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preface

序言

A retreat, a sanctuary, a hide-away, a holiday destination…..a Hotel Resort! A hotel resort, in contrast to the regular hotel establishment, provides accommodation for longer periods of time and offers unique encounters. Resorts offer experiences and entertainment activities based upon local attractions which lure people with the prospects of engaging in the exceptional and the extraordinary. A resort promises an escape into a world of excitement, pleasure and fantasy where guests are able to relax and unwind. This retreat can be enjoyed by the whole family as children can be cared for and entertained in a safe and stimulating environment. An important aspect of resort design is to understand the guest profile. The key resort design elements include:

隐居之所,避世之处,远离尘嚣,度假之地……度假村!与传统意义上的酒店不同,度假村向顾客提供较长期的住宿服务和 独特的体验。度假村所提供的体验和娱乐活动,均以当地名胜为依托,吸引着具有猎奇心理的游客。度假村为顾客提供了一个充 满刺激、欢乐和奇幻体验的世外桃源,使他们可以尽情放松和享受。 这样的度假场所可供举家享受,孩子们可以在一个安全、奇妙的环境中得到照看和娱乐。设计度假村的一个重要方面就是理 解谁才是它的最终用户。 度假村设计的关键包括: 1. 选址

Location.

Fragmented planning, contextualized within the local surroundings.

A distinctive architectural theme.

Combination of facilities which make a variety of sporting opportunities within planned zones possible.

2. 区域设计,要与周围的环境搭配和谐 3. 独特的建筑主题 4. 硬件设施的综合运用,使之在建筑空间内提供尽可能多样化的运动方式 5. 有助于客人放松和身心修复的建筑安排

Building arrangements which aid the relaxation and rejuvenation of the guest.

6. 以当地菜肴和风味为核心的多样化餐饮设施,并可向客人提供多样化的餐饮体验

Numerous food and beverage facilities offering a variety of eating and drinking experiences with a focus on local cuisine and flavours.

7. 适合儿童使用的设施

Distinct child friendly facilities.

Centrally located, oversized swimming pools or theme parks.

Wellness and fitness centre facilities

Conference and meeting facilities

8. 位于度假村中心地带的大型泳池或主题公园 9. 健身中心 10. 会议设施 设计度假村项目最困难的一个步骤就是准确地理解抽象概念,而设计师与客户之间的沟通对确定项目目标和项目策划的范围

The most difficult stage of a resort project is usually grasping an accurate understanding of the abstract concept. The communication between the designer and the client is of the upmost importance, to define the project goals and the scope of the intended project. Once the feasibility study is carried out, the clarity of the project direction, its magnitude and target audience is defined prior to the design process proceeding. Co-ordination and interaction with the selected resort operator representatives is exceptionally important, in order to understand and develop the space planning and its relationships between functions. Resorts layouts are planned with a predominant focus on the contextual landscape and also the proximity to local attractions. Accessibility to the beach for acoastal resort will be of the utmost importance whilst skiing facilities will define that of the mountain resort. The opportunity to view exotic game will be the focus of a bush lodge. All these unique and striking vistas need to be fully exploited and utilized in the design. The architectural sensitivity to the environment and the sustainable interaction between the ecology and the site is of the utmost importance, whilst the use of local materials plays a very important role in giving the resort its unique aesthetic.

尤为重要。 项目的可行性报告被批准之后,在真正开始设计之前,还需要明确项目设计的大体方向、度假村的档次和目标消费者群体。 与度假村经营者代表的合作与沟通对理解和开展空间设计和内部功能设计非常重要。 度假村的外观设计以周围风景为先决条件,同时还要考虑到与当地名胜的融合。对于海边度假村来说,能通向海滩是非常重 要的,而滑雪设施则是山顶度假村的标志。观赏冒险游戏则应是丛林度假村的招牌。在设计过程中,所有的这些独特而出众的特 色都应充分利用。 具备对环境、生态与度假村之间可持续互动的建筑敏感度是非常重要的。而使用当地原材料会赋予度假村独一无二的特别之美。 宽敞、便利的公共区域应该与周围的环境相搭配,营造出内部与外部之间无缝接续的感觉。以景观和休养为重心,客房则应 该是舒适而令人放松的。 度假村的建筑与内部设计应该从当地建筑风格中寻求灵感,从而使度假村成为当地淳美和传统的诠释,并赋予度假村独特的 韵味。

The public areas need to be spacious and easily accessible and should sensitively relate to the surroundings thus creating a seamless fusion between interior and exterior spaces. The guest rooms must be comfortable and relaxing with an emphasis on views and rejuvenation. The architecture and interior design should draw their inspiration from local styles, thus promoting the resort’s true interpretation of indigenous beauty and traditions. This will serve to guarantee the resort’s uniqueness and exceptional distinction.

DSA Architects International

DSA Architects International

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ELOUNDA BEACH Hotel & Villas presides on the idyllic north-eastern coast of Crete. The resort, a staple on Condé Nast Traveler’s Gold List and named as the Best Beach Hotel in Europe by GEO SAISON, Germany, continues to gratify visitors with an international standard of hospitality and immersion in the good life of the Greek. The Villas project is a contemporary intervention on the coast and aims to connect these scales, acting as a link and blurring the boundaries between the land and the sea. The floating sequence of architecturally refined spaces makes you feel enwrapped by nature. The movable internal partitions and the use of precious teak wood throughout all the spaces from living area, bedroom, bathroom, upper deck with pool, middle deck and lower deck gives the feeling of the beautiful nature to flow into your private world. The villas boast three decking areas, private swimming pool, spacious bedroom and living areas, which may be separate or open plan according to your preference and opulent bathrooms with sunken tub, heated floor and steam bath. The use of a natural dark grey stone for the exterior wall cladding on the set the new volumes is keeping in harmony with the local environment while the use of natural materials such as wood and leather interiors enwraps the people in a discreetly opulent atmosphere, in balance with the natural surroundings. From wireless touch panel, sonar screen, the leather wrapped ceilings, teak wood floors to the private movie theatre with Blu Ray and hydro massage, every detail has been designed to ensure the ultimate vacation experience.

Elounda Beach HOTEL & VILLAS

CONTRIBUTOR Elounda Beach Hotel LOCATION Elounda, Crete, Greece PHOTOGRApHER Mr. Enrico Cano

伊罗达海滩酒店

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ELOUNDA BEACH Hotel & Villas presides on the idyllic north-eastern coast of Crete. The resort, a staple on Condé Nast Traveler’s Gold List and named as the Best Beach Hotel in Europe by GEO SAISON, Germany, continues to gratify visitors with an international standard of hospitality and immersion in the good life of the Greek. The Villas project is a contemporary intervention on the coast and aims to connect these scales, acting as a link and blurring the boundaries between the land and the sea. The floating sequence of architecturally refined spaces makes you feel enwrapped by nature. The movable internal partitions and the use of precious teak wood throughout all the spaces from living area, bedroom, bathroom, upper deck with pool, middle deck and lower deck gives the feeling of the beautiful nature to flow into your private world. The villas boast three decking areas, private swimming pool, spacious bedroom and living areas, which may be separate or open plan according to your preference and opulent bathrooms with sunken tub, heated floor and steam bath. The use of a natural dark grey stone for the exterior wall cladding on the set the new volumes is keeping in harmony with the local environment while the use of natural materials such as wood and leather interiors enwraps the people in a discreetly opulent atmosphere, in balance with the natural surroundings. From wireless touch panel, sonar screen, the leather wrapped ceilings, teak wood floors to the private movie theatre with Blu Ray and hydro massage, every detail has been designed to ensure the ultimate vacation experience.

Elounda Beach HOTEL & VILLAS

CONTRIBUTOR Elounda Beach Hotel LOCATION Elounda, Crete, Greece PHOTOGRApHER Mr. Enrico Cano

伊罗达海滩酒店

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伊罗达海滩酒店 & 别墅座落在克里特岛恬静的东北海岸上。这个度假 村是“康德纳斯旅行者杂志金牌榜”的常客,也被德国的旅游杂志《地理季节》 评为“欧洲最佳海滩酒店”,它不断地凭其国际级的酒店管理和浓厚的希 腊舒适生活风格吸引游客的到来。 以连接海滩各景为目标,别墅建设项目是对海滩景致的现代化改造, 连接着陆地与海洋,也消弥了二者之间的明显边界。 酒店别墅建筑似悬浮于海上,精致优雅,与自然浑然一体。可移动的 内部隔断和广泛应用于生活区、卧室、浴室、带有泳池的上层甲板、中层 和底层甲板的珍贵柚木,给人一种自然环境已经融入私人生活空间的感觉。 别墅拥有三层空间、私人游泳池、宽敞的卧室和起居空间,可按照客人的 喜好设置为独立或者相连风格,另有内嵌式浴缸的豪华浴室、地热和蒸汽 浴设施。 海边别墅的外墙墙面以天然深灰色石头装饰,与周围的环境和谐相映。 内部装饰则多使用天然的木质或者皮质材料,给人一种低调的奢华之感, 也与周围的自然环境彼此呼应。

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伊罗达海滩酒店 & 别墅座落在克里特岛恬静的东北海岸上。这个度假 村是“康德纳斯旅行者杂志金牌榜”的常客,也被德国的旅游杂志《地理季节》 评为“欧洲最佳海滩酒店”,它不断地凭其国际级的酒店管理和浓厚的希 腊舒适生活风格吸引游客的到来。 以连接海滩各景为目标,别墅建设项目是对海滩景致的现代化改造, 连接着陆地与海洋,也消弥了二者之间的明显边界。 酒店别墅建筑似悬浮于海上,精致优雅,与自然浑然一体。可移动的 内部隔断和广泛应用于生活区、卧室、浴室、带有泳池的上层甲板、中层 和底层甲板的珍贵柚木,给人一种自然环境已经融入私人生活空间的感觉。 别墅拥有三层空间、私人游泳池、宽敞的卧室和起居空间,可按照客人的 喜好设置为独立或者相连风格,另有内嵌式浴缸的豪华浴室、地热和蒸汽 浴设施。 海边别墅的外墙墙面以天然深灰色石头装饰,与周围的环境和谐相映。 内部装饰则多使用天然的木质或者皮质材料,给人一种低调的奢华之感, 也与周围的自然环境彼此呼应。

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Capella Singapore RESORT 新加坡嘉佩乐酒店

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CONTRIBUTOR Capella Singapore LOCATION Singapore

Comprising a six-star hotel, villas and a centrepiece garden courtyard, the Capella Resort on Sentosa Island aims to achieve a strong sense of place, continuity and context by respecting the topography and sensitively integrating two carefully restored historic colonial buildings. It follows the natural contours of the site, cascading down the tiers of the hillside as it dissolves into a 12-hectare tropical sanctuary. The masterplan and the scale of the new elements respectfully relate to the former colonial Tanah Merah buildings. Framed by the hotel, the buildings dominate the overall composition and provide a gateway to the resort. Views to these buildings from the grounds are largely retained and the hotel incorporates and extends them to frame a garden courtyard. This central space anchors the scheme and establishes a strong plan. A series of further gardens, cascading pools and suites trace the contours of the hillside in a gently layered arrangement. The intention is to regain the lush planting that had formerly existed on the site, so that the buildings will eventually appear to be lost within a rich landscape. The unassuming treatment of the exteriors allows the landscape and the historic buildings to have prominence and is counterbalanced with the creation of an interior experience that is more dramatic. The villas, for example, while extremely simple in their design, encompass dynamic double-height spaces. The hotel will feature a range of accommodation for business and leisure, a ballroom and spa. Longer-term accommodation will be provided in Villa Suites and Sea Facing Suites lower down the hillside. In addition, the resort has extensive facilities for outdoor events.

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Capella Singapore RESORT 新加坡嘉佩乐酒店

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CONTRIBUTOR Capella Singapore LOCATION Singapore

Comprising a six-star hotel, villas and a centrepiece garden courtyard, the Capella Resort on Sentosa Island aims to achieve a strong sense of place, continuity and context by respecting the topography and sensitively integrating two carefully restored historic colonial buildings. It follows the natural contours of the site, cascading down the tiers of the hillside as it dissolves into a 12-hectare tropical sanctuary. The masterplan and the scale of the new elements respectfully relate to the former colonial Tanah Merah buildings. Framed by the hotel, the buildings dominate the overall composition and provide a gateway to the resort. Views to these buildings from the grounds are largely retained and the hotel incorporates and extends them to frame a garden courtyard. This central space anchors the scheme and establishes a strong plan. A series of further gardens, cascading pools and suites trace the contours of the hillside in a gently layered arrangement. The intention is to regain the lush planting that had formerly existed on the site, so that the buildings will eventually appear to be lost within a rich landscape. The unassuming treatment of the exteriors allows the landscape and the historic buildings to have prominence and is counterbalanced with the creation of an interior experience that is more dramatic. The villas, for example, while extremely simple in their design, encompass dynamic double-height spaces. The hotel will feature a range of accommodation for business and leisure, a ballroom and spa. Longer-term accommodation will be provided in Villa Suites and Sea Facing Suites lower down the hillside. In addition, the resort has extensive facilities for outdoor events.

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位于圣淘沙岛上的新加坡嘉佩乐酒店由一座六星级宾馆、度假别墅区和 一座中心庭院花园组成。酒店巧妙地利用了地形并把两座经过精心修复的、具 有历史价值的殖民建筑纳入其中,产生出强烈归属感、延续感,营造出浓厚的 文化氛围。建筑设计的初衷是借用天然地势,顺山坡逐级而下,最后融入一片 12 公顷的热带主题乐园。 总体的设计规划和层级设计的现代元素与前军事建筑丹那美拉形成浑然一 体的感觉而又不失对后者的尊重。设计的主体结构由酒店定调,各个建筑成为 总体的主要部分并通向度假地。从山下平地到山上建筑的大部分原始景观均得 以保留,而酒店又将其纳入自身设计并扩展,形成了一个庭院花园。中央区域

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的设计不仅成为整个设计的重心,也强化了设计的理念。一系列层叠的花园、 跌水泳池和套房循山而建,错落有致。其实,恢复该地曾经的茂密植被,最终 使建筑群与葱郁的林地景观达到水乳交融的效果也是本设计的应有之义。 酒店的外部设计毫不矫饰,使得此间的景观与历史建筑具有了高雅的气质。 与之形成鲜明对比的是,建筑的内部设计更加令人阅而不忘。例如,尽管别墅 的外部设计极力追求简朴,内部却是极具活力的双层空间。酒店中也有众多房 间供商务和休闲之用,还建有舞厅和水疗馆。长租客人被安排在山上地势较低 一些的别墅套房和临海套房。另外,嘉佩乐酒店还有大量的设施可供举办各类 室外活动。

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位于圣淘沙岛上的新加坡嘉佩乐酒店由一座六星级宾馆、度假别墅区和 一座中心庭院花园组成。酒店巧妙地利用了地形并把两座经过精心修复的、具 有历史价值的殖民建筑纳入其中,产生出强烈归属感、延续感,营造出浓厚的 文化氛围。建筑设计的初衷是借用天然地势,顺山坡逐级而下,最后融入一片 12 公顷的热带主题乐园。 总体的设计规划和层级设计的现代元素与前军事建筑丹那美拉形成浑然一 体的感觉而又不失对后者的尊重。设计的主体结构由酒店定调,各个建筑成为 总体的主要部分并通向度假地。从山下平地到山上建筑的大部分原始景观均得 以保留,而酒店又将其纳入自身设计并扩展,形成了一个庭院花园。中央区域

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的设计不仅成为整个设计的重心,也强化了设计的理念。一系列层叠的花园、 跌水泳池和套房循山而建,错落有致。其实,恢复该地曾经的茂密植被,最终 使建筑群与葱郁的林地景观达到水乳交融的效果也是本设计的应有之义。 酒店的外部设计毫不矫饰,使得此间的景观与历史建筑具有了高雅的气质。 与之形成鲜明对比的是,建筑的内部设计更加令人阅而不忘。例如,尽管别墅 的外部设计极力追求简朴,内部却是极具活力的双层空间。酒店中也有众多房 间供商务和休闲之用,还建有舞厅和水疗馆。长租客人被安排在山上地势较低 一些的别墅套房和临海套房。另外,嘉佩乐酒店还有大量的设施可供举办各类 室外活动。

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Hotel De La Paix Cha Am Beach

ARCHITECT Duangrit Bunnag FIRM Duangrit Bunnag Architect Limited LOCATION Cha Am, Petchaburi, Thailand AREA 30,000㎡m2

差安德拉帕斯酒店拉酒店

MASTER plAN

plAN-MATERIAl

The hotel concept is essentially about nature. Not about cultural locality, but purely about its natural context. The project's vocabulary requires architectural sublimity so the purity of nature can be fully appreciated.

The design of the project is quite a distance from the word "contemporary" or "style", if not further than the word "resort" itself. The notion of the design is about a place, its emotional and spatial connotations.

The project is laid out in a linear approach. The sequences of space poetry begins with a geometrical landscaped courtyard, a large white marble piazza, which brings you to grand marble steps that lead to a large open-air lobby with a latticed-wood structure spanning 18 metres; it finishes at a seemingly neverending stretch of the reflective pool that meets the horizon. A beach-front restaurant marks the end.

How does the décor pay homage to the Thai culture? The notion of Thai culture can lead to a diverse and contradictory conversation. What is the actual definition of "Thai culture"? Is it something you see or something you taste and feel? This project can perhaps embody Thai culture through the analogy of Thai food: it is not about how it looks, but more about how it feels.

The function of the project is simple and straightforward: a restaurant with a beach front experience, a spa for ultimate relaxation, a room with a view and a house with a pool. A key highlight at Alila Cha-Am is the Red Bar. Thus, from now on, you may have to consider red as a function.

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plAN-SHRUB

We designed most of the furniture ourselves because the strong personality of our architecture suits few furniture collections. All the material used for furniture and finishing are inspired by nature; thus, we have stone, wood, glass, concrete and red. Red can also be considered as a material too.

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Hotel De La Paix Cha Am Beach

ARCHITECT Duangrit Bunnag FIRM Duangrit Bunnag Architect Limited LOCATION Cha Am, Petchaburi, Thailand AREA 30,000㎡m2

差安德拉帕斯酒店拉酒店

MASTER plAN

plAN-MATERIAl

The hotel concept is essentially about nature. Not about cultural locality, but purely about its natural context. The project's vocabulary requires architectural sublimity so the purity of nature can be fully appreciated.

The design of the project is quite a distance from the word "contemporary" or "style", if not further than the word "resort" itself. The notion of the design is about a place, its emotional and spatial connotations.

The project is laid out in a linear approach. The sequences of space poetry begins with a geometrical landscaped courtyard, a large white marble piazza, which brings you to grand marble steps that lead to a large open-air lobby with a latticed-wood structure spanning 18 metres; it finishes at a seemingly neverending stretch of the reflective pool that meets the horizon. A beach-front restaurant marks the end.

How does the décor pay homage to the Thai culture? The notion of Thai culture can lead to a diverse and contradictory conversation. What is the actual definition of "Thai culture"? Is it something you see or something you taste and feel? This project can perhaps embody Thai culture through the analogy of Thai food: it is not about how it looks, but more about how it feels.

The function of the project is simple and straightforward: a restaurant with a beach front experience, a spa for ultimate relaxation, a room with a view and a house with a pool. A key highlight at Alila Cha-Am is the Red Bar. Thus, from now on, you may have to consider red as a function.

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plAN-SHRUB

We designed most of the furniture ourselves because the strong personality of our architecture suits few furniture collections. All the material used for furniture and finishing are inspired by nature; thus, we have stone, wood, glass, concrete and red. Red can also be considered as a material too.

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本酒店的根本理念是法乎自然:不仅仅是简单地以地域文化特色招徕宾客,更以自然景观为取胜之道。本案运用的设计语 言庄重大气,充分彰显纯粹的自然元素。 酒店设计采用线性布局,客人能时刻感受到空间序列的韵律。从一片几何形状的景观庭院开始,穿过一条大型白色理石走 廊,在尽头沿大理石台阶拾级而上,便来到一处开阔的木格结构的露天休息区,跨 18 米。休息区的尽头是一片反射水池,似 乎无限向远方延伸,与天际交汇成一线,海滨饭店就在这水天一线之上。酒店的功能设计简单而直接:打造一间使客人能够体 验亲海之乐的餐厅、一个能让他们充分放松身心的水疗胜地、一间景观房和一间游泳馆。在差安德拉帕斯酒店,一个关键的设 计亮点是红色酒吧。从此刻开始,你会不由得觉得红色确实有某种魔力。 本案的设计即便没有超越“度假之地”的概念,却也与诸如“现代”或“风格”之类的字眼格格不入。我们的设计理念专 注于创造一种归属感,并传达出情感和空间的内涵。 我们的装饰如何向泰文化致敬呢?对泰文化概念的理解可能会导致迥异的甚至是充满矛盾的争论。那么“泰文化”的概念 究竟为何?它是可以观赏的东西,还是可以去品尝或者触碰的东西?或许本设计具体诠释泰文化含义的方式可以用泰式美食作 个比方:我们不去刻意体现表象,而是更在乎内在的感受。

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本酒店的根本理念是法乎自然:不仅仅是简单地以地域文化特色招徕宾客,更以自然景观为取胜之道。本案运用的设计语 言庄重大气,充分彰显纯粹的自然元素。 酒店设计采用线性布局,客人能时刻感受到空间序列的韵律。从一片几何形状的景观庭院开始,穿过一条大型白色理石走 廊,在尽头沿大理石台阶拾级而上,便来到一处开阔的木格结构的露天休息区,跨 18 米。休息区的尽头是一片反射水池,似 乎无限向远方延伸,与天际交汇成一线,海滨饭店就在这水天一线之上。酒店的功能设计简单而直接:打造一间使客人能够体 验亲海之乐的餐厅、一个能让他们充分放松身心的水疗胜地、一间景观房和一间游泳馆。在差安德拉帕斯酒店,一个关键的设 计亮点是红色酒吧。从此刻开始,你会不由得觉得红色确实有某种魔力。 本案的设计即便没有超越“度假之地”的概念,却也与诸如“现代”或“风格”之类的字眼格格不入。我们的设计理念专 注于创造一种归属感,并传达出情感和空间的内涵。 我们的装饰如何向泰文化致敬呢?对泰文化概念的理解可能会导致迥异的甚至是充满矛盾的争论。那么“泰文化”的概念 究竟为何?它是可以观赏的东西,还是可以去品尝或者触碰的东西?或许本设计具体诠释泰文化含义的方式可以用泰式美食作 个比方:我们不去刻意体现表象,而是更在乎内在的感受。

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THE ROOM 1_plAN1

THE ROOM 1_plAN2

THE HOUSE plAN

DETAIl ROOM

THE ROOM 1_plAN3

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THE ROOM 1_plAN1

THE ROOM 1_plAN2

THE HOUSE plAN

DETAIl ROOM

THE ROOM 1_plAN3

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Akatsuki Resort

CONTRIBUTOR Riccardo Tossani Architecture lOCATION The Place, Lipa Noi Beach, Koh Samui, Thailand

黎明度假村 AREA 2,021m2

pHOTOGRApHER Martyn Goodacre

MATERIAlS Steel wall & roof framing on RC ground floor slab, Corten finish to steel columns, wood, terrazzo, laminated glass, powdercoat aluminium sliding frame, reconstituted wood slats, concrete roof tiles The basic design concept was to respond in a synchronous way to the cultures of the locality and client, the wonders of the site and climate and a deeply rooted belief that with good sustainable design and an understanding of vernacular planning traditions comfort, privacy and a memorable experience could be derived from minimal dependence on artificial energy. Akatsuki Resort sits on a beach facing five rock islands across a lagoon, and a series of infinity pools cascade down from a grand entrance pavilion to the beach lawn, with private habitation and amenity pavilions either side reflecting the ocean view beyond. The pavilions, in the tradition of Thai vernacular rely heavily on natural ventilation and shade for comfort, and the vertical louver sliding screens which wrap around every building volume are derived from Japanese architecture provide privacy while retaining views. The strong verticality of these screens becomes the principal architectural motif, which when integrated with the lush gardens, capped by the steep Thai double-pitched shingle roofs and reflected collectively in the pools makes for an ethereal experience of light and shadows. 116

A double-height, vaulted main pavilion crowns several discrete buildings whose dramatic atrium forms the guest’s first impression of the resort. This grand space focuses axial views along a series of pools extending out to the ocean. These infinity pools are built in relation to the natural ground levels as they cascade towards the beach, emphasizing the gorgeous views out to the islands beyond. Comfort with minimal reliance on electrical energy is provided by a system of multiple sliding external partitions, some glass, some louvered, which in the traditional Japanese manner can be operated to control varying degrees of natural ventilation and privacy. In the Thai vernacular manner, deep eaves throughout also ensure protection from rain and more significantly shade, which coupled with natural breezes allowed to flow through the high atrium structure provide comfort without sole reliance on air conditioning. Privacy, color and shade is also provided by the lush gardens that fill the interstitial spaces between pavilions, so one is never out of sight of the tropical beauty of nature. 117


Akatsuki Resort

CONTRIBUTOR Riccardo Tossani Architecture lOCATION The Place, Lipa Noi Beach, Koh Samui, Thailand

黎明度假村 AREA 2,021m2

pHOTOGRApHER Martyn Goodacre

MATERIAlS Steel wall & roof framing on RC ground floor slab, Corten finish to steel columns, wood, terrazzo, laminated glass, powdercoat aluminium sliding frame, reconstituted wood slats, concrete roof tiles The basic design concept was to respond in a synchronous way to the cultures of the locality and client, the wonders of the site and climate and a deeply rooted belief that with good sustainable design and an understanding of vernacular planning traditions comfort, privacy and a memorable experience could be derived from minimal dependence on artificial energy. Akatsuki Resort sits on a beach facing five rock islands across a lagoon, and a series of infinity pools cascade down from a grand entrance pavilion to the beach lawn, with private habitation and amenity pavilions either side reflecting the ocean view beyond. The pavilions, in the tradition of Thai vernacular rely heavily on natural ventilation and shade for comfort, and the vertical louver sliding screens which wrap around every building volume are derived from Japanese architecture provide privacy while retaining views. The strong verticality of these screens becomes the principal architectural motif, which when integrated with the lush gardens, capped by the steep Thai double-pitched shingle roofs and reflected collectively in the pools makes for an ethereal experience of light and shadows. 116

A double-height, vaulted main pavilion crowns several discrete buildings whose dramatic atrium forms the guest’s first impression of the resort. This grand space focuses axial views along a series of pools extending out to the ocean. These infinity pools are built in relation to the natural ground levels as they cascade towards the beach, emphasizing the gorgeous views out to the islands beyond. Comfort with minimal reliance on electrical energy is provided by a system of multiple sliding external partitions, some glass, some louvered, which in the traditional Japanese manner can be operated to control varying degrees of natural ventilation and privacy. In the Thai vernacular manner, deep eaves throughout also ensure protection from rain and more significantly shade, which coupled with natural breezes allowed to flow through the high atrium structure provide comfort without sole reliance on air conditioning. Privacy, color and shade is also provided by the lush gardens that fill the interstitial spaces between pavilions, so one is never out of sight of the tropical beauty of nature. 117


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秉承高品质、可持续的设计理念和借力本地传统 优势的思想,本案意在展现当地的神秀景观,满足来 自五湖四海的客人的需求,使其在远离人间烟火的氛 围中获得难忘的个人度假感受。黎明度假村坐落于沙 滩之上,该沙滩面朝五座横跨泻湖的岩岛。一座座无 边泳池自宏大的度假村入口凉亭排列而下,延伸到沙 滩草地。无论是在私人居所还是在舒适的凉亭,客人 均可领略瑰丽的滨海胜景。 这里的凉亭体现了泰国的本地风情,自然通风、 自然采光,从而提供给人舒适感。环绕每一座建筑的 是日式风格的百叶滑门,既提供足够的私密空间又不 影响客人欣赏周围的美景。这些滑动屏风拥有强烈的 垂直感,是主要的建筑装饰,与茂盛的花园融为一体。 花园中高起的双层泰式瓦顶建筑全都倒映在池塘中, 给人空灵的光影体验。 度假村中的几座独立凉亭拥有双层穹顶,穹顶下 形成的天井空间最能吸引客人的眼球。在这宽敞的空 间中,客人的目光可以越过那一片片泳池,远眺无垠 的大海。无边泳池依度假村的天然地势而建,凸显了 对面岛屿的美景。 度假村最小限度地依赖电能却保证了极大的舒适 性,这由一套多重的日式外层滑门得以实现。这些滑 门有的为玻璃材质,有的为百叶窗式,适当调整,就 可以提供不同程度的通风效果和私密空间。泰式风格 的宽大屋檐既能遮风挡雨又能提供大片的阴凉,加之 自然风吹过屋内高高的藻井空间,使得这些住所不纯 粹依赖空调也能令人倍感舒适。 郁郁葱葱的村中花园填满了凉亭之间的空隙,也 为客人提供了一定程度的私密空间,所以客人随处可 以欣赏到五光十色、层层叠叠的天然美景。

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秉承高品质、可持续的设计理念和借力本地传统 优势的思想,本案意在展现当地的神秀景观,满足来 自五湖四海的客人的需求,使其在远离人间烟火的氛 围中获得难忘的个人度假感受。黎明度假村坐落于沙 滩之上,该沙滩面朝五座横跨泻湖的岩岛。一座座无 边泳池自宏大的度假村入口凉亭排列而下,延伸到沙 滩草地。无论是在私人居所还是在舒适的凉亭,客人 均可领略瑰丽的滨海胜景。 这里的凉亭体现了泰国的本地风情,自然通风、 自然采光,从而提供给人舒适感。环绕每一座建筑的 是日式风格的百叶滑门,既提供足够的私密空间又不 影响客人欣赏周围的美景。这些滑动屏风拥有强烈的 垂直感,是主要的建筑装饰,与茂盛的花园融为一体。 花园中高起的双层泰式瓦顶建筑全都倒映在池塘中, 给人空灵的光影体验。 度假村中的几座独立凉亭拥有双层穹顶,穹顶下 形成的天井空间最能吸引客人的眼球。在这宽敞的空 间中,客人的目光可以越过那一片片泳池,远眺无垠 的大海。无边泳池依度假村的天然地势而建,凸显了 对面岛屿的美景。 度假村最小限度地依赖电能却保证了极大的舒适 性,这由一套多重的日式外层滑门得以实现。这些滑 门有的为玻璃材质,有的为百叶窗式,适当调整,就 可以提供不同程度的通风效果和私密空间。泰式风格 的宽大屋檐既能遮风挡雨又能提供大片的阴凉,加之 自然风吹过屋内高高的藻井空间,使得这些住所不纯 粹依赖空调也能令人倍感舒适。 郁郁葱葱的村中花园填满了凉亭之间的空隙,也 为客人提供了一定程度的私密空间,所以客人随处可 以欣赏到五光十色、层层叠叠的天然美景。

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Casa de La Flora

ARCHITECTS Vasu Virajsilp, Boonlert Deeyuen FIRM VaSLab Architecture

凯撒德拉花园酒店

PROJECT TEAM Navarat Vashiratragool, Sompong Thonaphan, Boonkuan tang

ElEMENT / PRODUCT DESIGNER Anon Pairot Design Studio, Anon Pairot, Nipitpol Phurichboonsub, Soranun Choochut

LOCATION 67/213 Moo 5, Khuk-Khak, Takuapa, Phangnga, Thailand

INTERIOR DESIGNER Vasu Virajsilp, Boonlert Deeyuen, Thawatchai Klongwatthanakith, Navarat Vashiratragool, Sompong Thonaphan, Boonkuan tang

LANDSCApE DESIGNER T.R.O.P., Pok Kobkongsanti, Theerapong Sanguansripisut, Kampon Prakobsajakul, Teerayut Pruekpanasan

PHOTOGRApHER Jason Michael Lang

LIGHTING DESIGNER APLD Lighting Design, Kanokporn Nuchsaeng

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The latest member of Design Hotel in Thailand, Casa de La Flora, the 36 cube-shaped villas located in Khao Lak, brings a modern edge to this palm tree beach of Phangnga province. Designed by VaSLab Architecture, commissioned in 2008 by one of leading Thai businessmen Sompong Dowpiset, this beachfront resort was aimed to serve as a new high profile but yet humble destination hotel in this beautiful town of the southern Thailand. The brief given to the architect is a unique resort that consist a series of pool villas with maximum ocean views possible. Facilities as reception lounge, swimming pool, pool bar, beachfront restaurant, spa, fitness, and library are the musthave programs in this hotel. The owner challenges the architect to create a bold look of architecture but yet yields to warmness and nature after its implied name, ‘flora’. VaSLab’s metaphorical design takes on the act of ‘arising flora’, where each concrete versus wood villa reflects as a flora form, emerges from the ground, and blooms to reach the daylight. Deviated walls and tilted roofs are characterized throughout the series of 36 cubicform villas, where these tapered elements do not only recall the act of arising flora but they widen the rooms’ perspective frames

when looking outward to the sea. The continuity of these lines can be seen also in interior space and at interior elements such as built-in beds, coffee tables, and built-in cabinets. Custom-made furniture designed by Anon Pairot Design Studio carries this thematic design as some of them represent organic form of a flora. The same as landscape and hardscape work from a talented designer T.R.O.P., who extends the lines of architecture into a set of charming path ways, pavement blocks, green walls, etc., as they act like its architecture’s root, stem, and branches. APLD, the lighting designer, abstractly sets the resort’s lighting to provoke the main architectural elements; deviated walls, tilted roofs, as if the villa cubes are arising above the ground. Its glass-fronted villas have clean interiors featuring concrete surfaces, natural stone walls, and wooden floors/ ceilings. Ten units stand directly to the beach, with maximum sea views, and all come with private pools, 24-hour butler service and the latest in-room entertainment. Eco-friendly credentials come in the form of an ozone (low-chemical) purification system for the swimming pools and waste-water and rain water recycling.

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Casa de La Flora

ARCHITECTS Vasu Virajsilp, Boonlert Deeyuen FIRM VaSLab Architecture

凯撒德拉花园酒店

PROJECT TEAM Navarat Vashiratragool, Sompong Thonaphan, Boonkuan tang

ElEMENT / PRODUCT DESIGNER Anon Pairot Design Studio, Anon Pairot, Nipitpol Phurichboonsub, Soranun Choochut

LOCATION 67/213 Moo 5, Khuk-Khak, Takuapa, Phangnga, Thailand

INTERIOR DESIGNER Vasu Virajsilp, Boonlert Deeyuen, Thawatchai Klongwatthanakith, Navarat Vashiratragool, Sompong Thonaphan, Boonkuan tang

LANDSCApE DESIGNER T.R.O.P., Pok Kobkongsanti, Theerapong Sanguansripisut, Kampon Prakobsajakul, Teerayut Pruekpanasan

PHOTOGRApHER Jason Michael Lang

LIGHTING DESIGNER APLD Lighting Design, Kanokporn Nuchsaeng

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The latest member of Design Hotel in Thailand, Casa de La Flora, the 36 cube-shaped villas located in Khao Lak, brings a modern edge to this palm tree beach of Phangnga province. Designed by VaSLab Architecture, commissioned in 2008 by one of leading Thai businessmen Sompong Dowpiset, this beachfront resort was aimed to serve as a new high profile but yet humble destination hotel in this beautiful town of the southern Thailand. The brief given to the architect is a unique resort that consist a series of pool villas with maximum ocean views possible. Facilities as reception lounge, swimming pool, pool bar, beachfront restaurant, spa, fitness, and library are the musthave programs in this hotel. The owner challenges the architect to create a bold look of architecture but yet yields to warmness and nature after its implied name, ‘flora’. VaSLab’s metaphorical design takes on the act of ‘arising flora’, where each concrete versus wood villa reflects as a flora form, emerges from the ground, and blooms to reach the daylight. Deviated walls and tilted roofs are characterized throughout the series of 36 cubicform villas, where these tapered elements do not only recall the act of arising flora but they widen the rooms’ perspective frames

when looking outward to the sea. The continuity of these lines can be seen also in interior space and at interior elements such as built-in beds, coffee tables, and built-in cabinets. Custom-made furniture designed by Anon Pairot Design Studio carries this thematic design as some of them represent organic form of a flora. The same as landscape and hardscape work from a talented designer T.R.O.P., who extends the lines of architecture into a set of charming path ways, pavement blocks, green walls, etc., as they act like its architecture’s root, stem, and branches. APLD, the lighting designer, abstractly sets the resort’s lighting to provoke the main architectural elements; deviated walls, tilted roofs, as if the villa cubes are arising above the ground. Its glass-fronted villas have clean interiors featuring concrete surfaces, natural stone walls, and wooden floors/ ceilings. Ten units stand directly to the beach, with maximum sea views, and all come with private pools, 24-hour butler service and the latest in-room entertainment. Eco-friendly credentials come in the form of an ozone (low-chemical) purification system for the swimming pools and waste-water and rain water recycling.

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凯撒德拉花园酒店是泰国酒店设计协会的最新成员,位于蔻立 的这 36 所立方体形别墅,为攀牙省的这座棕榈海滩带来了现代的气 息。酒店由泰国大商人颂旁·多皮赛在 2008 年委托瓦斯莱布建筑公 司设计,旨在为南泰这座美丽的小镇提供一家新的高标准同时又低 调的度假目的地。 设计师当初得到的设计要求很简约,即要包括几座能够最大限 度地欣赏海景的泳池别墅,而且要风格独特。诸如接待厅休息室、泳 池、桌球馆、滨海餐馆、水疗馆、健身馆和图书馆之类的设施是酒 店的必备项目。业主向设计师提出:设计外观要醒目,但设计也要 考虑到当地温暖的气候和自然环境,而且要体现出度假村名字的寓 意——“花园”。瓦斯莱布公司的设计呈现出“生长的植物”的形象, 每一座土木结构的别墅均为植物的外形,从地面长出、开花并享受 日间的阳光。匠心独运的墙体和瓦顶是 36 座立方形别墅的最独特之 处。渐缩的顶部不仅令人联想到生长的植物,而且使朝向大海一侧

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的屋子透视结构得以扩大。 延伸的线条在别墅内部也可看到,体现在诸如内嵌式睡床、咖 啡桌和内置橱柜等家具上。由阿农·帕罗特设计室特别设计的家具延 续了建筑外观设计的主题,成为建筑植物形状的有机组成部分。这种 有机的设计在由天才设计师 T.R.O.P 创造的人造景观上也得以彰显。 他通过几条迷人的小径、一些砌块路面和环保的墙体的设计延伸了 建筑的线条,令人感到这些元素就像是建筑的根茎和枝叶。APLD 作 为灯光设计单位,将灯光设计成抽象的效果,突出了建筑的主要特色: 独特的围墙和瓦顶,似乎这些立方形的别墅正缓缓从地面长起。 正面为玻璃窗的这些别墅内部较为清朗:混凝土墙面、天然石墙、 木质天花板和地板。十所别墅直接面对沙滩,客人在其中能够最大 限度地欣赏海景。所有的别墅都建有私人泳池、提供全天管家式服 务和最新的室内娱乐服务。泳池、废水和雨水回收都配有低化学浓 度的臭氧清洁系统。

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凯撒德拉花园酒店是泰国酒店设计协会的最新成员,位于蔻立 的这 36 所立方体形别墅,为攀牙省的这座棕榈海滩带来了现代的气 息。酒店由泰国大商人颂旁·多皮赛在 2008 年委托瓦斯莱布建筑公 司设计,旨在为南泰这座美丽的小镇提供一家新的高标准同时又低 调的度假目的地。 设计师当初得到的设计要求很简约,即要包括几座能够最大限 度地欣赏海景的泳池别墅,而且要风格独特。诸如接待厅休息室、泳 池、桌球馆、滨海餐馆、水疗馆、健身馆和图书馆之类的设施是酒 店的必备项目。业主向设计师提出:设计外观要醒目,但设计也要 考虑到当地温暖的气候和自然环境,而且要体现出度假村名字的寓 意——“花园”。瓦斯莱布公司的设计呈现出“生长的植物”的形象, 每一座土木结构的别墅均为植物的外形,从地面长出、开花并享受 日间的阳光。匠心独运的墙体和瓦顶是 36 座立方形别墅的最独特之 处。渐缩的顶部不仅令人联想到生长的植物,而且使朝向大海一侧

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的屋子透视结构得以扩大。 延伸的线条在别墅内部也可看到,体现在诸如内嵌式睡床、咖 啡桌和内置橱柜等家具上。由阿农·帕罗特设计室特别设计的家具延 续了建筑外观设计的主题,成为建筑植物形状的有机组成部分。这种 有机的设计在由天才设计师 T.R.O.P 创造的人造景观上也得以彰显。 他通过几条迷人的小径、一些砌块路面和环保的墙体的设计延伸了 建筑的线条,令人感到这些元素就像是建筑的根茎和枝叶。APLD 作 为灯光设计单位,将灯光设计成抽象的效果,突出了建筑的主要特色: 独特的围墙和瓦顶,似乎这些立方形的别墅正缓缓从地面长起。 正面为玻璃窗的这些别墅内部较为清朗:混凝土墙面、天然石墙、 木质天花板和地板。十所别墅直接面对沙滩,客人在其中能够最大 限度地欣赏海景。所有的别墅都建有私人泳池、提供全天管家式服 务和最新的室内娱乐服务。泳池、废水和雨水回收都配有低化学浓 度的臭氧清洁系统。

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独一无二的豪华梦想之旅,就在印度洋上美丽的康斯坦茨·哈拉薇丽度假村实现,这里能帮你摆脱 世俗的羁绊。 半隐半现在马尔代夫北阿里环礁上的这座度假村,有着绵白的沙滩和绿松石般的大海,各色海洋生 物丰富而充满活力。在这里,奢华与优雅已然成为一种生活方式。 无论是下榻在泻湖中静谧的水上别墅,还是岸上那私家花园中大片的海滩别墅区,客人都可以在私 人阳台上休憩、或是在瀑布池中嬉戏,抑或是潜入水下世界探索一番。如有养生健体的需求,还可以走 进康斯坦茨水疗馆享受个性化的服务。 在哈拉薇丽用餐更是非凡体验而且选择多多。您既可以在海滩上惬意地用餐,也可以品尝亚洲风味 美食,亦或是在我们三家国际水准的餐厅参与特别的现场餐饮活动。 在哈拉薇丽我们对儿童给予特别的关爱。建议您下榻我们高雅的家庭别墅,让您的孩子与您一起享 受这梦想假日。孩子们来到库达儿童俱乐部绝不会感到索然无趣。 来到哈拉薇丽这世外桃源尊享独有的豪华生活,您收获的将不仅是一个愉快假期,也是远离纷扰忙 碌现代生活的一次放逐。

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独一无二的豪华梦想之旅,就在印度洋上美丽的康斯坦茨·哈拉薇丽度假村实现,这里能帮你摆脱 世俗的羁绊。 半隐半现在马尔代夫北阿里环礁上的这座度假村,有着绵白的沙滩和绿松石般的大海,各色海洋生 物丰富而充满活力。在这里,奢华与优雅已然成为一种生活方式。 无论是下榻在泻湖中静谧的水上别墅,还是岸上那私家花园中大片的海滩别墅区,客人都可以在私 人阳台上休憩、或是在瀑布池中嬉戏,抑或是潜入水下世界探索一番。如有养生健体的需求,还可以走 进康斯坦茨水疗馆享受个性化的服务。 在哈拉薇丽用餐更是非凡体验而且选择多多。您既可以在海滩上惬意地用餐,也可以品尝亚洲风味 美食,亦或是在我们三家国际水准的餐厅参与特别的现场餐饮活动。 在哈拉薇丽我们对儿童给予特别的关爱。建议您下榻我们高雅的家庭别墅,让您的孩子与您一起享 受这梦想假日。孩子们来到库达儿童俱乐部绝不会感到索然无趣。 来到哈拉薇丽这世外桃源尊享独有的豪华生活,您收获的将不仅是一个愉快假期,也是远离纷扰忙 碌现代生活的一次放逐。

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Castaways Resort

ARCHITECT Gordon Beath CONTRIBUTOR Edgearchitecture

天涯海角度假村

The creation of the revitalised resort experience commenced with a strong engagement between the building and the foreshore parklands. Activities from arrival to departure are all linked intrinsically to the spectacular beachfront and island views. The redesign emphasises pedestrian linkages between the surrounding streets, the esplanade and the resort. The use of vertical timber panels and screens rhythmically complement the existing strong gabled roof form providing a richly articulated and visually dynamic exterior towards the beachfront and parklands and a comfortable scale for pedestrians. Multiple outdoor timber decking areas surround the two new pools, one promoting active recreation,whilst the other offers more relaxed ambience adjacent the beverage bar. The decking areas similarly offer a range of spatial and privacy experiences to guests. Informal areas have been created using visually permeable timber screens to provide a sense of privacy whilst allowing the individual to participate in the surrounding activities, i.e. swimming, sun bathing, dining or beverages by the bar. The internal spaces were reconfigured to accommodate reception-lobby seating space, beverage bar, display kitchen, lounge areas and bathrooms. Interior design is visually stimulating, the simple palette of materials linking both interior spaces and outdoor areas promoting natural air, light and vistas.

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Castaways Resort

ARCHITECT Gordon Beath CONTRIBUTOR Edgearchitecture

天涯海角度假村

The creation of the revitalised resort experience commenced with a strong engagement between the building and the foreshore parklands. Activities from arrival to departure are all linked intrinsically to the spectacular beachfront and island views. The redesign emphasises pedestrian linkages between the surrounding streets, the esplanade and the resort. The use of vertical timber panels and screens rhythmically complement the existing strong gabled roof form providing a richly articulated and visually dynamic exterior towards the beachfront and parklands and a comfortable scale for pedestrians. Multiple outdoor timber decking areas surround the two new pools, one promoting active recreation,whilst the other offers more relaxed ambience adjacent the beverage bar. The decking areas similarly offer a range of spatial and privacy experiences to guests. Informal areas have been created using visually permeable timber screens to provide a sense of privacy whilst allowing the individual to participate in the surrounding activities, i.e. swimming, sun bathing, dining or beverages by the bar. The internal spaces were reconfigured to accommodate reception-lobby seating space, beverage bar, display kitchen, lounge areas and bathrooms. Interior design is visually stimulating, the simple palette of materials linking both interior spaces and outdoor areas promoting natural air, light and vistas.

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          

 

                

 

  

     



 

       

 

   

 





 

     



 



 







 

 





 







 



 



















 





 

 



  



 















 



 





 



 













 



  

 





 

                                                                         

 

 

 







 



 















 



 





 









 

  















 

                                                                                               

 

 

 



   



 

  



 







 

 



 





















 





 

 





 





 

            

 

 

 





  



 







 





 







 





 



    



 

 

 

  



 

  

  



 

 

 



268

 

AF AG BC BR CCO CS1 CJ CT1 CT2 DP DP2 EG FB FBP FFC FW FWG

 





 

 



 

 

 



 



 



 





      





FGG GB LWB PT1 PT2 PT3 PT4 PF1 R RS RWH SC TD1 TF1  TF2 TOW WB

FIELD GULLY - GRATED  GLAZED BALUSTRADE AS SPECIFIED   WEATHERTEX MILLWOOD SMOOTH   SELECT POLISHED STONE TILING AS SPECIFIED SELECT POLISHED STONE PAVING TILE AS SPECIFIED SELECT CONCRETE STONE PAVING TILE AS SPECIFIED INSITU CONCRETE PAVING  POOL FENCE 1 - ALUM FRAMED AS SPECIFIED  APPLIED RENDER FINISH ROOF SHEETING AS SPECIFIED RAIN WATER HEAD AS SPECIFIED  SEALED CONCRETE TIMBER DECK 1 AS SPECIFIED TIMBER FLOOR 1 - T&G FLOORING AS SPECIFIED   TIMBER FLOOR 2 - HWD BATTENS AS DETAILED   TOP OF WALL CHAMFER BOARD CLADDING AS SPECIFIED





 

  







 

 

 

 





 

 



 

   

 

 



                  

 





     

 

       

  

                                 



                                 

                                 

  



  



 



 

 

 





 



 

 

 

 

在天涯海角度假村,亲海享受、恢复活力的假日体验皆从建筑和滨海绿地之间的区域开始,客人从开 始造访到尽兴而归的度假活动都与壮丽的海畔以及岛上美景息息相关。项目设计突出了周边街道、广场与 度假村的步道连接。垂直木板与隔断的使用为给人僵固之感的人字形状屋顶增添了灵动性,从而在朝向海 滩和绿地的一面营造出丰富与跃动的外观视觉效果。同样,这种交替错落的设计也令走在路上的宾客感觉  舒适。两座新建的泳池被木板铺就的区域包围,一座用于娱乐活动表演而另一座临近酒水吧台,气氛较为 轻松。宾客在铺板区域活动同样也能体会到这里的宽敞与私密。休闲区域由可透视的木板隔断提供私密空 间,同时,宾客可以参与到周围的活动中去,如游泳、晒日光浴和在吧台进餐或啜饮。度假村的内部空间  经过重新装修之后拥有的设施包括:带有座椅的接待大厅、酒水吧、可供参观的厨房、休息区和浴室。内 部的设计效果颇具视觉的冲击力。各种材料的搭配运用将室内空间和室外区域连为一体,有利于空气流通,    提高了采光率并增加了景深。  

 

  

 

                                 

          





   

 







 

 



       







                  













   



 







                                                                                               

 

       

     







            







APRON FLASHING AGRICULTURAL DRAINAGE - FALLS INDICATED BARGE CAPPING AS SPECIFIED BLOCKWORK RENDERED COLOURBOND CUSTOM ORB SHEETING AS SPECIFIED COLOURED CONCRETE 1 - REFER SPECIFICATION CONTROL JOINT CERAMIC FLOOR TILES 1 AS SPECIFIED  CERAMIC FLOOR TILES 2 AS SPECIFIED  DOWNPIPE 1 AS SPECIFIED DOWNPIPE 2 AS SPECIFIED - GALVANISED CHAIN EAVES GUTTER AS SPECIFIED   FACE BLOCK - SELECT HONED BLOCK AS SPECIFIED FACE BLOCK PAVER - HONED CAPPING BLOCK SPEC'D   SET FINISH FC CLADDING - FLUSH    FLOOR WASTE AS SPECIFIED FLOOR GRATE AS SPECIFIED 



 

 





                   

                   

  









 

 

SECTION _ LAYOUT



  

  



 

       

  





 

 

 

            

 

 







 



 





 

 

 

 



 

 



 

 

 



 

 







 



 





 

 



 



 

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          

 

                

 

  

     



 

       

 

   

 





 

     



 



 







 

 





 







 



 



















 





 

 



  



 















 



 





 



 













 



  

 





 

                                                                         

 

 

 







 



 















 



 





 









 

  















 

                                                                                               

 

 

 



   



 

  



 







 

 



 





















 





 

 





 





 

            

 

 

 





  



 







 





 







 





 



    



 

 

 

  



 

  

  



 

 

 



268

 

AF AG BC BR CCO CS1 CJ CT1 CT2 DP DP2 EG FB FBP FFC FW FWG

 





 

 



 

 

 



 



 



 





      





FGG GB LWB PT1 PT2 PT3 PT4 PF1 R RS RWH SC TD1 TF1  TF2 TOW WB

FIELD GULLY - GRATED  GLAZED BALUSTRADE AS SPECIFIED   WEATHERTEX MILLWOOD SMOOTH   SELECT POLISHED STONE TILING AS SPECIFIED SELECT POLISHED STONE PAVING TILE AS SPECIFIED SELECT CONCRETE STONE PAVING TILE AS SPECIFIED INSITU CONCRETE PAVING  POOL FENCE 1 - ALUM FRAMED AS SPECIFIED  APPLIED RENDER FINISH ROOF SHEETING AS SPECIFIED RAIN WATER HEAD AS SPECIFIED  SEALED CONCRETE TIMBER DECK 1 AS SPECIFIED TIMBER FLOOR 1 - T&G FLOORING AS SPECIFIED   TIMBER FLOOR 2 - HWD BATTENS AS DETAILED   TOP OF WALL CHAMFER BOARD CLADDING AS SPECIFIED





 

  







 

 

 

 





 

 



 

   

 

 



                  

 





     

 

       

  

                                 



                                 

                                 

  



  



 



 

 

 





 



 

 

 

 

在天涯海角度假村,亲海享受、恢复活力的假日体验皆从建筑和滨海绿地之间的区域开始,客人从开 始造访到尽兴而归的度假活动都与壮丽的海畔以及岛上美景息息相关。项目设计突出了周边街道、广场与 度假村的步道连接。垂直木板与隔断的使用为给人僵固之感的人字形状屋顶增添了灵动性,从而在朝向海 滩和绿地的一面营造出丰富与跃动的外观视觉效果。同样,这种交替错落的设计也令走在路上的宾客感觉  舒适。两座新建的泳池被木板铺就的区域包围,一座用于娱乐活动表演而另一座临近酒水吧台,气氛较为 轻松。宾客在铺板区域活动同样也能体会到这里的宽敞与私密。休闲区域由可透视的木板隔断提供私密空 间,同时,宾客可以参与到周围的活动中去,如游泳、晒日光浴和在吧台进餐或啜饮。度假村的内部空间  经过重新装修之后拥有的设施包括:带有座椅的接待大厅、酒水吧、可供参观的厨房、休息区和浴室。内 部的设计效果颇具视觉的冲击力。各种材料的搭配运用将室内空间和室外区域连为一体,有利于空气流通,    提高了采光率并增加了景深。  

 

  

 

                                 

          





   

 







 

 



       







                  













   



 







                                                                                               

 

       

     







            







APRON FLASHING AGRICULTURAL DRAINAGE - FALLS INDICATED BARGE CAPPING AS SPECIFIED BLOCKWORK RENDERED COLOURBOND CUSTOM ORB SHEETING AS SPECIFIED COLOURED CONCRETE 1 - REFER SPECIFICATION CONTROL JOINT CERAMIC FLOOR TILES 1 AS SPECIFIED  CERAMIC FLOOR TILES 2 AS SPECIFIED  DOWNPIPE 1 AS SPECIFIED DOWNPIPE 2 AS SPECIFIED - GALVANISED CHAIN EAVES GUTTER AS SPECIFIED   FACE BLOCK - SELECT HONED BLOCK AS SPECIFIED FACE BLOCK PAVER - HONED CAPPING BLOCK SPEC'D   SET FINISH FC CLADDING - FLUSH    FLOOR WASTE AS SPECIFIED FLOOR GRATE AS SPECIFIED 



 

 





                   

                   

  









 

 

SECTION _ LAYOUT



  

  



 

       

  





 

 

 

            

 

 







 



 





 

 

 

 



 

 



 

 

 



 

 







 



 





 

 



 



 

269


270

271


270

271




  

 

   

 

 

 

 

 

 

 

   

   

   

   

 

 

   

 

   



 



 



  











 

 

 

 

   

 









  

 

 

 

 

 

 

 

 

 





 

 



 

   

 

 

 

















 



   

 









 

  





 





 

 



 

 

 

 



 

 







 

 

 





 

 

 

 



  

  

















 





























 

 



































 

 











 





 



 

SECTION POOl_POOl DECK 

     

 

 

 



 



 

 



  

 

 

 

 

  

 

 

 

   

 

 

  



 

 







  



 

 



 

   



 



 



 

 

 









 



 

 





 

























 

 



 

 

  

 



 

 





 





  

 

   

 

 





 

 

 





















 





















                                                                                               

   



 

 

 

 

 









 



 









 

 

















 



  







 

 

 

 





 









 

273

















                                                                                                   



 

   









  







 

 













   

 



 

 

 























 



 

 



 





  

 



 

 



 











 



 







   

  

 







  





 





  

 

 



  







 













 





 







     





 

 

 



 

 







     



        





 







   



 

 

 















 

272









  







 

  





 









 



 

 



  

 

     



 

  

    

   

 



  



 





  



 









 











   

 



  





 



  

 

 





 

 



   





 

 

 





 



 

 



 

 





 

 









 

   



 

 



 



   



 



    



  





 













 

  

 

 





 

   



 

   



 

 









 



 





 



 



 



 

  

 

 



 

 





 

 

 

 





   

 



 

   

 

 

   

 

 







 

 





 

 

 







  

   

 

 

 







 

 

 











  

 

 

 



 

 





 

 

 

 

 

 





  



   





 

 

   











   



 

   



  





   

 

 




















  

 

   

 

 

 

 

 

 

 

   

   

   

   

 

 

   

 

   



 



 



  











 

 

 

 

   

 









  

 

 

 

 

 

 

 

 

 





 

 



 

   

 

 

 

















 



   

 









 

  





 





 

 



 

 

 

 



 

 







 

 

 





 

 

 

 



  

  

















 





























 

 



































 

 











 





 



 

SECTION POOl_POOl DECK 

     

 

 

 



 



 

 



  

 

 

 

 

  

 

 

 

   

 

 

  



 

 







  



 

 



 

   



 



 



 

 

 









 



 

 





 

























 

 



 

 

  

 



 

 





 





  

 

   

 

 





 

 

 





















 





















                                                                                               

   



 

 

 

 

 









 



 









 

 

















 



  







 

 

 

 





 









 

273

















                                                                                                   



 

   









  







 

 













   

 



 

 

 























 



 

 



 





  

 



 

 



 











 



 







   

  

 







  





 





  

 

 



  







 













 





 







     





 

 

 



 

 







     



        





 







   



 

 

 















 

272









  







 

  





 









 



 

 



  

 

     



 

  

    

   

 



  



 





  



 









 











   

 



  





 



  

 

 





 

 



   





 

 

 





 



 

 



 

 





 

 









 

   



 

 



 



   



 



    



  





 













 

  

 

 





 

   



 

   



 

 









 



 





 



 



 



 

  

 

 



 

 





 

 

 

 





   

 



 

   

 

 

   

 

 







 

 





 

 

 







  

   

 

 

 







 

 

 











  

 

 

 



 

 





 

 

 

 

 

 





  



   





 

 

   











   



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Pimalai Resort & Spa

CONTRIBUTOR Pimalai Resort & Spa lOCATION Thailand

披玛雷水疗度假村

Peace, Serenity, Solitude. These are the words that come to mind for Pimalai. Add to that luxury, elegance, natural surroundings and genuine friendly service. Be it for a honeymoon, a wedding ceremony, a diving experience, a break from it all or even for a business meeting in Krabi or in Thailand then Pimalai, nestled in a lush tropical forest, is the Andaman luxury destination to set your sights on. This exclusive beach resort combines all the right ingredients - subtle five star comforts, natural beauty, environmental friendliness and lots of space. Located well distant from crowded beaches and other boutique resorts onKoh Lanta (or Ko Lanta) and close to Lanta Marine National Park, the only sound is that of the waves sliding in and out and slowly breaking onto the sandy beach.

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Built within the rainforest as it meets the silver ocean strand, you would hardly know Pimalai was there. This boutique beach resort occupies 100 acres of tropical vegetation with direct access to a 900 meters stretch of pristine sandy beach and offers 121 accommodation units - Deluxe, Bayfront Deluxe, Pavillion Suite, Beach Villa and Pool Villa - all very elegantly appointed. From Krabi mainland, it takes about 1 hour by the resort boat to reach Koh Lanta and Pimalai but it is worth bearing this "hardship" in order to find such a unique lost boutique paradise in tourist Thailand... Visit once and you will return again and again...

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Pimalai Resort & Spa

CONTRIBUTOR Pimalai Resort & Spa lOCATION Thailand

披玛雷水疗度假村

Peace, Serenity, Solitude. These are the words that come to mind for Pimalai. Add to that luxury, elegance, natural surroundings and genuine friendly service. Be it for a honeymoon, a wedding ceremony, a diving experience, a break from it all or even for a business meeting in Krabi or in Thailand then Pimalai, nestled in a lush tropical forest, is the Andaman luxury destination to set your sights on. This exclusive beach resort combines all the right ingredients - subtle five star comforts, natural beauty, environmental friendliness and lots of space. Located well distant from crowded beaches and other boutique resorts onKoh Lanta (or Ko Lanta) and close to Lanta Marine National Park, the only sound is that of the waves sliding in and out and slowly breaking onto the sandy beach.

324

Built within the rainforest as it meets the silver ocean strand, you would hardly know Pimalai was there. This boutique beach resort occupies 100 acres of tropical vegetation with direct access to a 900 meters stretch of pristine sandy beach and offers 121 accommodation units - Deluxe, Bayfront Deluxe, Pavillion Suite, Beach Villa and Pool Villa - all very elegantly appointed. From Krabi mainland, it takes about 1 hour by the resort boat to reach Koh Lanta and Pimalai but it is worth bearing this "hardship" in order to find such a unique lost boutique paradise in tourist Thailand... Visit once and you will return again and again...

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祥和、安谧、幽静,一提到披玛雷岛,人们马上就想到这些词语。奢华、优雅、亲近自然,加之真诚友善的服务, 一切尽您享用。 无论是蜜月旅行、婚礼仪式、潜水体验、休闲度假,或是到甲米参加商务会议,要想来一次豪华之旅,那么造 访茂密热带雨林怀抱中的披玛雷都是个令人心仪选择。所有令人期待的旅游元素在这所时髦的度假村中一一具备, 无所不及——细致入微的一流舒适设施、迤逦的自然美景、环保的设计理念和宽敞的享受空间。远离拥挤的海滩和 兰塔岛的其他度假村,邻近兰塔海洋国家公园,在这里唯一的声响就是那潮涨潮汐时浪花轻轻拍打着沙滩的声音。 坐落在茂密的雨林里,与银色的沙滩相连,度假村完美融入自然环境,毫无突兀感。这座精品海滩度假村拥有 100 英亩热带植被,可以直达绵延 900 米的未受污染的原始沙滩,共有 121 间客房——豪华房、湾畔豪华房、庭院套房、 沙滩别墅和泳池别墅——所有客房都装饰典雅、设施齐备。 从陆地上的甲米出发,搭乘度假村的游船到达兰塔岛和披玛雷大约需要 1 小时时间,但这样的“艰苦”是值得 忍受的,因为你马上就可以登临泰国绝美的人间天堂。 一旦拥有,你会流连忘返,再次来寻。

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祥和、安谧、幽静,一提到披玛雷岛,人们马上就想到这些词语。奢华、优雅、亲近自然,加之真诚友善的服务, 一切尽您享用。 无论是蜜月旅行、婚礼仪式、潜水体验、休闲度假,或是到甲米参加商务会议,要想来一次豪华之旅,那么造 访茂密热带雨林怀抱中的披玛雷都是个令人心仪选择。所有令人期待的旅游元素在这所时髦的度假村中一一具备, 无所不及——细致入微的一流舒适设施、迤逦的自然美景、环保的设计理念和宽敞的享受空间。远离拥挤的海滩和 兰塔岛的其他度假村,邻近兰塔海洋国家公园,在这里唯一的声响就是那潮涨潮汐时浪花轻轻拍打着沙滩的声音。 坐落在茂密的雨林里,与银色的沙滩相连,度假村完美融入自然环境,毫无突兀感。这座精品海滩度假村拥有 100 英亩热带植被,可以直达绵延 900 米的未受污染的原始沙滩,共有 121 间客房——豪华房、湾畔豪华房、庭院套房、 沙滩别墅和泳池别墅——所有客房都装饰典雅、设施齐备。 从陆地上的甲米出发,搭乘度假村的游船到达兰塔岛和披玛雷大约需要 1 小时时间,但这样的“艰苦”是值得 忍受的,因为你马上就可以登临泰国绝美的人间天堂。 一旦拥有,你会流连忘返,再次来寻。

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Profile for HI-DESIGN INTERNATIONAL PUBLISHING (HK) CO., LTD.

Resort design  

Resort design;240 mm*320 mm;352pages;Hardcopy

Resort design  

Resort design;240 mm*320 mm;352pages;Hardcopy

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