苏州狮山悦榕庄及悦椿酒店 / GOA 大象设计

Suzhou Shishan Banyan Tree and Yuechun Hotel/GOA Elephant Design
苏州狮山悦榕庄及悦椿酒店 / GOA 大象设计

整体布局与环境的巧妙融合：该项目最令人称道的亮点在于其对场地环境的深度理解和巧妙利用。建筑师并未选择传统的封闭式设计，而是通过抬高建筑群，在公共开放的狮山公园中营造出私密空间。这种“台基”的设计手法，既容纳了酒店的公共功能，又巧妙地利用了地势高差，避免了与外界的直接视觉干扰。同时，建筑布局顺应了场地南北两侧与城市和公园的连接，将建筑与环境完美融合，过渡自然，实现了建筑与周边环境的和谐共生。这种布局不仅提供了丰富的景观层次，也赋予了项目独特的韵味。

传统与现代的对话：项目的精髓在于它对苏州传统园林精神的深刻理解和创造性的现代演绎。建筑师没有简单地复制传统元素，而是将苏州园林的造园理念融入现代建筑设计中。通过对江南民居尺度的借鉴，以及坡屋顶单元的运用，建筑在高度上与周边环境融为一体，体现了含蓄内敛的东方美学。同时，建筑师通过多层次的景观设计，例如“台园”与“谷园”的串联，营造出独特的空间体验，模糊了建筑与景观的界限。这种“筑中之园”与“园中之筑”的相互转换，是对传统园林精神的创新性发展。

材料与细节的匠心独运：该项目在材料选择和细节处理上体现了精湛的工艺和对传统文化的尊重。木纹转印铝板幕墙、铝花格窗、陶砖镂空墙等材料的选择，是对传统中国木构和苏州园林半透明界面的致敬。立面设计巧妙地运用了“佳则收之，俗则屏之”的原则，创造出半透明的质感，在墙体与玻璃之间形成了独特的视觉效果。石材的运用则呼应了苏州的砖砌院墙，营造出沉稳的基调，与上部的轻盈材质形成鲜明对比。这种材料的组合和光影的变化，使得建筑在白天和夜晚都呈现出不同的韵味，体现了设计师对细节的极致追求。

There is a common saying in Suzhou that goes, 'The lion turns its head and looks at Tiger Hill.' The steep and rugged Lion Mountain looks eastward towards the five sister peaks led by Tiger Hill and the ancient city of Suzhou. The expansion of the city has enveloped this area within the boundaries of the modern CBD, preserving a corner of the mountains and waters of Shishan Park. Surrounding the park, numerous landmark buildings have sprung up. The Suzhou Banyan Tree project is located at the southern foot of Shishan Mountain, adjacent to the canal to the south and the mountains and waters to the north. The courtyard layout, which combines traditional architecture with classical gardens, forms a crucial puzzle in the cultural field.
姑苏俗谚有云：“狮子回头望虎丘”，奇峭险峻的狮子山向东瞻望以虎丘为首的五座姊妹山峰与苏州古城。城市的扩张将这一区域包裹进现代 CBD 的边界时存留存了狮山公园的一隅山水。围绕公园，众多地标建筑拔地而起。苏州悦榕庄项目选址狮山南麓，南邻运河，北依山水，以传统建筑与古典园林融会的庭院布局构成了文化场域中一块至关重要的拼图。

Shishan Park is a fully open urban green space, and the primary challenge faced by the project is how to construct a private space within the public area. Architects seek inspiration for overall planning in the local context, abandoning traditional enclosed walls and creating height differences for guest rooms by elevating the entire building complex to avoid direct visual communication with the outside world. The "platform" accommodates the public functions of the hotel; On top of this, taking the scale of Jiangnan residential buildings as a reference, the lobby and guest rooms are decomposed into small, 1-3 story sloping roof units; Its height is limited to 12 meters, blending into the environment in a subtle manner.
狮山公园是一片完全开放的城市绿地，如何在公共场域中构建私密性空间成为了项目面临的首要挑战。建筑师面向本土语境寻求总体规划的灵感，传统的封闭围墙被放弃，以建筑群整体抬升为客房制造高差，避免与外界的直接视线交流，“台基”容纳了酒店的公共功能；在此之上，以江南民居的尺度为参照，大堂与客房被分解入小体量的 1 至 3 层坡屋顶单体中；其高度限定在 12 米，以含蓄的姿态融入环境。

The north and south sides of the site are respectively connected to the interface between Shishan Park and the city, making the architectural layout a transition between two different textures - short horizontal lines of varying lengths arranged in an east-west direction, fitting the curved contours of the lake water body through displacement. The central axis facing Shishan is open and spacious, with scattered spaces such as the main entrance, lobby, and all day dining hall; The rooms of Banyan Tree and Angchun Hotel are spread out on both the east and west sides, with a decreasing height from west to east determined by their functions, while cleverly conforming to the shape of the hills.
场地的南北两侧分别与狮山公园与城市界面相接，建筑布局因此成为了两种不同肌理的过渡 —— 长度不一的短横沿东西向排布，通过错动拟合了湖泊水体的弧线轮廓。直面狮山的中心轴线开阔疏朗，散落主入口、大堂与全日餐厅等空间；悦榕庄与悦椿酒店的客房分别在东西两侧展开，自西向东高度递减的形式由功能决定，同时巧妙地依合了丘陵的形状。

Suzhou is famous for its gardens. In the ancient city of Suzhou known as the 'Half City Garden Pavilion', there are gardens scattered within the high-density urban interface, and interesting architectural pieces are also scattered throughout the gardens. As for Shishan Park, the Banyan Tree at the foot of the mountain is like a "building within a garden", but considering the scale of the project itself, the intricate landscape between individual buildings has become a "garden within a building". Building from the garden, building from the garden, and multi-scale layering make the boundary between defining architecture and landscape appear blurred; As a result, in the Banyan Tree in Shishan, the relationship between gardens and architecture in the ancient urban garden integration paradigm has been reversed.
苏州以园闻名。 “半城园亭”的苏州古城中，高密度的城市界面中园林，园林中又散落着具趣味的建筑小品。就狮山公园而言，山麓的悦榕庄恰有如“园中之筑”，但着眼于项目本身的尺度，单体建筑之间错杂的景观又成为了“筑中之园”。由园而筑，由筑及园，多尺度的层累使定义建筑与景观的边界显得模糊；由此，在狮山悦榕庄，古代城园合一范式中园林与建筑的图底关系得到反转。

剖面图

Individual buildings present different forms while maintaining a unified scale, and the displacement between volumes provides an opportunity for enclosed landscaping. The multiple courtyards are like the continuation of the Lion Mountain's remaining veins, with green vegetation seeping into the gaps of the buildings, reaching straight to the waterfront, connected and nested, creating scenery everywhere. The architect attempted to imitate mountains and rivers, exploring the modern expression of flat landscaping techniques: using the nearby Lion Rock as a reference, he constructed a three-dimensional courtyard with ups and downs like the mountains. The flat land rises to form a platform, and falls to form a valley. A series of "platform gardens" and "valley gardens" are connected to each other, forming a unique landscape experience.
建筑单体在保持统一尺度的呈现出各异的形态，体量间的错动提供了围合造园的契机。多重庭院如同狮山余脉的延续，绿色植被渗透进建筑的间隙，直抵水岸，联通嵌套，处处成景。建筑师尝试模山范水，探寻平面造园手法的现代性表达：以近在迟尺的狮子山为凭引，构筑出跌宕起伏如山势的立体庭院。平地升而为台，降则成谷，一系列 “台园”与“谷园”彼此串联，形成了独一无二的景观体验。

Inspired by the diverse landscaping techniques of Suzhou gardens, architects have created a multi-level landscape experience for visitors: public areas such as banquet halls and gyms along the main axis are hidden under elevated platforms, allowing the lobby located on top to face Lion Mountain directly. The staggered height difference caused by the platform allows most guest rooms to borrow the landscape outside the threshold into the interior, creating a distant view; The guest room building encloses a central view defined by window frames; The inner courtyards on the north and south sides of the villa rooms provide a private landscape experience within reach, which is a close-up view.
受苏州园林多变造景手法启发的建筑师为来访者了创造多层次的景观体验：主轴线上的宴会厅、健身房等公共区域被藏于升高的台基之下，使得坐落其上的大堂可以直面狮山，台基造成的错落高差允许多数客房将槛外山水借入户内，成为远景；客房建筑围合出由窗框定的中景；别墅客房南北两侧的内院则提供了触手可及的私密景观体验，是为近景。

Architects select specific facade materials to translate traditional meanings. The wood grain transfer printing aluminum panel curtain wall used in the facade pays tribute to the traditional Chinese wooden structure; The selection of materials for aluminum lattice windows and ceramic brick hollow walls is inspired by the semi transparent interface created by flower windows and leaky screens in Suzhou gardens. As the author of "Yuanye" once said, "If it is good, it should be collected; if it is common, it should be screened." The semi transparent texture happens to be between the wall and the glass, and the landscape is thus exposed to people's eyes without being collected or screened. The stone in the lower part of the building is an imitation of Suzhou style brick courtyard walls, with a melancholic texture contrasting with the lightweight translucent material in the upper part. As night falls, the facade resembles a pavilion illuminated by lights, and the subtle balance of material weight will be replaced by a sharp contrast between light and dark.
建筑师选取特定的立面材料转译传统意蕴。立面中使用的木纹转印铝板幕墙向中国木构传统致敬；铝花格窗与陶砖镂空墙材质的选取则受到苏州园林中花窗与漏屏风营造的半透明界面启发，《园冶》曾云：“佳则收之，俗则屏之”，半透明的质感恰巧介于墙体与玻璃之间，景观由此非收非屏地漏入人的眼中。建筑下部的石材是对苏州式砖砌院墙的效法，沉郁的质感与上半部轻盈的半透明材质形成对比。夜幕降临时，立面如同华灯初上的亭台，而材质轻重带来的微妙的平衡将被明与暗的鲜明对照取代。

In the painting "Four Jingshan Waters", the Song Dynasty painter Liu Songnian attempted to depict the ideal relationship between mountains, waters, and architecture in the lives of literati: a small building with a double sloping roof sits on a platform close to the water surface and overlooks the distant mountains. A resort hotel located at the intersection of city and nature has the opportunity to replicate this scene, and the architect hopes to take on the challenge of seeking a balance between traditional vocabulary and modern expression. When hoping to accommodate the infinitely complex universe in their own small space, ancient people once used landscapes to symbolize even greater dimensions; Surrounded by secluded mountains and winding waters, the Banyan Tree in Suzhou continues and to some extent reverses this path - things beyond the threshold are visible, but are properly accommodated by the window pane. Therefore, individuals who are at a distance from them can pursue self actualization activities here, such as thinking about the world.
《四景山水图》中，宋代画家刘松年尝试描绘文人生活中山水与建筑的理想关系：双坡顶小筑坐落于亲近水面的平台上并眺望远山。一座处于城市与自然交界之处的度假酒店有机会复现这一场景，建筑师希望迎接挑战——寻求传统语汇与现代表达之间的平衡点。希望将无限复杂的宇宙容纳在自己拥有的方寸之地中时，古人曾经用景观象征更为远大的维度；幽山曲水环抱中的苏州悦榕庄延续并在一定程度上扭转了这一路径 —— 门槛之外的事物举目可见，却被窗格妥善容纳，于是，与之若即若离的个人在此可以追求自我实现的活动，例如思考世界。