托尔巴度假酒店

公司：	Baraka Architects	类型：	建筑
地区：	土耳其	标签：	酒店

项目背景

项目位于博德鲁姆的托尔巴镇，这是一个充满了旅游资源与风情建筑的小镇。项目原本由两栋楼组成，大多是独立的度假屋与几家精品酒店。

Background /Approach

The project is in the town of Torba in Bodrum. It is a town where tourism, construction and relentless profit pressures have limited effects for now. It consists of two story, mostly detached vacation homes and, several boutique hotels.

Voyage Torba是该镇最大的酒店，也是两家大型酒店的组合。新项目占地面积74.000㎡，建筑面积60.000㎡，将客房数量减少至345间。组成项目区域的五个不同区域，具有5种不同的建筑类型，代表了各自区域的需求和背景。

Voyage Torba is the town’s largest hotel. The project area in question is the combination of two large hotels. The new project has a reduced number of rooms, i.e., 345, spans an area of 74.000 m², and a construction area of 60.000 m2. The five different zones comprising the project area feature 5 different building typologies, which represent the individual needs and contexts of their zones.

项目的复杂性和规模与城镇不相称，如果通过单一的建筑手法进行处理，那么对小镇来说是一个很大的干预，可能会产生严重的后果。因此，一个根本性的问题是，最起码要与现有的环境和结构相协调。对我们来说，重要的是要避免普遍的典型酒店方案，拒绝对其之前的历史背景和周围的环境漠不关心和否定，不简单的根据大众消费习惯将空间分隔成独立的隔间，寻找建筑与空间与地方和解的元素。

The complexity and the scale of the project are disproportional to the town. Handling the project area in one large piece and processing it through a singular architectural character would have been a big intervention for the town, which could have grave consequences. Therefore, a fundamental problem was to reconcile, at the bare minimum, with the existing environment and structures. For us, it was important to avoid the typical hotel scheme organized in separate compartments, according to mass consumption habits, indifferent to and in denial of its predecessors and surroundings, and to look for clues of reconciliation with the space/locality.

这些地方性元素包括受爱琴海和地中海气候制约的开放、半开放和封闭的空间设置、建筑的稀疏分布、狭窄的街道、街龛、街道与房屋之间的空间、石头铺成的庭院等等，所有这些元素的随机性以及由此衍生的空间，构成了当地的风格。这些住区并不是基于鲜明的规则，它们有时是随机的，有时是直观的。就像在一个社区里，小结构、亲密关系、熟悉的地方习惯/日常情境之间都有交织的痕迹。它的根源来自于当地的元素、历史和对当地的理解，它所代表的不是属于那里的东西，而是在某种程度上适合当代世界的理解和运作。同样重要的是，要避免被浪漫的当地神话传说所迷惑，被僵化思维掩盖，破坏当地风格与人文的关系性。

These local clues include the open, semi-open and closed space setup, conditioned by the Aegean and the Mediterranean climate, the sparse distribution of buildings, narrow streets, street niches, buildings’ interdependency with the streets, the space between the street and the house, the stone paved courtyards, the randomness of all these elements and the thresholds derived from it, a series of gray areas. The settlements are not based on sharp rules, they are sometimes random, sometimes intuitive. Just like in a neighborhood, there are traces of intertwined relationships between small structures, intimacy, familiar local habits/everyday situations. The safest way is to determine the main route of the project by discovering a new local, which takes its roots from the elements, history, and the understanding of the locality and which represents what belongs there not as they are but, in a way, to suit the understanding and the functioning of the contemporary world. It is equally important to avoid being carried away by romantic vernacular/representation myths, being overshadowed by packages/repertoires driven by inflexible thinking and, damaging instinctive relationality.

项目难点

碎片化、降维化、创建建筑群、探索次微区、倾向于小结构是与城镇景观调和的第一步，就像以小区的规模打造城市的一小部分。为了保证项目的完整性，唯一能做的就是将这些结构的孤岛一步步连接起来，有两条纵向和横向穿越区域的主干道，有垂直于大海的毛细血管。

Some basic issues

Fragmenting, downscaling, creating building groups, exploring sub/micro zones, leaning towards small structures are the first steps towards reconciling with the town’s landscape. Just like creating a small part of the city, at the scale of a neighborhood. The only thing that can be done to ensure the integrity of the project is to connect these islets of structures, step by step, with two main arteries that cross the area vertically and transversely, and with capillaries that are perpendicular to the sea.

随机化

虽然在形成建筑群的同时，确定了一些主轴线框架，但除了第一个要建的建筑外，所有的建筑都是按照前一个建筑来定位的，从一开始就产生了一种不可预知的感觉。一系列的随机化空间，并没有遵循固定的构图和线条，除了建筑之间留出最小的空间作为通道外，也没有其他规则可以使用。因此利用模型直观地前进，以免在项目开发时被主流审美所困，似乎是最可靠的设计方法。

Randomizations/Niches

Although some main axis frames are defined while forming the building groups, all the structures apart from the first one to be built are positioned according to the previous one, creating a sense of unpredictability from the beginning. A series of randomizations and niches, not following a fixed composition or line, nor a rule other than the minimum space left between the buildings for passages. Moving along intuitively using a model so as not to be trapped by the comfort of mainstream teachings while the project is being developed seems to be the most reliable path to follow.

一系列的灰空间

从主干道到辅道，从街道到庭院，从庭院到室内，从室内到卫生间，从卫生间到内庭，从内庭再到天空，空间变得内外一体，这是项目的另一个特色。

A series of gray areas

From the main artery to the auxiliary, from the street to the courtyard, from the courtyard to the 'room-house', from the room-house to the bathroom, from the bathroom to the inner court, from the inner court to the sky again… So much so that the material flows from outside into the inside. Inside and outside are integrated, and this is another pillar of the project.

关于感官

Pallasmaa认为：在这个世界上，视觉是唯一能快速跟上科技速度惊人增长的感官，建筑的作用就是关注所有能产生共鸣的感官。重要的是要使用能够调动感官的元素，使多种感官体验成为可能，而不是仅仅依靠视觉来理解和寻找我们周围世界的意义。

About the sensory

‘Pallasmaa believes that in a world where sight is the only sense that is fast enough to keep pace with the astounding increase of speed in technology, the role of architecture is to focus on all senses that resonate’. It is vital to use elements that move the senses, making many sensory experiences possible, rather than just to rely on sight to understand and find meaning in the world around us.