尌林建築 | 湖南張家界馬兒山村·林語山房民宿酒店-設計風向

全球設計風向感謝來自 尌林建築設計事務所 的民宿酒店空間項目案例分享：

∇ 01.西北側仰看民宿 Northeast side upward view ©趙奕龍

緣起 How we get started

馬兒山村離張家界主城區約25分鍾車程，相較於張家界景區，這兒的山雖不是奇峰卻也林木蔥蘢，加上零星散落於山坡田野間的民居，別有一番野趣。場地上原有兩個用來燒烤的木構亭子，被鬆樹、苦蓮子樹、小竹林、銀杏林包圍。北麵遠望可見連續的山景，如卷軸般鋪展在視野內。這般環境及氛圍，成為了林語山房設計過程中最有力的依據。

Ma’er Shan village is 25 minutes’ drive from the major town area of Zhangjiajie. Compared to the astounding cliffs and valleys of Zhangjiajie scenic area, the mountains in Ma’er Shan village are not as exquisite yet still inherit a strong scent of rural joys through its lush green environment and scattering country houses. The site used to possess two wood-structured barbecue pavilions surrounded by pines, China-berry trees, ginkgo trees, and a bamboo copse. Gazing towards the north, the visitor will receive an expansive vision of continuous mountains, as seeing a panoramic landscape painting unfolding itself. The environment and the atmosphere thoroughly inspired us during the design of Woodsy Whisper residence.

∇ 02.南側鳥瞰民宿與遠山的關係

Southside bird’s view, showing the resort corresponding with distant mountains ©趙奕龍

∇ 03.北側鳥瞰被樹木包裹的民宿

Northside bird’s view, showing the resort surrounding by woods ©趙奕龍

∇ 04.項目區位 location ©尌林建築

∇ 05.視線關係 horizon ©尌林建築

∇ 06.橫軸山景mountain scenery ©尌林建築

馬兒山村有一定的的建設條件，作為張家界美麗鄉村的典範，已有基本固定的當地遊客來源。周末時分，選擇來此遊玩休憩的遊客不少。業主本人在馬兒山村長大，自然對這兒懷有深厚的感情。民宿的改造既希望可以具備滿足回鄉居住的舒適條件，又能夠不改變原有的鄉村式的精神寄托之所。

Ma’er Shan village provides decent conditions for construction; meanwhile, as an example of Zhangjiajie’s “Construction of Beautiful Villages” campaign, the village also has a stable tourism demand from local tourists, especially during weekends. The estate owner has a deep reminiscence towards the village as the birthplace; therefore, the project was asked to facilitate the owner’s need for comfortable stays during home returns and maintain the spiritual importance defined by its rural characteristics.

∇ 07.軸測場景圖Axonometric drawing ©尌林建築

∇ 08.架在石坎上被看全的東立麵

The unobstructed view of the east side facade on the stone dike ©趙奕龍

場地策略和場所精神 Design strategies and intentions

建築用地是由三個宅基地組成，長條狀地塊，在東西方向上有將近3米的高差，兩個宅基地位於西側，一個宅基地位於東側下端，剛好建築就形成了兩個主體量，一高一低，一大一小，中間用一部半通透的樓梯廊道鏈接兩邊。而場地又南高北低，利用原有場地的關係順勢挖了一部分地下空間，作為後勤儲藏和設備用房，東側的這部分高差則設計成一個開放的灰空間，為客人提供半室外的靈活空間使用。場地中的水係景觀也順著室外場地台階逐級流下，形成多個小瀑布水口，構成流水聲一直伴隨著行走路徑的體驗。

The construction site, consisting of three homestead areas, has a narrow shape and a 3-meter height difference from east to west. Two homestead areas located at west combined, with the lower one located at the east, together established bases of two main structures of the entire residence: the upper-wide section and the lower-narrow section, connected through a half-transparent sky bridge. The field’s height difference between north and south was utilized to create an underground section used for maintenance storage and equipment closets; the east side vacant space caused by the height difference between east and west was used to create an opened-up gray space that serves as a multipurpose semi-outdoor area for residents’ various needs. The landscape water system in the field follows the path of outdoor steps, forming multiple mini waterfalls, enriching the walking experience with a continuous audio presence of water streams.

∇ 09.方案推演過程Scheme deduction process ©尌林建築

∇ 10.傍晚南側場景 Southside view at dusk ©趙奕龍

∇ 11.傍晚銀杏林看向民宿 The residence viewed from the ginkgo wood at dusk ©趙奕龍

∇ 12.順應地形逐級而下的台階和水景

Outdoor steps and landscape water system trend downwards following the terrain ©趙奕龍

∇ 13.架空的灰空間，遠山若隱若現

The gray space formed by vacant vertical space, with distant mountains ©趙奕龍

遠山近林是場地內最直觀的感受，為了不改變原有的場所感，樹木被盡可能地保留。建築被植被包裹，人又被建築包裹，保留了原始的“猶抱琵琶半遮麵”的隱秘感的同時，行走在地麵層時的體驗也變得層次豐富了起來。同時不同季節林木形態不同，環境的通透性也會變得不同，夏季茂密的葉片與冬季裸露的枝幹掩映下建築的可視度也有所差異。

Distant mountains and neighboring woods compose the most distinctive viewing experience gained at the center of the field; therefore, surrounding woods were preserved mainly to continue the field’s sense of space. The residence is sheltered by woods, while the residence shelters the people within; such a charming paralleled relationship not only retained the mysteriousness of this half-hidden space but also elevated the ground-level walking experiences. Changes in plantations’ posture during four seasons can also impose influences in surrounding opacity, as the residence will get a different look during the lush greens of summer than the baldness of winter.

遠山作為關鍵要素，在空間中希望被不同的方式觀看感受：在建築的下部分空間，山體是隱隱約約在樹幹間透出來，越往上行走，視野開闊的同時，連續的山屏也逐漸展現。同時通過客房的不同開窗方式，遠山被引入的狀態也不同，有長條卷軸式，有框景片段式，有連續斷框畫幅式，對不同的空間尺度和類型進行呼應。

As a significant scenic element, the view of distant mountains was thoughtfully placed throughout various spaces, hoping to be seen through different manners. While the shape of distant mountains remains half-hidden by surrounding woods in the lower section of the residence, as people going upwards, with their field of view expanding, the expansive landscape of continuous mountains will also gradually unfolds itself. The way distant mountains have been introduced into interior designs of guest rooms also varies through different windowing designs, including long scroll landscape, framed scene, and continuous segmented frames, each of them, contemplates with different types and sizes of interior spaces.

場地絕不隻是場地本身，周圍的樹木、相鄰的房舍、遠處的山屏、一側的田野、圍合的竹林都是場地的一部分。人融入在其中，建築的空間和視野也圍繞其展開。

The residence boundary is far beyond the perimeter of the building itself; the surrounding woods, neighboring country houses, distant mountains, nearby farmland, and bamboo copses all serve as a vital part that together assembled the residence’s vibrant environment. With visitors immersed within, such an environment also centered at all residence’s spacing and scenic designs.

∇ 14.北側仰看民宿，立麵被樹木包圍 Northside upward view, the facade surrounding by trees ©趙奕龍

∇ 15.遠山長卷橫軸框景 Long scroll landscape view of distant mountains ©趙奕龍

∇ 16.連續斷框畫幅遠山框景 Continuous segmented framed view of distant mountains ©趙奕龍

∇ 17.片段式遠山框景 Snapped frames of distant mountains ©趙奕龍

∇ 18.橫向延展的接待大廳空間 The horizontally stretched reception lobby area ©趙奕龍

遠山近林，情感共鳴

Distant mountains and neighboring woods

An emotional revoking environment

一層接待大廳是一個橫向展開相對低矮的空間，壓縮了視覺和體感。右行下幾步台階進入下沉的休閑區域，連續的橫向玻璃窗提供了相對開闊的視野。低層樹木枝葉繁盛，層葉蕩漾，偶見遠山。從休閑廳逐級繞行至左側，設置了水吧和早餐廳，吧台以天然的自然景觀作為背景，斑駁的竹影形成天然的動態畫麵。

The reception lobby on the first floor is an expansive yet vertically contracted space, compressing its visual volume and physical perception. Few steps downwards to the right, a sunken lounge area is located, equipped with continuous horizontal windows allowing a relatively expensive view. Lower level vegetation’s lush leaves and branches create a half opaque screen with shapes of mountains looming in the distance. The breakfast room with a wet bar, which has an ever-changing natural background formed by mottled shadows of bamboos, is located further into the left.

∇ 19.土磚牆與空間中高差台地關係

Adobe wall and height difference relationship of tableland within the space ©趙奕龍

∇ 20.橫向連續的長條玻璃窗將樹林引入室內空間

Landscape view of woods introduced into the interior by the continuous horizontal window ©趙奕龍

∇ 21.樹林的光影投到休閑空間中 Mottled shades of trees projected into the lounge area ©趙奕龍

∇ 22.早餐廳對應的水吧和竹林 The wet bar and the bamboo copse corresponding to the breakfast room ©趙奕龍

從接待廳穿過竹格柵連廊便是一層的兩個客房，東北側客房視野開闊，村子的田野景觀和遠山都能引入客房，不同季節入住會看到田地裏不同顏色和種類的作物。客房布置簡潔，空間圍繞兩個方向的景觀展開布置，床朝向北側的遠山，喝茶區則朝向東側田野，戶外有一個L型的休閑陽台，衛生間幹濕分離，開放自由，浴缸設置在大玻璃窗邊，泡澡時讓身體更接近自然。

Through the reception hall and bamboo fenced corridor, two guest rooms were placed. The guest room at the northeast side has a capacious sight, covering views from close by farm fields to mountains in the distance. Colors and crops of farmland change throughout seasons, giving an ever-changing stay experience across the year. The interior has a simple design, with the space layout focused on views from two directions: the bed is directed towards distant mountains at north; he tea nook, on the other hand, is directed towards farmlands at east. An L-shaped balcony is placed outdoor. The spacious semi-opened-up lavatory equips separate dry and wet areas; the bathtub is placed beside the glass windows to create a bathing experience more closed up to nature.

∇ 23.細密格柵界麵的連廊通道 Corridor path with fine grid texture ©吳昂

∇ 24.客房大床朝向北側的山景 The mountain view at north aimed by queen size bed ©趙奕龍

∇ 25.東側的喝茶空間朝向開闊的田野 The eastside tea nook aiming at expansive farm field ©趙奕龍

∇ 26.浴缸放置在東側窗邊的客房場景 Guest room with the bathtub placed beside the east side window ©趙奕龍

∇ 27.看到客房自由開放的衛生間場景 Semi opened-up lavatory ©趙奕龍

∇ 28.客房戶型圖Guest room ©尌林建築

順樓梯踏步而上，便到了二層的客房，親子房體驗令人驚喜：空間分上下兩層，內部有樓梯上下，室內根據不同使用屬性設置了不同的高差和地麵材料，一層布置一個大床，二層南北兩側分別有兩個大床，可以提供一家人居住體驗，親子客房二層直接是建築的屋頂木結構層裸露，閣樓北側開了一條窄長窗，把遠處的山景框入窗內，形成橫軸畫卷。

The second-floor guest room gives a pleasant surprise through great family suite experiences. The vertical space is divided into two levels, with an in-room staircase connecting each other. The interior floor is covered with a variety of materials with high differences due to different area usages. With one double bed placed on the lower floor and two beds each placed on the north and the south side of the upper floor, the family suite could sufficiently accommodate the stay of a whole family. Building’s wooden roof structure is exposed to the suite’s loft; a narrow landscape window opened on the north side of the loft introduces a scroll view of distant mountains.

∇ 29.輕盈通透的鋼結構樓梯空間 Light and translucent steel structure staircase ©吳昂

∇ 30.有內部懸挑樓梯的親子客房 Family suite with in-room overhanging staircase ©趙奕龍

∇ 31.豐富高差體驗的客房空間，真火壁爐增加民宿的溫度

A guest room space with various height differences, with an open fire fireplace adding the warmth of the room ©趙奕龍

∇ 32.設置局部通高空間的親子客房 Family suite with a double-height section ©趙奕龍

∇ 33.木結構裸露的親子夾層空間，設計壓低了夾層的空間高度

Loft space with exposed wood structure, the design compressed the vertical volume of the loft ©趙奕龍

∇ 34.橫向看山的框景，空調設計藏入牆體壁龕

Landscape view of distant mountains, air conditioning devices are concealed within the niche ©趙奕龍

∇ 35.客房軸測圖Axonometric drawing of guest room ©尌林建築

頂層是一個大套房，空間橫向延展，從玄關轉入便能看到連續的山景被引入室內，視野被完全打開，近處有部分樹杈冒出，形成近景遠景層次，坐在陽台，微風拂麵，喝茶看山，非常舒適。套房的布局上以內天井和浴缸泡池為界分成兩個區域，一半是睡覺喝茶區，一半是休閑水吧區，空間通透自由，屋頂木構梁架裸露，結構與空間的關係一目了然，清晨鳥叫聲響起，打開窗簾便讓人心曠神怡。

The top floor is a grand suite with expansive horizontal space. After entering through the porch, the residents will be embraced with a distant continuous mountain view, forming a layered view together with several popped-up tree branches close by. Resting on the balcony with a gentle breeze and a pot of tea, visitors will enjoy a tranquil experience with the view of mountains. The suite’s layout is divided into two sections by the bathtub and the interior patio. The first section accommodates sleeping and tea drinking, while the second section serves as a leisure space with a wet bar. The uninterrupted flow of space and exposed wood roof structure makes the relationship between the structure and space conspicuous to the observer. Early in the morning, with birds twittering, visitors can experience the refreshment simply by opening up the curtain.

∇ 36.透過木結構和天井看到整個通透的大套房空間

Overlooking the whole space of grand suite through wood structure and interior patio ©趙奕龍

∇ 37.天井結合衝澡、庭院、壁爐與浴缸入口玄關設置在中間軸線上

The patio, the shower room, the yard, the fireplace, and the porch entrance all placed on the central axis ©吳昂

∇ 38.相對獨立的套房休閑空間 The grand suite’s semi-independent leisure space ©趙奕龍

∇ 39.大套房橫向延展的空間布局 The horizontally stretched space do the grand suite ©趙奕龍

結構體係和在地化材料建造

Structural system and utilization of locally sourced materials

建築的立麵材料我們更希望能具有在地性，回到自然與建造的關係上，充分的利用當地有的材料，既控製建造成本又能方便的找到當地工匠施工。像壘毛石，土磚牆，水洗石，水磨石，青磚牆，小青瓦，都是當地非常常見的用材，施工工藝簡單，易取材，建造精確性易把握。

We hope the material selection of the residence’s facade to inherit a sense of locality, to support the relationship between construction and nature, and to utilize locally sourced materials and local craftsman that lowers not only construction expanses but also reduces logistical costs. Materials like rubbles, mud bricks, washed granolithic, terrazzo, gray bricks, and little blue tiles are all commonly used by locals; they are easy to source, craft, and make the construction accuracy easily manageable.

∇ 40.當地傳統建築用材 Local traditional building materials ©尌林建築

∇ 41.建築上的毛石壘砌牆麵 Rubble masoned wall on the building ©趙奕龍

∇ 42.東立麵現澆混凝土，實木，青磚交接細節

Eastside facade with details of cast-in-place cement, wood, and gray brick fusing together ©趙奕龍

∇ 43.南立麵毛石、青磚、竹格柵、實木窗框材料關係

Southside facade and relationships between materials including rough rubbles, gray bricks, bamboo fences, and wooden window frame ©吳昂

在結構的選擇上，我們希望結構本身就是可以被表現的，是建築空間和牆體體係的一部分，可直接被感知。用木模混凝土一次性澆築，即是剪力牆結構，又是內外空間牆頂麵，木紋和水泥質感即純粹又能被直接觸摸，而且可以實現無柱大開間空間，減少柱子的出現，實現空間自由。木構在當地傳統建築中被廣泛使用，建築的上半部分使用純木構，與剪力牆結構體係咬合，木構杆件在室內空間中直接裸露，無二次裝飾麵層，結構材即空間麵材，所有電線都走在屋頂保溫層空腔裏，極致的結合建築結構和室內效果。

In terms of structural design, we hope the structure is expressive, serve as an integral part of the building’s space and wall system, and be sensed directly. Using the wooden mold cast-in-place concrete structure, the framework serves as the shear force structure while becoming surfaces of interior and exterior walls, with textured wooden finishes and concrete casted finishes that feel pure and welcoming to touch. The wooden mold cast-in-place concrete structure creates a column-free large-bay structure, allowing interior spacing without constraints. Wood structure, being widely utilized by local houses, is used at the upper section of the residence, interdigitating with the shear force structure. Wooden structural beams are exposed within interior spaces without any other decorative surface, as the wooden structure itself serves as the interior surface material. All electric wiring is concealed within the thermal insulation located at the roof to integrate the building structure and the interior design optimally.

∇ 44.結構拆解圖Structural decomposition ©尌林建築

∇ 45.架空的室外空間，混凝土現澆裸露 Overhead external space with exposed cast-in-place concrete ©趙奕龍

∇ 46.東側現澆出挑的體量和陽台 Eastside cast-in-place overhanging volume and balcony ©趙奕龍

∇ 47.頂層木結構裸露的走廊空間 Corridor space with the exposed wooden top structure ©吳昂

理解精確性 Understanding accuracy

我們總是會麵臨這樣的問題：如何去化解傳統建造和現代設計的矛盾？如何讓工匠理解圖紙？如何讓看似零散的材料組織成空間？我的回答是對精確性控製很重要。精確不等同於精致，精確在我看來可以被理解成一種感知，一種內在的控製邏輯，可以用語言傳達，可以被訓練，但不一定能用圖紙完整表達。精確可能是抽象的，在建造中與用心感受精確會放在很重要的位置，比如我會跟壘石的工匠師傅說：壘石頭的時候，自然麵外露，無需水泥勾縫，水泥砂漿退進毛石牆麵三公分，石牆整體關係下大上小，大小石塊穿插壘砌，無需挑選顏色，1.5米間方用拉鉤與內牆體拉結。景觀牆體用大於建築牆體1/3大小的石塊壘砌。工匠師傅基本能做到這句話的要求也就算是精確了。

We are always perplexed by concerns like, “how to resolve the inherent contradiction between traditional construction and modern design”; or “how to form space with materials seemingly fragmented?” Our answer is the importance of accuracy control. Accuracy is not equivalent to delicateness, as accuracy can be perceived as a sensation, an inherent logic of control. Accuracy as a concept can be delivered through language and enhanced through training. However, it may not be fully expressed through construction drawings. Accuracy can be seen as an abstract concept. During construction processes, the feeling and understanding of accuracy should be seen with a high priority; as an example, I will inform stone stacking craftsman that: “during the stone stacking process, make sure always to expose unprocessed sides of stone chunks, no filling up gaps with cement, the cement mortar retreats three centimeters into the rubble wall, maintain the bottom heavy shape of the stone wall, intersperse large and small stones during the stacking, no need to choose the color, use hook to tie with the inner wall for evert 1.5 meter square of area, and stones used for constructing landscape wall should be larger than 1/3 the size of stones used for structural wall construction.” If the construction workers could fulfill those requirements mentioned, they would have successfully met the accuracy requirement.

∇ 53.建築南側階梯水洗石、毛石牆、竹格柵關係

∇ 54.傍晚南側立麵建築的虛實關係

一體化設計的實現

Actualization of an integrated design

這次是一次相對綜合的一體化設計實踐，涵蓋了項目定位策劃、區域規劃、建築、室內、軟裝、景觀、燈光、結構、水電暖、智能、標識導視全專業、全係統、全過程的整體設計，全盤考慮，一體化設計落地。形成建築與室內空間的連貫性，硬裝和軟裝搭配的完整性，建築跟景觀銜接的延續性，結構與材料關係的統一性，各方麵在圖版和實踐中做到比較好的配合，也減少了很多施工過程中各專業各工種的矛盾衝突，大大縮短了項目的施工周期，建築室內景觀施工緊密銜接，節省了大量的造價成本。同時一體化的設計過程保證了設計語言係統的完整，材料體係的貫穿，實現室內外自然過渡，創造了空間的完整體驗，最後呈現完整統一的空間效果。

This project is a comprehensive experiment of an integrated end to end design, consisting of project positioning and planning, site planning, architecture design, interior design, decorative design, landscape design, lighting design, structural design, piping and electric system design, smart furniture integration, visual guide system design. It is a project that requires cross-professional, cross-system, and end-to-end integrated design. With such a level of vertical integration, the coherence between the exterior design and the interior design, the unity of building structure and decorative designs, the continuity of the building design and the landscape design, and the conformity of structure and construction materials can all be guaranteed. Different fields of the project were being coordinated swiftly during the practice, hence reduced possible conflicts and clashes between different types of works during the construction, abled interior and landscape construction to have a smooth transition, significantly saved the construction cost, and shortened the overall construction periods. Meanwhile, the integrated design process also ensures consistent design language and material usage throughout every aspect of the project, making sure the natural transition from interior space to outdoor space creates a coherent and immersive environmental experience.

∇ 55.西南方向鳥瞰民宿和遠山

一體化設計將是我們未來實踐的主要方向，也將是中小型項目的重要需求，是業主們未來最好的選擇。即實現全方位設計的需求，又減少業主對接各方麵設計團隊的煩惱，最大程度的減少矛盾點，縮短項目建造周期，節省建造成本。

The integrated end-to-end design will be the main focus of our future practices; it is also a trending demand for mid-to-small-sized projects in the future, and the most desirable option for estate owners. While the integrated design can meet design requests in all domains, it can also demise the toil of estate owners searching and arranging different design and construction teams all by themselves, maximally reducing all potential conflicts and ultimately shortening construction periods with significantly lowering construction expenses.

項目信息

項目名稱：張家界馬兒山·林語山房（又名燕兒窩）
項目地點：湖南省張家界市馬兒山村
項目業主：張家界美麗鄉村旅遊開發有限公司
項目類型：文旅民宿酒店
設計時間：2019.2-2019.6
建造時間：2019.8-2020.8
設計單位：尌林建築設計事務所
主持建築師：陳林
建築設計師：劉東英、時偉權、陳鬆
室內建築師：劉東英、時偉權、陳伊妮
軟裝設計：陳伊妮、時偉權、趙藝煒
品牌設計：虛穀設計
結構設計：高翔
植物設計：物喜·陸辰
家具品牌：屮房
結構形式：混凝土框剪/鋼木結構
設計範圍：規劃、建築、室內、軟裝落地、景觀、品牌標識、一體化設計
建築材料：木模混凝土、非洲柚木、毛石牆、青磚、土磚、小青瓦、水磨石、水洗石、合成竹
建築麵積：1200㎡
建築攝影：趙奕龍、吳昂
文章撰寫：陳林
視頻剪輯：丁詩穎

Project Name:   Ma’er Shan Village, Zhangjiajie, Woodsy Whispers Residence
Project Location:   Ma’er Shan Village, Zhangjiajie, Hu’nan Province
Project Owner:   Zhangjiajie Beautiful Village Tourism Development Co., Ltd.
Project Type:   Resort villa
Design Period:   Feb. 2019 – June 2019
Construction Period:   Aug. 2019 – Aug. 2020
Design Agency:   Shulin Architectural Design
Leading Architect:   Lin Chen
Architectural design:   Dongying Liu, Weiquan Shi, Song Chen
Interior Design:   Dongying Liu, Weiquan Shi, Yini Chen
Decoration Design:   Yini Chen, Weiquan Shi, Yiwei Zhao
Branding Design:   HUGO-IDEA
Structural Design:   Xiang Gao
Vegetation Design:   Chen Lu
Furniture:   Che’fang Furnitures
Structure Type:   Frame-shear concrete / Steel-wood structure
Design Fields:   Planning, architecture, interior, decoration, landscape, branding, end to end
Construction Materials:   Wooden mold concrete, African teak, rubble wall, gray brick,
adobe, small blue tile, terrazzo, washed stone, synthetic bamboo
Construction Area:   1200㎡
Photography:   Yilong Zhao, Ang Wu
Author:   Lin Chen
Video Editing:   Shiying Ding