Taida Style Linquan Hotel

In the fast flight to the future, the surrounding reality is rapidly hardening. Our affection, freedom and calmness have all gone with the fast era of surging wind and clouds.

Under the wheels of the era of rapid development, we cannot be a car with a man's arm. We just want to be able to stop for a while and give more attention to the soul and the environment. Walking in the fast-growing concrete forest, we can also raise some simple, authentic, and calm feelings when material desires are overflowing, and treat our lives and careers with the traditional mood under the new normal.

The project was originally defined as a new Chinese-style residential project popular in the market today, and the guild hall was given a demonstration area that mainly showed the characteristics of the new Chinese-style project. This case is different from the numerous new Chinese works in the current market that are formed by superimposing traditional symbols on the traditional space order. Starting from the characteristics of the project site, the architect explores the use of contemporary materials and forms to express the traditional artistic conception. This case emphasizes the excavation of contemporaryness from tradition, and re-absorbs the contemporary characteristics of traditional Chinese space and form with contemporary aesthetics and spatial experience.

The main function of the hall is the temporary sales office's display and sales office space for the elegant Linquan project, and it also serves as the pedestrian entrance for the entire Linquan community. In the design of the entire community, considering the floor area ratio of 2.0, the architect wanted to create a combination of traditional Chinese gardens with a sense of courtyard and high-density community, and placed the clubhouse and community pedestrian entrance in the southeast corner of the community land with a smaller scale. On the side of Cuiyuan West Road with relatively low surrounding density, the two-story low horizontal scale is used to introduce the flow of people. Through the treatment of the space landscape of the courtyard of the clubhouse, the speed and scale of the city are lowered through the entrance courtyard.

The entrance is along the Cuiyuan West Road, through the entrance pool under the huge horizontal cantilever, the floating white wall and the green planting wall spread out with strong horizontal lines, allowing the space inside and outside the wall to penetrate. The entrance faces east. In the morning, the sun shines through the overhanging grille and leaves a long shadow on the white wall, which is a reference to the blank treatment of the traditional Suzhou gardens in the south of the Yangtze River in China. The white wall floats on the water surface, through the reflection of the water surface, the traffic and life outside the yard penetrate into the yard. Just like Su Shi’s words: “Swing in the wall and outside the wall, pedestrians outside the wall, and the beautiful lady in the wall laugh. The laughter fades away, and the sentimental is ruthlessly annoyed.” The traditional garden space in Song poetry reappears in the city streets. The wall blocks the line of sight but cannot block the sound. At the junction of the event and the space, the wall actively intervenes. Finite and infinite, seeing and being seen, inside and outside, master and slave, emptiness and reality, hiding and revealing, guidance and suggestion, penetration and hierarchy, borrowing and opposing scenery, all these all start from the game of wall and substance.

The main building on the second floor presents an L layout and the entrance eaves on the first floor form a U-shaped enclosed courtyard. The main body forms a semi-outdoor veranda space of the inner courtyard with outdoor corridors and outdoor stairs. The combination of the courtyard wall and the partition wall of the building body forms a Mies van der Rohe-style interspersed game, which is precisely due to the coincidence of the mobility of modern architectural space and the wandering of traditional Chinese classical gardens. The outdoor stairs at both ends of the L shape and the outer corridor together form an outdoor flow space in the vertical direction of an introverted courtyard.

The guild hall base is only 2,000 square meters. In the small space, the architect tried to learn from the traditional garden's small, medium and large, borrowing scenes, and space penetration, etc., to make the limited space become infinite. Starting from the entrance space, seeing the inside from the outside, from the inside to the outside, using translucent glass, hollowed-out view walls, and vertical cables to increase the depth and ambiguity of the space. Using the overhead part of the first floor building, multiple spaces in the front yard, middle yard, and back yard are expanded on the axis to increase the level of space.

The eaves on the first floor of the entrance use modern material steel pipe spacing 125 to simulate the effect of dripping and drinking tiles on the tiled roof. The imitation wood aluminum alloy grille spacing under the eaves is 80 to simulate the facade effect of traditional eaves rafters. The double-layer texture under the eaves formed by steel pipes and square steel forms a rich light and shadow effect under the eaves of traditional wooden structures. The decoration of the wadang is transformed into the project name pattern of the steel pipe section here.

The two-story horizontal eaves of the main L-shaped building of the hall are far-reaching. The rich components under the double-layer horizontal eaves on the first and second floors strengthen the horizontal direction of the courtyard. The arrangement of paths and sequences enhances the visual experience of residents entering the community. Just as the horizontal sequence of traditional gardens and painting spaces unfolds slowly, it is intended to form a strong contrast with the urban high-density communities to avoid the oppressive feeling of high-rise residential buildings.

On the east side of the building and the north façade facing the inner courtyard, a cable-type metal twilight is designed. A semi-outdoor semi-transparent space is formed in the outdoor corridor on the second floor. It is intended to provide a layer of line-of-sight filtering between the building and the urban space. The steel cable is 7.5 meters from the overhanging roof to the ground. The outer steel pipe is more than 6 meters long and 30cm in diameter, forming the feeling of the eaves cable curtain wall as thin as a balance spring.

The green wall at the entrance is interspersed with the white wall under the eaves, weakening the scale of the clubhouse under the smaller street scale of Cuiyuan West Road, increasing the richness and complexity of the street. Taking into account the effect of winter in the north of the green wall, the effect of the hollow weaving texture in different seasons is used. The materials are made of breathable and high-strength breathable concrete blocks suitable for the growth of green plants to form a hollow effect.

The stairs are at the core of the plane and placed outdoors, which gives more experience to the fun of space walking. The two kicks of the stairs use different slopes. The first kick is a gentler 15 degrees, which is similar to the walking style of the slope. The second stage kicks and runs 30 degrees, forming a variation of space walking. In order to reflect the lightness of the stairs, perforated aluminum plates are used for the treads and terraces of the stairs; in order to emphasize the obscurity and implicitness of the space.

















Tags: Interior design

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