梅森芭堤雅酒店

項(xiàng)目地點(diǎn)：泰國(guó)芭堤雅

建設(shè)單位：K WAVE

用地面積：48 000平方米

總建筑面積：9 039平方米

建筑占地面積：6 855平方米

樓層數(shù)：3層

建筑/室內(nèi)設(shè)計(jì)：Vaslab 建筑事務(wù)所

首席建筑師：Vasu Virajsilp

設(shè)計(jì)團(tuán)隊(duì)：Kittipat Sirijumpar, Nattapol Panjasakunwong,Noppon Boonlerd, Aiemporn Prompruksa

結(jié)構(gòu)工程師/水電工程師：Collage工程公司

景觀設(shè)計(jì)：Rafa

設(shè)計(jì)時(shí)間：2015-2016年

竣工時(shí)間：2019年

攝影：Spaceshift Studio

Location: Pattaya, Chonburi, Thailand

Client: K WAVE

Site Area: 48 000 m2

Gross Built Area: 9 039 m2

Building Footprint Area: 6 855 m2

Floor Numbers: 3

Architects / Interior: Vaslab Architecture

Chief Architect: Vasu Virajsilp

Design Team: Kittipat Sirijumpar, Nattapol Panjasakunwong,Noppon Boonlerd, Aiemporn Prompruksa

Structural Engineer / Engineer (Water and Electricity): Collage Engineering

Landscape: Rafa

Design Year: 2015-2016

Completion Year: 2019

Photography: Spaceshift Studio

受到當(dāng)?shù)厥彻に嚨膯l(fā)，Angsila社區(qū)、混凝土和石材經(jīng)過(guò)精心切割和加工，形成了獨(dú)特的設(shè)計(jì)建筑。梅森酒店作為超現(xiàn)代豪華泳池別墅，是一個(gè)隱蔽的度假勝地，自然地融入了現(xiàn)有的土地和海景。度假村的設(shè)計(jì)旨在創(chuàng)造一種全新的放松體驗(yàn)，在迷人的海洋背景下，每個(gè)別墅都有一個(gè)私人游泳池，巨大的綠色屋頂沐浴在陽(yáng)光下，并最后在一個(gè)擁有浪漫的日落景色的海濱酒吧用餐。

Inspired by its local craftsmanship of stonemasonry, Angsila community, concrete and stone has been carefully cut and crafted, forming a unique design architecture. The ultra-modern luxury pool villas,MASON, is a hideaway resort which naturally blended into existing land and seascapes. The resort has been designed to create one of a new experience for relaxing with the stunning ocean backdrop, boasting a private pool in every single villa, exposing sunlight by its large greenery roof-deck, and eventually dining in a romantic sunsetting scenario at beachside bar.

私人泳池別墅不僅在材料的選擇上與場(chǎng)地的地形相協(xié)調(diào)，而且在35棟獨(dú)特別墅的個(gè)體設(shè)置上也相協(xié)調(diào)，盡可能地保持場(chǎng)地的條件，盡量減少對(duì)環(huán)境的影響。從兩層通高的迎賓大堂空間出發(fā)，通過(guò)階梯式的大樓梯，人的感官得到釋放。在到達(dá)海灘之前，建筑的空間層次不僅是通過(guò)不同層次的冥想池的視覺動(dòng)態(tài)構(gòu)成，還通過(guò)室外和半室外過(guò)渡空間的組合作為空間操作超越本體感受。

The private pool villas is harmonized within its topography of the land not only by its material selection,but also within its individual setting of 35-unique-villas, that is to preserve its site condition as much as possible, minimizing impact to the environment. Approaching from double-height welcoming lobby space,our senses will be emerged when walking through stepping-stone grand stairs. Before reaching to the beach, architectural hierarchy of space is conceived not only by visual dynamic through different level of reflective pools, but over proprioceptive sensation through a combination of transitional space between outdoor and semi-outdoor as spatial manipulations as well.

這座建筑坐落在花崗巖石山上，為了與自然融為一體，進(jìn)行了

隱喻性雕刻。當(dāng)?shù)氐牟牧?，如花崗巖，用來(lái)雕刻墻壁，定義空間感知。這些也包括石材石砌超大浴缸和其他裝飾工匠，通過(guò)自然光和室內(nèi)空間的人工間接照明來(lái)塑造雕刻般的效果。把建筑設(shè)計(jì)成一門藝術(shù)和工藝，有三個(gè)主要的因素。首先，它的內(nèi)部空間展示了ChardchakajWaikawee的濕版攝影藝術(shù)畫廊（即建筑、元素、食物）。其次，手雕竹編燈等裝飾元素由KorakotAromdee設(shè)計(jì)。最后，洗手盆、背心和其他工匠的雕塑由當(dāng)?shù)谹ngsila社區(qū)的石雕師制作。

Resting on granite rock hill, the architecture has been metaphorically sculpted in order to become one with nature. Local material like granite has been used for sculpting walls, defining spatial perception.These are also included stone masoning oversized bathtub and other decorative artisans, shaping a carving-like effect by either daylighting and artificial indirect lighting within interior space. Designing architecture as an art and craftsmanship, there are three main contributors. First, its interior space exhibits as an art gallery of wet-plate photography by ChardchakajWaikawee (i.e., architecture, elements,food). Second, some decorative elements like hand sculpted woven bamboo lights are designed by KorakotAromdee. And finally, sculpture of wash basins, vests and other artisans are contributed by the local stone sculptors from Angsila community.

走過(guò)這個(gè)空間時(shí)，就會(huì)感知到自然光線中的“空間詩(shī)意”。這種現(xiàn)象通過(guò)“負(fù)空間”和“虛空”來(lái)驅(qū)動(dòng)我們的感官體驗(yàn)。這可以通過(guò)最大限度地向大海開放來(lái)實(shí)現(xiàn)，同時(shí)保持寧?kù)o以準(zhǔn)備再次覺醒。

‘Spatial poetry’ from natural daylight has been perceived whenever one walks through the space. Such a phenomenon drives our sensory experiences by ‘negative space’ and ‘void’. This can be done by maximizing opening to the sea, while keeping tranquility to get ready to be awakening again.