巴勒莫大酒店，以古典语言的操作作为练习

Grand Hotel in Palermo, Studio Kollhoff
巴勒莫大酒店，以古典语言的操作作为练习
这个设计的场地位于巴勒莫，任务是在西西里岛最大的教堂旁边，紧挨一面受保护的古墙设计一个 grand hotel。设计课的基调基本上是已经定好的，
也就是 Kollhoff 教授以古典式练习进行的教学。选择这样的一次设计，也是为了在本科最后一个学期能够彻底的洗一次脑，尽快踏出舒适区。
教学进度安排大家在设计正式开始前，先进行四周的练习。首先是以拼贴的方式在场地照片上去画自己的想法；然后第二个练习用泥巴去捏一个放
大的建筑局部；第三个练习是做餐厅的室内渲染图；最后来到现场，去验证之前的各种猜想，考察真实的环境。这一系列的练习就像是在你正式开
打做设计之前，先来一遍彻底的热身。在照片拼贴画里，你会去以人的视点去推敲建筑形体自身的姿态以及它与城市的关系；捏泥巴，用手指的力
量去挤压材质，用身体的工作去赋予形体和细部几何上更多精神的意义，然后是做渲染图，去考虑光和空间材料的对话，去揣摩怎样的情况下能够
得到怎样的氛围。

等到正式开始着手设计时，虽然主题还是感觉陌生，但是大概已经理解了如何去学习和推敲。比如说去设计立面的柱梁划分时，你经常会觉得感觉
有点不对劲，但是却说不出来为什么。然后你就会去翻各种资料，去试图理解好的柱梁比例是怎样形成的。整个过程必须伴随着抽丝剥茧一样的逻
辑思考，也就是说你得理解当柱梁宽度比例为1:2时，你得尝试去解剖一部完整的欧洲古典建筑史：柱梁的比例其实是一种基于结构力学发展出来的
经验美学。首先，抵抗重力的诚实的结构提供了一种基础的稳定感，而当这个比例不断变得越来越纤细的时候，经验式的美学得到了异化，也可以
获得另外一种轻盈的姿态。也许，在对这一切都不了解的情况也可能撞大运直接跳过第一步，意外地得到一个轻盈的结果，但是我觉得重点在于，
你是否对这一操作的内在逻辑有所“自觉”，有意识地去达成。

在最终的方案里我是这么处理的：在城市的等级上，酒店的等级高于同街相邻的居住建筑，低于侧面的大教堂，同时和现存墙面咬合但同题异构。
和现存墙面的区分首先按经典的三段进行区分：底部，加入厚重的基座以声明两部分的相对独立，因为底层是和城市关系最强的公共性空间，所以
通过大开口打开以展示其商业属性；中部，层高缩小为适合房间的高度，立面上的这个缩小的几何的尺度暗示了他居住的属性；顶部，也就是屋顶
层，空间放大并向城市打开，形成某种类似“冠”的第三段，同时把内部公共性最强的空间布置在这个打开的空间，和城市形成一种互动。


This project locates in Palermo, capital city of sicily island. On the site there are the biggest church of sicily and also an existing wall. The task is
to design a grand hotel which includes the wall in its facade. Prof. Kollhoff’s studio is quite famous for its classical training. I chose this studio
because I wanted to step out of my comfort zone and to try something that I am totally unfamiliar with.

Before we got down to the design, four pre-exercises were arranged to help us warm up. The first one is to sketch our idea directly on the photo,
which let you deliberate the hotel facade using the visual perception. The second, to play with modelling clay forming the entrance of the hotel, is
asking you to use your hand and body to touch and feel the form and details. The third exercise, to render the restaurant interior, is on the hand
helping you being conscious with light, material, proportion and the synthesis of these — atmosphere. At the end, we carried all the thoughts we
had had from exercise and brought it to the real site. We checked the ideas, researched the site and kept thinking of possibilities during the site
trip.


When we really began to do our own design, though I was still unconfident with the classical thing, but somehow I felt that I knew how to start with
it. It’s like, when you try to understand the structure of the facade, it is necessary to understand the history of it, to know the proportion between
column and beam first came from a physical necessity and later developed into a slimmer variant. Quite likely is, some one who has totally no
idea of this could accidentally skip the first phase and directly go into the slimmer design. But whether he is conscious with his knowing-why or
not-knowing-why is a crucial point.
In the final design, I came up with the following solutions:
On the urban hierarchy, the hotel is higher than his neighbours but lower than the church next to it;
The hotel facade is developed by learning from the existing wall and divided into three parts. The base emphasises the massiveness by using
stone as its material and keeping only arch openings. These windows show the building’s character by opening its commercial function to the
city. The middle part uses the same language of the wall and the height of the storey is reduced, implying the residential attribute of this space.
The upper part is emphasised and opens itself to the city. The most public space, the restaurant, is also placed here, interacting with the
urban environment.

最后递交的成果以单张 A0 的渲染图呈现，这种大幅面的形式本身就类似一种宣言：当你站在图纸前去看的时候，我们希望是以一种接近身临其境
的方式，观者的感官能够融入到建筑和城市的气氛中去。（用电脑看的时候，可以试着把鼻子凑到屏幕前去模拟这种效果。）这种表达方式同时也
要求，设计的推敲在物理上要细致到身体的程度，铺地的纹理、木门框的构造甚至桌子上配套的餐具等等都必须经过考虑，因为所有的元素最终都
要汇集在一张巨大的图里，互相共鸣着形成一个整体的气氛，每一个局部都是至关重要的。最后的，这个气氛如果能和一开始的设想吻合，那么设
计才算是成功了。整个设计做下来，我不再像以前一样以无知的状态频繁的去尝试不同的想法，而是学会了如何专注于一个想法，并把它打磨得臻
于完美。Kollhoff 教予的这种方法，我觉得是真正将方案做细做深入的方法，这种细不是物理意义上一个个细小构件的细，而是对于多个涉及的层
面在一个主题上互相咬合的那种观念的深入。
All the renderings are presented in A0, the size of the image could be considered as a statement: the picture is not longer observed but an
immersive scene, which captures the viewer into the space behind. Here, the visualisation is when the viewer stand in front of the large image,
the visual atmosphere is almost touchable. This relationship between the viewer and the picture is more like a subjective environment than a
bare object. Thus the detail of ever single piece in the scene must be well polished, such as the door frame, the texture of flooring, even the
cutlery on the table, because all of them are synthesised together creating the whole atmosphere. If this atmosphere meets the initial idea,  one
might considers the project as successful. After this exercise, I am no longer doing design in my old way, that means not longer looking up a lot
of references and changing the idea all the time till I am satisfied with it. I have now learnt how to focus on one single idea and I have to say,
polishing an idea till it is perfect is more difficult than finding an genius one out of random thoughts. And this is probably happening more often in
the practice. The working method Kollhoff taught me, is to go into the higher degree of detail: the detail here does not mean physically small
construction components, but how we could layer several different aspect of architecture together and let them conceptually interact.

怎么就只有外立面，里面的照片没吗，