遇涧民宿 - hhlloo

公司：	平介设计	类型：	建筑
地区：	中国	标签：	民宿客栈

项目位于安徽省宣城市泾县月亮湾风景区，是皖南川藏线的上一座徽派小楼。月亮湾是一条由几十条小溪汇成的河流，近年来，因其野趣横生、轻松愉悦的滨水“轻游玩”业态而出圈，倍受周边省市出游爱好者的青睐。

The project is located in Moon Bay Scenic Area, Jing County, Xuancheng City, Anhui Province. It is a Hui-style building on the Sichuan-Tibet Line in southern Anhui. Moon Bay is a river formed by dozens of streams. In recent years, it has become popular for its wild and pleasant waterfront tour experience, and is favored by travel enthusiasts from surrounding provinces and cities.

▼ 遇涧民宿，Yujian Boutique Hotel

▼ 皖南川藏线的上一座徽派小楼，The previous Hui-style building on the South Anhui-Tibet Highway

建筑为砖混结构的乡村自建房，原有共18间小客房。业主希望对原有“家庭旅馆”型建筑立面、空间布局、室内环境进行全面升级提质。而我们希望在满足基本功能诉求的同时，为空间注入一些区域性格与情绪体验。

The building is a self-built rural house with a brick-concrete structure, which originally had 18 small guest rooms. The owner hopes to comprehensively upgrade the facade, spatial layout, and interior of the original "family hotel" type building. We hope to inject some local characteristics and emotional experience into the space while meeting the basic functional requirements.

▼ 情绪与地域性，Emotions and Regionalism

水墨、宣纸、茂林花砖

Ink and wash, rice paper, Maolin brick

徽派的黛瓦粉墙恰合了水墨的底色，宣城泾县又以出产宣纸闻名，设计之初我们也很自然的想到将这样的意境融入概念中。但较之常见的黑白色调运用，我们希望水墨与宣纸在这里的转译除了优雅，更多一点活泼写意。

The black tiles and white walls of the Hui style are just like ink and wash, and Jing County is famous for producing rice paper. At the beginning of the design, we naturally thought of incorporating such artistic conception into the concept. However, compared with the common use of black and white tones, we hope that the translation of ink and wash and rice paper here will not only be elegant, but also more lively and freehand.

▼ 宣纸与水墨，Xuan Paper and Ink

茂林花砖是宣城泾县特有的一种古建筑内外墙装饰材料，也是当地传统工匠给我们的馈赠：花砖最显著的特点是同一块砖上有黑、白两色，黑色似青近墨，白色近灰，两种色调组成千变万化的抽象图形，气韵生动，意境深远，具有山水画的意境和美感。如水墨般双色土壤之间的中和作用，奠定了材料特有的“筋骨”，此外，因其原料特殊，花砖还有牢固轻便，耐碱耐酸，不沾灰，不开裂，能拒腐防变等物理特性，是非常理想的装饰材料。

Maolin tiles are a unique decorative material for the interior and exterior walls of ancient buildings in Jing County. They are also a gift from local traditional craftsmen: the most striking feature of the tiles is that there are two colors of black and white on the same brick, and the black color is like green tone ink, while the white color is almost in gray tone, the two tones form ever-changing abstract graphics, with vivid charm, and have the artistic conception and beauty of landscape paintings. The neutralizing effect between the two-color establishes the unique feature of the material. In addition, due to its special raw materials, the tiles are strong and lightweight, resistant to alkali and acid, do not stain with dust, do not crack, and can resist corrosion and degeneration. It is a very ideal decorative material.

▼ 传统茂林花砖制造工艺，Traditional Maolin Tile Manufacturing Process

古人和今天泾县的匠人更善于将花砖运用在徽派建筑的外表面上，而在这个设计中，我们尝试将它与长虹玻璃、杜邦纸等现代材料工艺结合，让其融入室内，形成“水墨”与“宣纸”的对话，使空间既具有中国传统山水画的诗意韵味，又具有现代抽象派艺术的气质。

The ancients and the craftsmen of Jing County today are better at using decorative tiles on the outer surface of Hui-style buildings. In this design, we try to combine it with modern material technology such as fluted glass and DuPont paper, integrate it into the interior, and form a dialogue between "ink" and "rice paper", so that the space has both the poetic charm of traditional Chinese landscape painting and the temperament of modern abstract art.

▼ 传统茂林花砖在民宿空间中的运用，The Application of Traditional Maolin Tiles in the Space

“生命力”

“Vitality”

小楼南侧隔着公路与重重青山对望，也是民宿接待外来客人的主要入口。北面则有着更为活泼灵动的月亮湾小河景观，旺季水里满是漂流的充气筏和撒欢的孩童。客人可以在一层公共空间小作茶歇，也能在负一层餐厅用餐，或穿过亲水小院到河边戏水。经由室内视线组织，南北两侧客房都能与山景或水景隔窗相望。屋顶也设置了休闲露台，使得公共空间贯穿整座民宿。

The south side of the building faces a highway, and beyond that, a series of mountains. This is also the entrance for the visitors. To the north, a more lively and dynamic view unfolds with the river. During peak season, the water is filled with inflatable rafts and children playing joyfully. Guests can enjoy refreshments in the ground floor common area, dine in the basement restaurant, or walk through the waterside courtyard to play by the river. Through careful interior design, guest rooms on both the north and south sides offer window views of either the mountains or the river. A rooftop terrace provides additional leisure space, allowing the public areas to flow throughout the entire guesthouse.

▼ 建筑室内功能空间剖面示意，Schematic Section of Interior Functional Spaces in a Building

▼ 茶歇，Tea Break

▼ 休憩，Relaxation

民宿的公共空间，旨在打破平日生活的隔阂，让来自不同区域、背景、年龄、性格的客人能够在同一屋檐下共处、共融，既能找到自己独处的角落，也能肆无忌惮的与陌生人交流沟通。因此这里是充满生机和包容性的：一层公区空间平面采用纯粹的围合式结构，并沿墙设置了不同尺寸和形状的沙发，从而创造出多元的互动场景，让每个人都能找到自在的角落。

The public space of the B&B is designed to break down the barriers of daily life, allowing guests from different regions, backgrounds, ages, and personalities to live together and integrate under the same roof. They can find their own corner to be alone, and can also communicate with strangers without restraint. Therefore, this place is full of vitality and inclusiveness: the floorplan adopts a pure enclosed structure, and sofas of different sizes and shapes are set along the wall, thus creating a diverse interactive scene, allowing everyone to find a comfortable corner.

▼ 为交流与事件发生的情境创造可能性，To Create Possibilities for Communication Situations And Events

▼ 公共客厅a，Living Room a

▼ 公共客厅b，Living Room b

▼ 餐厅，Restaurant

茂林青砖和杜邦纸，小花砖与原生木料，不同材质肆意碰撞，为空间参与者预留了最大的自由度与探索空间。家具采用粗犷的木材和竹编，不追求精致的边角和收口，反而未经雕琢的自然美感对这里来说更加难能可贵。相较于千篇一律的工业流程化“产品”，我们更希望这里呈现出民宿主悉心打理并不断变化的状态：虽不完美，但充满生命力。

Decorative tiles and Dupont paper, small decorative tiles and native wood, different materials collide freely, leaving the greatest freedom for visitors to explore. The furniture is made of rough wood and bamboo weaving, and does not pursue exquisite corners and edges. Instead, the uncarved natural beauty is more valuable here. Compared with the stereotyped industrial process "products", we hope that this place will present the state of careful care and constant change by the homestay owner: although not perfect, it is full of vitality.

▼ “肆意碰撞”，“Flexible Combination”

▼ “生机勃勃”，“Vitality Flourishing”

化零为整，一居一境

Gather parts into a whole, one room one experience

经过平面的局部重构优化，将原有的18间客房合并调整为新布局的14间。这十余个房间自下而上分布于建筑的四个楼层，由于建筑一侧望向河水与村庄，一侧紧邻道路与山峦，不同楼层、朝向的房间都有着截然不同的外部条件，加之民宿主人对于产品功能多样性的诉求，几乎每个房间都被赋予了不同的性格：

After partial reconstruction and optimization of the floorplan, the original 18 guest rooms are merged and adjusted into 14 rooms with a new layout. These more than ten rooms are distributed on the four floors of the building from bottom to top. Since one side of the building faces the river and the village, and the other side is close to the road and the mountains, the rooms on different floors and directions have completely different external conditions. In addition, the owner of the homestay demands for the diversity of product functions: almost every room is given a different character:

▼ 山景前的客房，Guest Room Facing the Mountains

▼ 河流前的客房，Guest Room Facing the River

▼ 公路一侧的低楼层客房强调内部体验，A Low-floor Guest Room On the Roadside, Focusing On A Curated Interior Experience

▼ 窗景，Scenery

二层两间旧客房被合并成了家庭亲子套房，确保空间开敞通透的同时，通过室内高差暗示动静分区，划分出起居和卧室空间，也丰富了垂直体验。原有的两个露台被合二为一，形成带状长廊，借由卧室区榻榻米和起居室沙发的抬高，自然形成户外能看到的海洋球池和滑梯区，这也成了建筑最好的空间昭示面；

The two old guest rooms on the second floor are combined into a family suite. While ensuring that the space is open and transparent, the height difference in the room implies the dynamic and static divisions, dividing the living and bedroom spaces, and enriching the vertical experience. The two original terraces are combined into one to form a strip-shaped corridor. By raising the tatami in the bedroom area and the sofa in the living room, a strip-shaped ocean ball pool and slide area are naturally formed.

▼ 丰富的客房空间层次，Diverse Ways of Using Guest Room

▼ 亲子套房使用场景 a，Scenarios for Family Suite a

▼ 亲子套房使用场景 b，Scenarios for Family Suite b

三层客房结合浴缸布局，将榻榻米朝向微调后，摒弃了对极致视野的盲目追求，也规避了对面山上破旧自建房的消极视线；四层结合公共露台设置向外延申的灰空间，模糊了室内外边界；北向客房则更多考虑与溪水的互动。

The third-floor guest rooms are slightly adjusted the layout of tatami and bathtub to avoid the negative sight of the dilapidated self-built house on the opposite mountain; the fourth floor is combined with the public terrace to set up a gray space extending outward, blurring the boundary between indoor and outdoor; the north-facing guest rooms are more concerned with the interaction with the stream.

▼ 客房一角 a，A Corner of the Guest Room a

▼ 客房一角 b，A Corner of the Guest Room b

▼ 客房一角 c，A Corner of the Guest Room c

“哺育新生”

“New life gestation”

民宿不应成为千篇一律的旅途驿站，它应当扎根生长于这片土地：遇涧民宿的新生，不仅是对建筑的重塑，更是一次对在地性与公共性的探索实践。空间是本土文化技艺的容器，在现代旅居闲游中叠加地域性。作为反哺，在地性也给予空间不可替代的差异性和独特体验。

We do not want this project to become a stereotyped travel stop, it should be rooted and grown in this land: the rebirth of Yujian Boutique hotel is not only a reshaping of architecture, but also an exploration and practice of locality and publicity. Space is a container of local cultural skills, superimposed with its context in modern travel. In return, locality also gives space irreplaceable differences and unique experiences.

▼ 文化与技艺的容器，An Exploration and Practice of Locality and Publicity

▼ 餐厅一角，A Corner of the Restaurant

相较客房，我们认为之于民宿公共属性同样重要，因此一方面预留了更多可供自由组织的区域，也贴心设置了能够激发使用者好奇心的空间因子，实则为“可能性”预留了空间，也为其创造了条件。希望每一位旅途中选择在这停留的的客人，都能找到重新出发的理由和动力。

Compared with the guest rooms, we believe that the public attributes of a boutique hotel are equally important. Therefore, we have reserved more areas for flexibilities and set up space factors that can stimulate the curiosity of users. In fact, we have reserved space for "possibilities" and created conditions for them. We hope that every guest who chooses to stay here during their journey can find the reason and motivation to start again.

▼ 公共客厅c，Living Room c