西班牙,巴塞罗那,ME酒店/ 多米尼克·佩罗建筑事务所

建筑师:多米尼克·佩罗建筑事务所

地点:西班牙巴塞罗那

合作设计建筑师:Corada Figueras Arquitectos

本地建筑师:AIA Salazar-Navarro

工程:Perrault Projects (architectural engineering) BOMA Robert Brufau i Associats (structure), AIA Salzar-Navarro (fluids), Querol & Colomer (acoustics consultant)

项目经理:Tag Management

技术控制:Socotec Iberia

客户:Hoteles Sol-Melia

总建筑面积:29,334 sqm

竣工时间:2008

摄影: André Morin, Miguel de Guzman

这家酒店原先为加泰罗尼亚首府巴塞罗那的Habitat集团设计,如今归ME接管,酒店集构成巴塞罗那城市特色的两大方面于一身:一是城市的水平网格,这是塞尔达城市规划的遗迹,所有道路都通向大海;另一个就是动态的垂直风景,笼罩视野的圣家族大教堂和蒂维达沃山就是最佳实例。

这座大楼由两个体量“粘”在一起:一座立方体建筑作为基座,一座120米高的长方体塔楼,在纵向的两侧分别切去一块。一个悬臂结构距地面20米高,这里就是入口:在Avinguda Diagonal大道上,让人一眼就能认出酒店的所在位置。

这些盒子状体量互相叠放的方式是分布各种功能的关键。虽然位于后方的体量将酒店的各种服务功能集中在一起,但是进深虽不大却宽敞的塔楼容纳了259间客房,从每个房间都能清晰地欣赏到窗外美景。这种“巨大的立面设计将重点放在城市与景观欣赏上”,被切成纹理截然不同的不透明面板,覆盖着整个立面,无论白天黑夜,酒店立面看起来都活力四射。

酒店由259间客房(192间尊贵套房、44间高级客房、16间套房、6间大套房、1间天空套房,其中4间双人房设有残障人士通道)、健身室、餐厅(300平方米)、会议中心(1150平方米)、游泳池和露台、酒吧、多个沙龙、行政管理区和地下停车场组成。

巴塞罗那可以让人解读为一座水平城市,建立在著名的塞尔达城市规划法的几何准则基础上,她又可以是一座垂直城市,因为这里屹立着如圣家族大教堂、奥运村大厦这样的建筑,而最重要的垂直风景还要数电信大楼周围山坡上的郊区和蒂维达沃山。对巴塞罗那本质的这种解读指引我们构想出一座根基深埋在水平城市之中的建筑,而垂直的体量和屋顶却被镌刻在垂直城市中。这种形态创造出对于体量的演绎:后方的立方体建筑作为基座,一座长方体塔楼在纵向的两侧分别切去一块,其中一半保持着一飞冲天的姿态。这个破裂的“完美几何体”创造了一种动态的形式与体量,赋予屹立于水平城市中的大楼侧面一种都市感。

基本形式的排列形成了建筑的标志性特征:塔楼顶端25米高的顶棚被设计为凉廊的形式;突出的悬臂结构在垂直的天际线上创造出一个“羽冠”;立方体建筑向后留出一块如同露台的小广场,面向Calle Lope de Vega大道开放。塔楼向着天空拔地而起,如此设计将在Diagonal大道创建一处崭新的地标。

这些城市标志的组合使塔楼能够在当前及未来的区域文脉中,真正在设计上具有与其他建筑相互呼应的能力。功能结构是根据建筑环境而进行逻辑推断设计的成果。在建筑基础部分设有酒店大堂、餐厅、会议室、游泳池和昼夜酒吧等运动与聚会场所。主要结构容纳各种单人间、双人间和套房,依山面海,可俯瞰圣家族大教堂。

酒店的室内设计与舒适度建立在每间房间均拥有广阔视野的基础上,就如同一面巨大的屏幕,俯瞰着城市风光。这面屏幕由一系列小屏幕以电视机的方式连接而成,形成了一面“图片墙”。因此形成了一座身披铝板盔甲的建筑。

这种具有保护作用的外层是很稳定的:它由厚厚的阳极氧化铝板制成,密实、坚硬,还耐腐蚀。这是一层会呼吸的表皮,能够反射日光:一侧闪闪发光,另一侧被阴影覆盖,在塔楼的角落是透明的,而在顶端是半透明闭合的,在露台边缘却有一层锯齿形的饰面。

这座塔楼在巴塞罗那的天际线如一根金针一般脱颖而出;也似一颗富有朝气、令人愉悦的“宝石”,用红、蓝、绿色玻璃随机分布在立面上,就像一扇巨大的彩色玻璃窗。到了晚上,塔楼就变成了一座“城市灯塔”,Diagonal大道的璀璨象征。

酒店大楼在城市中是一座突出的建筑物,其特征、风格与标志从回忆的角度来说,无论对于使用者还是注意到其存在的人们,都应该是令人难忘的。我们希望让它属于这里,成为一种城市活动场所,因此萌生出设计一个风光秀丽的门廊的念头。

酒店大堂可沿着花园上方的一条短过道进入,如同大自然的一部分,将“城市公园”延伸到了Diagonal大道的对面。这种布局与该地区的城市生活具有密切的联系。酒店变成了一个游览场所和休息处,也是一个鲜活、现代、不断变化的独特场所。


Architects: Dominique Perrault Architecture

Location: Barcelona, Spain

Partner Architects: Corada Figueras Arquitectos

Local Architect: AIA Salazar-Navarro

Engineering: Perrault Projets (architectural engineering) BOMA Robert Brufau i Associats (structure), AIA Salzar-Navarro (fluids), Querol & Colomer (acoustics consultant)

Project Manager: Tag Management

Technical Controller: Socotec Iberia

Client: Hoteles Sol-Melia

Total Floor Area: 29,334 sqm

Completion: 2008

Photographs: André Morin, Miguel de Guzman

Designed for the Habitat group in Barcelona and now managed by ME, this hotel integrates the two dimensions that compose the identity of the Catalonian capital: the horizontality of its grid, legacy of the Cerdà plan, extending all the way to the sea, and its dynamic verticality exemplified by the Sagrada Familia and Mount Tibidabo looming over the sight.

The tower is composed of two volumes stuck together: a “cubic” building acting as a counterpoint and a tower 120 m high, a rectangular parallelepiped cut lengthwise in two. A cantilever, 20m above street level, marks the entrance: on the Avinguda Diagonal it serves as the Hotel’s identifying signal.

The way these boxes are placed against each other is key to the distribution of the variousfunctions. While the volume located at the back gathers the hotel’s collective services, the tower, broad but not deep, houses the 259 guest rooms, each with a clear perspective of the scenery. This “enormous screen that focuse on the city and the landscape” is cut into opaque panels of distinct texture that cover the entire facade, making it come alive in the day and the night.

The hotel is compound by 259 guest rooms(192 supreme rooms, 44 superior rooms, 16 suites, 6 grand suites, 1 sky suite, 4 double rooms with acces for disabbled people), a fitness, a restaurant (300 m2), a conference centre (1 150 m2), a swiming pool and terraces, a bar, salons, administration and underground car park.

While Barcelona can be « read » as a horizontal city, built along the geometric guidelines of the Cerdá plan, it can be also read as a vertical city with examples of architecture like the “Sagrada Familia”, the Olympic Village towers and above all, the suburbs set on the hillside around the telecommunications tower and Tibidao. This reading of nature of Barcelona is led us to conceive a building with a base inserted in the horizontal city while the vertical body and the crown are inscribed in the vertical city. This morphology creates a play of volumes, with a “cubic” building acting as a counterpoint behind as well as with the tower, a rectangular parallelepiped cut lengthwise in two, with one of the halfs shifted skywards. This rupture of a “perfect geometric block” creates a movement of form and volume that bestows an urban sense on the insetion of tower in the horizontal city.

An arrangement of elementary forms creates the building’s reference signs: a 25 meter high canopy in the style of a loggia points to the Tower; a protuberance in a form of a cantilever creates a “crest” in the vertical city skyline; the cube shifts back to free up a a small square like a terrace that opens onto Calle Lope de Vega. This creates a new point of reference in the more recent part of the Diagonal, with the tower standing out against the sky.

The combination of these urban signs gives the Tower a real capacity for architectural interaction with the present and future context of the area. The functional organisation is the logical consequence of its architectonical situation. At the base of the building are the activities linked to movement and meeting such as the hotel lobby, the restaurants, the meeting rooms, the swimming pool and the day and night bars. The main unit holds the individual and double rooms, and the suites that open onto the sea or the mountain, with views towards the Sagrada Familia.

The interior design and comfort of the hotel are based on the generous views from each room, like a giant screen overlooking the city landscape. This screen is articulated by a series of smaller screens in the manner of television sets, which form a “wall of images”. The result is a building clad in an armour of aluminium sheets.

This protecting skin is unchangeable: it is produced from thick sheets of anodised aluminium-dense, stiff and corrosion-proof. It is a living skin because it “plays” with the light: shimmering on one side, shaded on the other, transparent at the corners of the Tower, opaque and closed along the crestwith a saw-tooth finish on the edge of the terraces.

The tower will stand out in the Barcelona skyline like a metal needle; a lively, happy “jewel”, with red, blue and green glass distributed at random along the facade like a giant stained glass window. At night, the tower turns into a “urban la tern, a luminous symbol of the Diagonal.

A hotel-tower is a prominent building in the city. Its identity, style and mark should be “unforgettable”, in the sense of recollection and memory, both for those who use it and those who discover its presence. The desire to belong to the place, to be part of the local activity, has led us to the idea of a vestibule perforated by a public landscape.

The hotel lobby is entered along a short gangway above a garden, like a fragment of nature that extends the presence of the “urban park” on the opposite side of the Diagonal. This layout interacts closely with the urban life of the district. The hotel becomes a visiting point and shelter, a place with fresh, modern, character in constant movement.