ARCHITECT: 以靠建筑

INTERIORS: 水平线设计

LANDSCAPE: 太璞设计

PHOTOS: 井旭峰

WORDS: 琚宾

应该说几乎每个同行、媒体人都曾让我比较西塘næra良壤和阳朔Alila之间的异同。时隔三年，苟日新日日新，身体内部细胞们都更新了将近一半，总会有些类似于“风格”或者“手法”的东西还是延续下了的。但，的确是完全不同的。

I am often asked by colleagues and media to compare the similarities and differences between the næra hotel Xitang and the Alila hotel Yangshuo. With a lapse of three years, although there might be something similar in design style or technique of these two projects, they are indeed completely different.

我喜欢的应该是门口的朦胧感。这处应该是“果”而不是“因”——城市主路转村道，右拐不远进入，心理还没有缓冲便需要见面，不够含蓄。于是就有了门口那弯弯折折的非文化物质遗产竹编隔断出来的小径模式，那是却扇诗。

My favorite is the hazy feeling of the entrance. Driving down from the city thoroughfare, if the guests directly encounter the næra’s reclusiveness, there is not enough time for them to ‘buffer’psychologically. Therefore, a winding path with bamboo fences that are woven in a technique listed as non-heritage culture exists to lead the guests into the hotel.

入住通常是下午，彼时的光会通过内部的水池庭院，经过风的折射，自西边散落进大堂迎客。那种需要在不经意间调节了瞳孔大小转换后的心情，会静，会安享于那一刻。空间里明亮，但又不太过于明亮；竹篾间的空隙和花纹细致，但又不过于繁琐；可以留意到并欣赏通道中间的古董隔断，也可以完全不……我一直喜欢那种舒适的恰到好处感，没有任何的负担。

The check-in time is usually afternoon, when the light passes through an inner pool courtyard, through the guidance of the wind, and scattered from the west into the lobby naturally to welcome the guests. The space becomes bright, but not too dazzling; the gaps and patterns between the bamboo strips are meticulous, but not too cumbersome; maybe one would notice and appreciate the antiques along the passage, or maybe not... I always like this kind of comfort: right amount without any burden, allowing people to enjoy the moment.

晨起后，光会从东边大堂朝内转入，与清风契，或伴鸟啼。又或者自然醒来已近午时，树影时晃，枝条载荣。不管走了多少次，我仍然很喜欢在那明暗关系中穿行，不经意时的一抬眼，很有种岁月感在其间。

In the morning, light turns inward from the east lobby, with the breeze, or with the birdsong. For those who wake up at noon, tree shadows of the luxuriant foliage welcome them to a brand new day. I enjoy walking through the light and shade. Whenever look up, one can sense how time marches on.

或许有人会奇怪于建筑外形的常规，这符合着当地要求的江南风貌，与整个西塘古镇相呼应。人与大环境的关系一直介于“适应”与“改造”的意图之中，建筑得兼顾。在内部场地中有五个深色盒子，不同长度地坐落在水边，与室内、景观相统一，于建筑主体中分离，自成体系，形成了一种具有当代感的视线关系，并与古亭间形成轻微的视觉上的对抗。与此同时也界限出了“游园”的路径以及动线，包括光的进入、变化模式。彼此相望，独立存在，又相互映衬。

Some may be surprised by the regularity of the building's exterior. It is actually in line with the local requirements of planning and echoes the entire Xi Tang ancient town. The relationship between people and the environment has always been the intention to "adapt" and "reconstruct", and the building has to take care of both. There are five dark ‘boxes’ with different lengths located at the waterside, existing independently but looking at and reflecting each other. They are unified with the interior and the landscape, separated from the main body of the architecture, forming a contemporary line of sight and a slight visual confrontation with the pavilion. At the same time, the path and the moving line of the "garden", including the pattern of light entering and changing, are also defined.

这几处空间情境的设定，或者说意图营造的，其实是种较生活之上的更具有仪式感的概念，这种概念的延伸同时暗示了其内部与外部，将五个盒子位于一个更大的背景当中，并不需要孤立地去感受。那是一个综合纬度，于平面上下之间跃迁。如果说水平方向代表着人平日里具体行为的常规，那这些个高低错开的综合平面则共同组成了一个更为立体的空间模型，衍生出了别样的可能性。

The five ‘boxes’ are placed in a bigger background setting and should be viewed as an integral. With different spatial functions, they intend to create a ceremonial concept above life. They form a comprehensive latitude that transitions above and beneath the horizontal plane. This three-dimensional space model adds more possibilities to people’s daily routines in the hotel.

餐厅、琴室、茶室、书房、酒吧……选取这种长卷的打开或者说解读方式，是照顾了实用功能的现实后，也能兼顾得了审美情趣。下沉、抬升，仿乐章，一咏五叹。我喜欢这种能同时提供情感归属和文化认同的空间，相关联叠加后的丰富性，既温情又有趣。或倚水而歇，或凭栏而望，或拾级而闻茶香，借着特定空间营造仪式感，唤醒内心，与自己相处，与所爱的人或书相处。

Restaurant, musical room, tea room, study room, bar... They not only satisfy practical functions, but also take into account the aesthetic taste. I like this kind of spaces that can provide both emotion needs and cultural identity. Each space becomes richer, warmer and more interesting when associated with another. One can create a sense of ritual through a specific space, start a conversation with his inner self, or get along with the loved ones or the books.

水景的距离也是恰到好处的，虽浅，但仍有种宏大且浑然一体的体验。风皱时反而更有种时光凝聚感，恍然间不知道身处何方，只觉得江南以及江南本身所代表的一切美好属性都在意象中待感知、待触碰，又或者什么都不去想，只在日光翻起的白边上，眯了眯眼，笑了笑。

The distance of the waterscape is just right, shallow but with a grand and boundless feel. When the surface of the water ripples in the wind, and the sunlight is reflected by the waterscape, one might find himself lose track of time and absorbed in the fine view of southern China.

到了夜里，灯光会加入进来。每晚整点两场不长的灯光“秀”，恰到好处地捕捉了内心的敏感。如果说白天里的良壤是日常美人，那夜晚，则是带妆的。我一直很喜欢灯光下的场景，人会被晕染，心境会变得更微妙。那是种单看照片或视频不足以领会的别样美感，需要参与其中，需要身临其境。

At night, two light shows capture the guest’s inner sensitivity just right. If the næra could be compared to a natural beauty at day, when darkness falls, it puts on makeup. I have always adored a scene in the light: people‘s emotion gets impacted and the mood becomes more subtle. It's a kind of beauty that one can't understand by looking at photos or videos. One needs to be on scene and to be involved.

未来会随时光老去的原木色亭应该会是酒店里恒定的观察记录者，如果有延时摄影，可以看到天色在变云在变，水波在动人在动，唯亭是静止的，是风景本身，又承载人情。夜半时，可以听见人与人的私语、人与境的对话，还能看见物和时空间的关联。将传统建筑与当代生活榫接在一起，古今碰撞的同时，又呼应了地域感。在此处上演过不止一次的“游园惊梦”，亭是载体，又是主角本身。亭内可做雨丝风片、烟波画船，四周花明月暗，衣袂色彩明快翻飞，池里或有容颜倒影，亭中央音节谐婉，随着水面流淌开去，拍击回卷渐散……好时节，像极了好梦里的场景。

In the future, the wood pavilion will be the most constant observer and recorder in the hotel. In a time-lapse photography, sky is changing, water wave is moving, but the pavilion stays still. It is a part of the landscape itself, and it is also a carrier of human’s emotion. Whispers with people could be heard, dialogues with the environment could be felt, and things, time, and space are connected. Combining traditional architecture with contemporary life not only brings collisions between the ancient and the modern, but also echoes the sense of place. The traditional Chinese opera "the peony pavilion: dream of a garden" is regularly performed in the næra. The pavilion serves as both the background and the leading role in the play. The story is unfolded here, like beautiful but unrealistic scenes that appear in one’s dream.

良壤不仅仅是酒店，还包含着两千亩地的有机生态农庄，是致力于农业、加工、零售餐饮再到文化的整体事业模式。而有机，本身就是一种包含衣食住行的生活美学方式。

The næra is not only a hotel, but also an organic ecological farm with two thousand acres of land. It is an overall business model dedicated to agriculture, processing, food and beverage retail， and culture. Organic, in itself, is a way of life aesthetics that encompasses food, clothing, shelter, and means of transportation.

三年多的总过程中，与良壤朱树磊先生、建筑师李以靠先生、景观设计庄镇光先生、艺术总监丁乙先生、灯光顾问Martin先生、花艺师上野雄次先生等优秀的团队及个人配合十分愉快。特别是朱总，沟通过程中居然没起过一次争执，光这一点，大概就已经是每个设计师理想的甲方了。我们从美好的过去延续到美好的现在，并且已经展望了美好的未来。

In the total process of more than three years, I had a very pleasant cooperation with Mr. Zhu Shulei from the næra, architect Mr. Li Yikao, landscape designer Mr. Zhuang Zhenguang, artistic director Mr. Ding Yi, lighting consultant Mr. Martin, and floral designer Mr. Yuji Ueno. Mr. Zhu and I have never had a dispute during the communication process. He is probably the best party A for every designer. We have come from a beautiful past to a better present, and we are envisioning a bright future.

很高兴参与到中国本土管理品牌的优质酒店中。良壤酒店，是民族品牌的一种美好可能性的成功尝试，良壤本身，就是一种美好的可能性。

It’s a pleasure to be involved in a local quality hotel project. The næra hotel is a successful attempt of national brand， and the næra itself is where all the wonderful possibilities grow from.