建筑設(shè)計：馬西亞斯-佩雷多工作室

項目和海灘相隔一定的距離，處于一個未鄰海灘的“剩余”空地上，并靠近禁止建造的紅樹林沼澤邊界。該工程的3 個海灣為這個酒店創(chuàng)造了獨家水生景觀。3 個巨大的綠色屋頂連帶其下方的房間彼此獨立。通過這種方式，“帕拉帕”（墨西哥的一種草棚建筑）延續(xù)了其清晰簡潔的構(gòu)造。這個從傳統(tǒng)的瑪雅住宅中學(xué)習(xí)來的古老邏輯，使墻壁得以從承重作用中解脫出來。隨著墻體的解放，房間被從浸水庭院流出的水所環(huán)繞分隔，使人們聯(lián)想到奧爾沃克斯島上覆蓋著的紅樹林沼澤。為了能夠在由堅實的香柏木建成的“帕拉帕”下休息，并且作為一個整體空間來體驗它，是所有房間的設(shè)計前提，也是沒有建造二層的原因。

交通流線并沒有被簡單實用又符合人們習(xí)慣地置于房間之間，而是被轉(zhuǎn)移到設(shè)計場地的邊緣。項目的中心區(qū)域與水面相連，更適合享受寧靜時光。在一個如此不穩(wěn)定的海島上，小旅館的出現(xiàn)是與不斷上升海平面的一場“抗衡”；或者說它用浸水的庭院來預(yù)示這個場景，這取決于觀看的視角。在項目最窄的一個龍骨狀的角落，塔樓用于提供服務(wù)設(shè)施的同時也提供了在紅樹林沼澤上空望向劃分奧爾沃克斯島兩片水域的視野。□（徐紫儀 譯）

1 外景/Exterior view

2 透視圖/Perspective diagram

The beach is some distance away. On a"leftover" space with no beach frontage and close to the boundary of the mangrove swamps, where construction is prohibited, the three bays of this construction serve to create an aquatic landscape on its own for this hotel. Three large green roofs contain the rooms, while remained isolated from each other. In this way, the palapa retains its clear and simple construction. This archaic logic,learned from the traditional Mayan house, allows the walls to be freed from their structural role.With the walls thus liberated, the room is isolated by the water, which flows in from the flooded courtyard, in a brief reminder of the mangrove swamps that cover Holbox Island. To be able to rest beneath a palapa built from solid, aromatic cedar wood and experience it as a space is the premise of all the rooms, which is why a second floor is precluded.

Instead of the simple, pragmatic - and habitual- placing of circulation routes between the rooms,the walkways are shifted to the perimetre of the site.The heart of the project can only be inhabited wet and preferably in repose. The small hotel emerges from the site to negotiate with rising sea levels on an unstable island; or it anticipates this condition with its drowned cloister, depending on the viewpoint.At the narrowest corner of the project, like a keel, a tower accommodates the services while providing a viewpoint over the mangrove swamp to the two water bodies that demarcate this strip of land we call Holbox. □

3 外景/Exterior view

項目信息/Credits and Data

地點/Location: Holbox Island, Quintana Roo, Mexico

主持建筑師/Principal Architects: Salvador Macías Corona,Arch. Magui Peredo Arenas

項目總協(xié)調(diào)/Project Coordinator: Leonardo Ruíz

項目團(tuán)隊/Project Team: Claudia Mu?oz, Denisse Sandoval,Carlos Mendiola, Mauricio Vázquez, Andrea Arregui,Ernesto Rizo

結(jié)構(gòu)設(shè)計/Structural Design: Engr. Juan Jesús Aguirre,CEROMOTION

施工/Construction: Cipriano Hernández

室內(nèi)設(shè)計/Interior Design: Claudia Mu?oz

顧問/Consultants: Salvador Reye, Josefina Larraín

材料及結(jié)構(gòu)/Material and Structure: 木結(jié)構(gòu)/Structure of wood

建筑面積/Floor Area: 600m2

設(shè)計開始時間/Design Start Time: 2014

建成時間/Built Time: 2017

項目描述撰文/Project Description: Víctor Alcérreca

攝影/Photos: César Béjar

4 外景/Exterior view

5 首層及塔樓平面/Ground floor and tower plan

6 鳥瞰/Aerial view

7 外景/Exterior view

評論

裴釗：反常的“水院”和比例奇特的木屋頂使得這個度假酒店別有趣味。庭院一般暗示著一種內(nèi)向性空間組織，但這個酒店客房并未向“水院”開敞，相反，密實的墻將水院和客房以后院的形式隔開；最終，這個既不是庭院，也不是交通空間的 “水院”成為一種“殘余”空間，喪失功能性而成為純粹的海水象征。和印第安文明中沒有輪子一樣奇怪，印第安人的建筑擁有牢不可摧的基礎(chǔ)和外墻，但幾千年來卻只能建造脆弱的屋頂。在這個項目里，設(shè)計師強調(diào)了對印第安傳統(tǒng)屋頂?shù)慕梃b，但這種尖聳的屋頂比例常見于高原地區(qū)印第安文明，在海邊，即使采用現(xiàn)代技術(shù)，這樣的屋頂在臺風(fēng)暴雨氣候下依然和傳統(tǒng)印第安屋頂一樣易損。

戴維·巴蘇爾托：項目的魅力有賴于如何運用古代技術(shù)激發(fā)不同的空間元素，這些元素共同賦予酒店當(dāng)代特色。房間的主要結(jié)構(gòu)以木材修造，使用傳統(tǒng)工藝棕櫚葉為屋頂，形成了舒適的室內(nèi)環(huán)境。有了這些獨立支撐構(gòu)件的結(jié)構(gòu)自由性，墻壁的獨立布置方式使水路進(jìn)入開敞的室內(nèi)，調(diào)節(jié)溫度、營造酒店獨特的氛圍。傳統(tǒng)的建筑概念，如“帕拉帕”（草棚）和水的運用，與現(xiàn)代空間概念融合在一起，該項目以其獨立的特性定義了一座與文化背景緊密相連的建筑。

8 立面/Elevation

9 剖面/Section

10 內(nèi)景/Interior view

11 外景/Exterior view

12 內(nèi)景/Interior view

13.14 外景/Exterior views

Comments

PEI Zhao: The unusual "water courtyard" and the wooden roof of peculiar proportion make this resort hotel especially interesting. The courtyard generally implies an introverted spatial organisation, but this hotel room is not open to the "water courtyard".Instead, the dense wall separates the water courtyard and the guest rooms in the form of backyard. In the end, the "water yard", which is neither a courtyard nor a traffic space, becomes a "residual" space that loses its functionality and becomes a pure symbol of seawater.As strange as the lack of wheels in Indian civilisation,Indian architecture had indestructible foundations and exterior walls, but for thousands of years only fragile roofs could be built. In this project, the designer emphasised the reference to traditional Indian roofs,but the proportion of such towering roofs is common in the Indian civilisation in plateau areas. At the seaside, even with modern technology, such roofs are still as vulnerable as traditional Indian roofs under the weather condition like typhoon and rain. (Translated by XU Ziyi)

David Basulto: The beauty of the project relies on how ancient techniques inspire the different spatial elements, which together result in a hotel with a contemporary character. The main structure of the rooms, built in wood, supports the roof - made out of palm leaves, a traditional craft - and defines cozy interiors. With the structural freedom of these self standing elements, the walls can be arranged in an independent way and let the waterways enter into the open interiors, regulating the temperature and setting the unique atmosphere of the hotel. The traditional building concepts such as the palapa and the use of water, are mixed with modern spatial concepts that define an architecture strongly tied with the cultural context, but with its own identity.