja, Ganga Ratnayake, Kolitha Perera, Amila Wijeylath

結(jié)構(gòu)工程師/Structural Engineer: Ranmal Fernando

水暖電工程師/MEP Engineer: Enry Consultants

施工/Construction: Mark Stephens & Co.

材料/Materials: 白鐵管結(jié)構(gòu)框架，砌塊墻，石材，

木材，鋼材，混凝土筑塊/G.I. tube structural frame,masonry walls, stone, timber, steel, concrete casts

場地面積/Site Area: 1130 m2

建筑面積/Floor Area: 741 m2

造價(jià)/Cost: 5500萬斯里蘭卡盧比/55MS.Rs.

設(shè)計(jì)時(shí)間/Design Period: 2015-2018

竣工時(shí)間/Completion Time: 2018.03

攝影/Photos: Kolitha Perera

13 內(nèi)景/Interior view

14 走廊/Corridor

15 外景/Exterior view

16 內(nèi)景/Interior view

17.18 庭院/Courtyards

評論

程曉喜：這座精品酒店規(guī)模不大，但空間非常豐富，和其所處的自然地形緊密結(jié)合，因借地形的高低錯(cuò)落變化，配以建筑必要的平臺、柱廊、坡屋頂，巧妙地形成了步移景異的效果。建筑材料采用了當(dāng)?shù)爻Ｒ姷钠胀ǖ寞B石墻、粉刷墻、金屬支撐以及輕薄的屋頂，在自然環(huán)境中貼切、和諧。整個(gè)設(shè)計(jì)張弛有度，以灰空間作為公共空間，以周邊自然美景作為空間高潮和對景的做法，使清新的自然觸手可及，給人放松、愜意的感受。

王靜：項(xiàng)目令人印象深刻的“在地性”，源于設(shè)計(jì)師對于自然生態(tài)與城市肌理的尊重與修復(fù)，體現(xiàn)出強(qiáng)烈的社會責(zé)任感。作為精品酒店，設(shè)計(jì)沒有著力彰顯存在感，而是采用低調(diào)的態(tài)度，扎根于環(huán)境中、消隱在城市里。建造系統(tǒng)的嘗試亦展示出設(shè)計(jì)師的雄心。設(shè)計(jì)中現(xiàn)代工業(yè)建造與傳統(tǒng)材料建造的高度融合，無疑是一份回應(yīng)未來城市與建筑如何發(fā)展的高分答卷。

Comments

CHENG Xiaoxi:This boutique hotel is small in scale, but it has very colourful space.It combines closely with the natural landscape where it is located in. Adapting to the changes of heights in the terrain, assisted with the necessary platform, colonnade and pitched roof of the building, it skillfully forms the effect of changing sceneries by every step. It adopts local building materials of stone-clad walls, painted walls, metal supports and light roofs, which are suitable and harmonious in the natural environment. The whole design is balanced, with gray space as the public space and surrounding natural sceneries as the space climax and counterpart, making the fresh nature within the reach and giving people a relaxed and comfortable feeling. (Translated by CHEN Yuxiao)

WANG Jing:The impressive regional nature of the project stems from the architect's respect and restoration of natural ecology and urban texture, reflecting a strong sense of social responsibility. As a boutique hotel, the design does not focus on showing the sense of existence, but adopts a low-key attitude, rooted in the environment, hidden in the city. The attempts to showcase traditional construction systems through modern techniques also demonstrate the architect's ambition. The high integration of modern industrial construction and traditional material in the design, undoubtedly, it is a highscored answer to the question of how cities and buildings will develop in the future.