项目概况:
建筑设计:Miguel Angel Aragonés
位置:San José del Cabo, Baja California Sur, Mexico
主持建筑师:Miguel Angel Aragonés
设计团队:Miguel ángel Aragonés, Juan Vida?a, Pedro Amador, Tadeo López, Rafael Aragonés, Alba Ortega.
建筑面积:47082.0 sqm
项目年份:2016
照片版权:Joe Fletcher
 
项目简介:​
来自建筑师的描述。我第一次来到这里,在沙漠中看到透明清澈的水景延伸到地平线,我为烈日下此般景致深深震撼。这片土地,位于海岸线的中部。“包罗万象”的这里有独一无二的海,独一无二的空气,更有着上苍的恩赐——沙漠与海浑然相接的壮丽奇观。这里的景观,纯净,简单,连地平线都只有寥寥数笔线条。路的两边也极尽梦幻,冲击了人类的已有审美,洗礼着人们的建筑认知。我仅仅想描述我看到的版本,与他人无关。
 
我相信,建筑的最大价值就是在感性世界里通过空间序列的营造而影响人们的感受。我相信倘若你周围的环境能让你融入其中,形成你自己的空间,建筑的这种能力将会更加显著地存在;正因如此,我想把那个沙海相接的神奇地平线变成场地的前景。水是贯穿所有空间的线索;所有建筑体量都面朝大海,背冲城市,城市里只有原来的一喧闹的环境。每个浮动的体量都包含了内部的形式,一个挨一个,彼此都是独立的宇宙。每一个房间都有动人的海景,让人无法抗拒。
 
很长一段时间以来,我都认为,建筑与其他事业的发展是不一样的:例如,汽车在一百年里,从四轮马车进化到了今天的样子。然而,当我回头去看密斯·凡·德·罗设计的亭子,在本质上它和我们今天所看到的建筑依然类似,或许它还是看起来样式老旧了。分散在世界各地有的带有不必要的复杂的,但是相对来说结构又没那么复杂。现代有一些先锋建筑方案除外了,不过它们似乎没有太多的传承。
 
每个房间都在工厂里预制完成。Poliform 公司是我们的合作伙伴。我们建造了整个内部结构,并把它发送到它的目的地,由当地工匠现场组装。第一个房间的完成采取了机器和人的配合。机器保证了质量,而能工巧匠的手给予了建造过程更多的灵动。每个房间虽不是工匠即兴创作,但还是凝结了大家的智慧,想象力和全心奉献。我从那些德国和意大利制造商身上看到了种种学校与书本教不到的东西。
 
我们的项目过程是这样的:通用性的模块可以被拆分和组合,从而形成单体或依附其他结构存在。主要模块是一种可以划分成两间卧室的简单阁楼。总之,模块本身具有两居,三居,或是四居的公寓;一栋房子可以包含2个或4个模块。这种结构是通用的工厂预制产品,现场的组装便捷高效。
 
更多描述:
建筑顺应地势,面向大海层层跌落。中部的空间开敞宽阔,平静的水池向前延伸,和远处的大海无缝连接。数间占据了最佳视野的家庭套间利用了地势,隐藏在水面之下,丝毫不露踪迹。高大的多层建筑环绕基地的三侧对称而建,如同一个个孤岛,悬浮于水面之上。略略倾斜的角度保证了每间房间绝佳海景视野,繁华喧嚣的都市被远远地抛在身后。几道圆滑的弧线划过水面,形成了交织的步道。步道的尽端,室外休息平台略低于水面,保证开阔的视野不受干扰。黑色的池底铺装让浅浅的水池看起来似乎深不见底,和纯白色的建筑体量形成了鲜明对比。而在夜晚,当梦幻的彩色灯光亮起,给建筑增添了一份神秘的色彩。

一层的餐厅中除了白色的构架,没有任何多余的装饰物。三三两两的柱子或疏或密,形成了极富韵律变化的节奏感,而阳光穿过柱子,在地面上投下了不停变化的光与影。白色的装饰物完美的隐藏了灯具轨道与埋线,并在形式上和结构保持一致,成为了结构的一部分,保持整体氛围的简约。纯白的结构、米色的地板、餐桌中点缀着红褐色的椅子和餐具,素净的色彩让空间愈发的庄严和神秘。不远处的水面上,由艺术家用木藤编织而来的“鸟巢”咖啡厅漂浮在水面之上,成为了开阔空间中的唯一装饰。 而房间的装饰也延续了建筑的极简风格,简单的黑、白、米色让空间愈发的纯净。开敞的露台面对着大海,而隐藏的帷幕可随需要打开或放下,帮客人挡去这干燥沙漠中过于猛烈的阳光。建筑的每一个结构都是在工厂中预制好,在漂洋过海来到此地组装而成。模版化的建筑结构大大提高了预制的效率,随着组装数量的变化,成为了大小不一的房间。

 其它信息:
Collaborators:Antonino Trinidad, Ana Aragonés, Fernanda Kurth, Manuel de la O., Diego Amador, Axel Hernández
Structural Engineering:José Nolasco
Constructor:Jorge Flores, José Torres
Heads of Labor Work:Severiano Torres, Roberto Torres
Intelligent System:Control 4.
Especial Engineering:High Tech Services
Kitchen:San-Son
Uncovered Area:26,454.77 sqm
Lighting:Taller Aragonés, Ilumileds.
Glazing and Sliding Windows:Taller Aragonés, Javier Rivero
External Roller Blinds:Deko System Group (Model System Italia)
Wardrobes and Closets:Poliform,
Interior Furniture:Poliform
Exterior Furniture:Exteta
Water Systems:Swimquip
 
(本文贡献方:archdaily, gooood;组织:树状模式)
From the architect. The first time I visited this property and took in the desert and the diaphanous, clear water running along a horizontal line in the background, I felt the enormous drive of water under a scorching sun. This piece of land, located in the middle of a coastline dotted with “All Inclusives,” would have to be transformed into a box that contained its own sea –practically its own air– given the happy circumstance that the universe had created a desert joined to the sea along a horizontal line. It was the purest, most minimalist landscape a horizon could have drawn. On either side, this dreamlike scenery collided with what humans consider to be aesthetic and build and baptize as architecture. I wanted to draw my own version, apart from the rest.

I believe that the greatest virtue of architecture is the generation of sensations through space on a series of planes that are found within the realm of sensitivity. I believe this capacity becomes still greater when your surroundings allow you to meld into them, forming thus part of your own space; in this sense, I wanted to take that horizon and bring it into the foreground. The water is an event that borders the entire project; all of the volumes open up toward the sea and turn their backs on the city, which is all that remains of the original surroundings, burdened by noise. Mar Adentro is a kind of Medina that opens out onto the sea. Each floating volume contains interiors that form, in turn, independent universes. Each room visually contains a piece of the sea; no one can resist gazing out at it.

For a long time, I have felt that construction has failed to evolve on a par with other endeavors: the automobile, for example, in a hundred years went from being a wagon to what we know today. And yet when I look back at the Pavilion by Mies Van Der Roe, it is in essence very similar to what we see today in architecture, albeit transgressed a bit perhaps through involution. We see unnecessarily complicated, but relatively non-complex structures scattered around the world. There are some risky proposals that form part of the current panorama we refer to as modern or contemporary, but they have not been very evolutionary.

Each room was built in a factory. Poliform was our ally. We built the entire interior structure and sent it in boxes across the sea to its destination, where it was assembled on site by local hands. In a question of days the first room was ready, of a quality subject to the tyranny of a machine and the wisdom of hands dedicated over the course of a lifetime to construction. There was no room for improvisation, and yet the room was fashioned with intelligence, imagination, and dedication. I learned from those German and Italian manufacturers what we sometimes fail to intuit from schools or books over the course of many years.

Our project can be constructed entirely through this process, employing a module whose versatility allows it to be divided or added onto, thus becoming autonomous or dependent on another structure. Our main module, for example, is a kind of loft divided in half in order to create two rooms, as simple as that. In summary, the module is a two-, three-, or four-bedroom apartment; a house can be formed by adding on two or four more modules. The important thing is the versatility of this structure, one that can be entirely factory-made then raised on site in a friendly manner.
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