杂糅的空间序列：寿酒店 / micelle

编辑：楼樱 | 校对：李博超 | 2022.12.12 15:24

设计单位 micelle

项目地点 日本鹿儿岛县

建筑面积 1888平方米

建成时间 2020年10月

项目位于日本最南端半岛的中心城市鹿屋市。基于目前的情况，我们期望以低预算建造一个商务酒店，并为这个明显缺乏旅游资源、荒地众多的城市带来机遇。

Business hotel in Kanoya, the central city of Japan's southernmost peninsula. The idea was to build a business hotel on a low budget, which was necessary for the current situation, and to provide an opportunity for the city, which is conspicuously lacking in tourism resources, where vacant lots stand out like insects.

设计以酒店后面的停车场作为新的场地，在不拆除现有建筑的情况下对原建筑进行扩建。这个扩建项目略微减少了街道上的空地数量，创造了一个具有4栋建筑楼（包含3种设施）组成的小镇街景，其中也包括了毗邻用地上本公司设计的奶酪工厂以及它旁边的现有餐厅，不仅加强了饮食文化，也创造了一个在步行范围内活跃的活动和事件集。

The parking lot behind the hotel was also acquired as a site, and iand an extension building was constructed to provide the necessary floor space without demolishing the existing building. This extension reduced the amount of vacant lots on the street, even if only slightly, and created a small streetscape with four buildings(three facilities), including a cheese factory designed by us on a neighbouring site for enhanced food education and an existing restaurant next to it, creating a lively activities and events of pedestrian scale.

为了实现当地社区要求的新颖而不老旧的酒店，我们没有将扩建部分连接到现有的建筑上，而是将其建在一个既不是小巷也不是院子，位于空间之间的缝隙中，以创造一个具有不同氛围的建筑立面。此外，扩建部分的高度与现有建筑的高度也不同，整体形状的扭曲使它不再是一个简单的正方形空间，让这个空间具有卷轴般的特征。

The local community wanted a novelty rather than an old hotel, so in order to achieve both, the extension was not attached to the existing building, but was built across a just gap (inbetween spaces), that is neither an alley nor a courtyard, to create an elevation of buildings each with a different atmosphere. In addition, the height of the extension is different from that of the existing building, and the overall shape is distorted so that it is not a simple square space, giving this space a roll of Figure.

连接两栋楼的连廊和扩建部分的走廊都在室外，室外的景象简单而丰富，当你离开房间时便可闻到农场的香气，品味晨雾缭绕的奇妙的景色。

The bridges connecting the two buildings and the corridor of the extension building are outdoors, and the composition is simple but rich, so that when you leave your room you can smell the farm and taste the fantastic scenery, such as morning mist.

室内外的饰面也包含了混乱、新奇与复杂、亲和之间的矛盾碰撞。

The indoor and outdoor finishes also embrace the contradiction between chaos, novelty, and sophistication, affinity.

由于酒店本身是一个来自不同背景的人和物聚集的地方，因此我们期望创造一个开放的、空间中具有许多变化和空隙的场所，而不是一个所有物体都保持绝对一致性的场所。这使它成为了一个可以接纳各种各样人和物的地方。

This is because the hotel is a space where people and objects from many different backgrounds come and go, and therefore it is necessary to create an open and unstable place of objects with many gaps inbetween spaces that can accept a variety of people and objects, rather than an absolute unity that requires the consistency of one architect for all objects placed in the space. This is because it was necessary to make it a place where people and objects can be accepted.

每个空间中的物件被划分成三组或更多，每组具有相同的大小、质感和风格，但各组之间有一定的差异性，以顺应空间的趋势。我们认为这些差异和矛盾会成为空间之间的区分，使得人和物在空间的张与驰之间切换，所以我们让这些差异和矛盾维持原状，而没有将它们统一起来。

The objects in each space are divided into three or more groups, each with the same size, texture and style, but with enough differences and contradictions between the groups to follow the current of the space. We thought that these differences and contradictions would become "clues", "gaps" (inbetween space) that would make people and things feel comfortable and tense, so we left them as they were without unifying them.

这种以物体之间差异与包容的关系为基础的空间，创造出舒适感及集群的效果，就像阿道夫·路斯的空间一样。它可以成为消费主义社会中的新视角，作为一种更接地气的的空间，赋予普通生活以复杂的意义。

This kind of space, based on the relationship between objects, creates the comfort and effect of grouping through the repetition of exclusion and inclusion, as in the case of Adolf Loos's space, and it could become a new perspective on space in a consumer society, as a kitsch space that gives a sophisticated complexity to ordinary life.