首尔 Sohsul 精品酒店 | 细节与材料的魔法

韩国室内设计事务所

1990 uao

细节一般发生在设计过程的后期，这是个一般常识，而对建筑设计来说更是如此。然而另一方面，我却认为在过程的开始阶段就考虑细节设计也是有可能的。假如是室内设计则这个可能性更大。尽管密斯曾说过“上帝存在于细节之中”来强调精度，而库哈斯则说“没钱就没细节，只有纯概念”，把设计概念放到所有事情之前。联系着项目的开始与结尾的正是细节。细节不仅能够适当地接合并完成材料，它还激发了设计，使相邻的不同材料之间变得和谐，有时候，细节本身就能给予整个空间某种特定的气质。每种材料的独特性能够通过细节展现出来。合理展现出的细节能够让它从其他材料里脱颖而出，这种独特性成为了这个设计项目的主要材料。

地板，墙壁和天花

地板，墙壁与天花这个三个基本元素于房间，正如地面，柱子和屋顶于建筑。然而，这些看上去完全分离的元素，在这个项目中的处理方式稍有不同。原来用在地板现在应用到墙面和柜子(a, b, c, f, h)，墙的某些部分与天花板相接（走廊），这样地面和天花板就像镜子一样反映着对方(e, l, 大堂)。能从阳台看到的外墙材料同时成为了室内的一面墙体(k)甚至是围绕着整个室内空间(g)。在酒店大堂，对又高又长的墙体顶部进行了弯曲和折叠，于是勾勒出前台及其上空的一个半圆弧区域。而装饰着首层大堂地板与天花的马赛克图案，同样也使用在顶层的所有地面，墙面以及倾斜的天花板上。

材料与物质

材料介乎于物质以及使用该材料的设计结果之间。换句话说，物质变成材料，材料变成建筑。然而，要使建筑成为建筑设计而不仅仅使一桩楼房，材料还必须具备另一种因素。这种因素叫做特质。正因为具有特质，一种物质才之所以成为这种物质。而要把特质放到材料中，需要一个特别的过程。这就是对材料的尊重（或者态度）。在这个项目里，忠诚与背叛尊重这相互的共存。真实和虚构相混合，物体的本身与现象并存，事物的本性与意料之外相互交融。就像童话中的镜子，里面存在着与原本事物形象一样却又不相同的并存。石头变得又薄又尖，却仍然沉重。树木柔软而温暖，却仍然坚硬。砖块在一处厚厚地层叠起来，在另一处却变成薄薄的切片和覆盖层。根据使用的地方于目的，很难把瓷砖和墙纸区分开来，而他们实际上是相同的，因为他们同样用作覆盖。每种材料都各得其所，却也会以不同的形象出现在意料不到的位置。在这个项目中，材料是物质构成的，但他们只体现该物质一半的外观与性质。

镜子

“镜中世界寂静无声，我也不能与镜中之我握手，因为毕竟，和我相反他是个左撇子，可是确实，他和我挺像的。”(Yi Sang)很多时候，地板与墙面在许多方面其实都很相似。他们有相似的尺寸和形状。虽不确定这样是好是坏，但人却总是行走在地板上和停留在天花板之下 。他们不同，看上去却与对方相似，他们相像，却肯定不一样。但在酒店大堂内，现在他们却被做得完完全全一样(lobby, e)。地面变成天花，天花变成反射这地面的镜子，让人产生不知道走在地面还是天花板的错觉。室内灯光设计照同时射着地板和天花板。当然，无论是地板还是天花都没有一面真正的镜子。黑色的不锈钢覆盖着整个弧形墙面并把自然而分散的灯光扭转成星光。(大堂)。房间入口对面的墙面带有一块镜子，反射出另一个镜中的入口(j, m, 走廊)。当你进入房间便会遇到位于两边的两个房间，不过无需艰难地选择，因此其中一间没法和你握手(h)。当你开门时，来自镜内地板和房门的混合光线的形状与地面上出现的形状一样，这便是现实与错觉交叠的时刻(e)。每个人每天都至少会看着镜子一次来刮胡子或者化妆。镜子算是每个人日常生活里都很熟悉的事物，但在这个项目中，镜子却变得不那么熟悉了。

家具

许多家具占据着房间，例如床头柜，衣柜，茶几，书架，水槽和浴缸，但并非所有这些家具都是从房间之外带进来的。部分墙体突出来并改变形式从而变成了床头，这个床头的某些部分又变成了一个小桌子(a, b, c, d, e, i, j, k)。像广场的款楼梯一样，高度不同的地板变成了椅子和靠背(a)，地板地某些部分升起来作为茶几或床头的功能(e)。作为浴室

▼地下室

▼走廊

▼Dome 套房

▼Ballroom 套房

▼Cube 套房

▼Down 套房

Geneva 套房

▼illusion 套房

▼mirror 套房

▼spa pool penthouse

▼triple cinema penthouse

▼white deluxe

Detail

It is a common sense that detailing takes its place at the later phase of process, and this is especially true for an architectural design. However, on the other hand, I think it is possible for detail to be the beginning of the process. The more so, if the process is for interior design. Although Mies van der Rohe said “God is in the details” to emphasize precision and Rem Koolhaas stated “no money, no detail, just pure concept” to put concept of the plan before anything, the detail was what connected the beginning and the end of this project. The detail is not limited to properly joining and finishing the materials. It motivates the design, brings harmony to neighboring materials, and sometimes the detail itself grants certain characteristic to the whole space. Every material has its own unique characteristics and it can be revealed through the detail. Properly displayed detail distinguishes itself from the other materials, and that uniqueness became the main material for the design for this project.

Floor, Wall and Ceiling

Floor, wall and ceiling of the room are such common elements for architecture just like ground, column and roof. Hence, an old history of architecture can be defined as standing on the ground with your both feet, leaning your back against the wall and keeping your body under ceiling. However, these elements, which seem to be all segregated, are treated slightly different in this project. The material that were usually used on floor is now applied on wall or closet (a, b, c, f, h), some part of the wall is connected to ceiling (corridor), and floor and ceiling is reflecting each other like a mirror (e, l, lobby). Exterior wall material that were usually seen from a balcony is forming a wall inside the room (k) and even surrounding the entire interior space (g). The top of the fathomless wall, which is tall and lengthy, is bent and folded, hence, forming front desk and half arch on top (lobby) and the mosaic pattern that is decorating the floor and ceiling of the 1st floor lobby covers the entire floor, wall, and slanted ceiling once it gets to the penthouse house on the top floor(I).

Material and Matter

Material lays in-between matter and the result of the work using that material. In other word, matter turns into material and material turned into building. However, there is another factor that material must have in order for it to be an architecture not merely building. That factor is called attribute. Attribute is like a prerequisite for the matter to be that matter, and a special process is required in order to put attribute into material. It’s the respect (or attitude towards) for material. In this project, fidelity and betrayal toward that respect coexist. Real is mixed with fake, thing-in-itself and phenomenon coexist, and characteristic and accident intersect each other. Like the way the image on a mirror exist yet differ from its origin, stone is thin and sharp yet heavy, and tree is soft and warm while it is still hard. Brick is thickly stacked in one place, yet sliced and cladded in another place. Although, it is hard to distinguish tile and wallpaper using their applied location and purpose, they are in fact the same as they both serve the same purpose of cladding. Every materials stay in the place where they belong to, but still appears in unexpected places with the different image. In this project, material is made from matter, but they share half the appearance and personality of matter.

Mirror

“There is no sound in the mirror and me inside the mirror is unable to shake my hand as he is left handed, however, me from the mirror, who is opposite of me, is actually somewhat similar to me.” (Yi Sang) Oftentimes, floor and ceiling share similarity in many ways. They both have similar size and shape. However, man always walk on the floor and stay under the ceiling and it is uncertain whether it’s good or bad. They are different, yet similar to each other, and they look alike, but certainly not the same. But now, they are made to be perfectly identical to each other (lobby, e). Floor becomes a ceiling and ceiling becomes a mirror of a floor producing an illusion of looking down on a ceiling while walking on the floor. So the interior lightings are projecting both floor and ceiling at the same time. Of course, neither floor nor ceiling has a mirror on them (e). Black stainless steel is covering the entire curved wall and distorting naturally scattered chaotic lights on the ceiling into stars (lobby). The wall with a mirror on the opposite side of room entrance creates another exit that can never be used (j, m, corridor). Once you go into the room, you will encounter two bedrooms on each side, but there is no

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