架构师提供的文本描述。前小酒店企业bergfink被拆除，取而代之的是一颗新的宝石，它是村庄结构中的一个支撑点，坐落在农村-城市结构中，有着所有的资产阶级住所，由富有的Bolzano商人在世纪之交建造。顾名思义，它是风景中的瑰宝，灵感来源于建筑类型学中永恒而优雅的新艺术。有一种时代的感觉，在这个时代-一点也不夸张-城市的建筑形式简约而又不完全放弃豪华和舒适的生活-慷慨，经典，简单，但不清醒。

Text description provided by the architects. The former small hotel business Bergfink, which was an anchor point in the village structure and nestled amidst the rural-urban structure with all its bourgeois domiciles, built by wealthy Bolzano merchants around the turn of the century, was demolished and a new jewel was created in its place. As the name suggests, it is a gem in the landscape, inspired by the architectural typology in timelessly, elegant Art Nouveau. With the feeling of an era in which, - not at all pompous - the architecture of the city in a simplified form and without giving up completely on luxury and comfort on the Ritten transposed - generous, classic, simple, but not sober.

Text description provided by the architects. The former small hotel business Bergfink, which was an anchor point in the village structure and nestled amidst the rural-urban structure with all its bourgeois domiciles, built by wealthy Bolzano merchants around the turn of the century, was demolished and a new jewel was created in its place. As the name suggests, it is a gem in the landscape, inspired by the architectural typology in timelessly, elegant Art Nouveau. With the feeling of an era in which, - not at all pompous - the architecture of the city in a simplified form and without giving up completely on luxury and comfort on the Ritten transposed - generous, classic, simple, but not sober.

 © Alex Filz

亚历克斯·菲尔兹

 Ground floor plan

 © Alex Filz

亚历克斯·菲尔兹

拱门作为一个主旋律，NOA*必须纳入当地流行的元素，例如立面的拱门，或屋顶，这可以追溯到Oberbozen村的悠久传统。同时，包括菱形；装饰元素，出现在里顿铁路沿线的许多铁路房屋，连接不同的暑假目的地。整体设计方法是显而易见的：许多细节构成贯穿整个项目的公共线程。一个有趣的方面是酒店的组织，它复杂地适应地形环境。车库占据了大楼和25间客房，酒店公园也在此基础上，七间花园套房和它们的私人花园可以从中受益。眺望花园，你可以找到公共空间：接待、大堂、餐厅和延伸的露台，优雅地弯曲，俯瞰花园，视野延伸至遥远的地平线。蓝图和外观是在密切对话中发展起来的：隐藏在外墙后面的东西已经可以从外部以独特和明确的方式被看到，而不会过多地揭示内部发生的事情。

THE ARCH AS A LEITMOTIF It was essential for noa* to incorporate locally prevalent elements, such as the arches in the façade, or the hipped roof, which looks back to a long tradition in the village of Oberbozen. At the same time, the rhombus is included; a decorative element that appears amongst the many railroad-houses along the Ritten railway, which connects the different summer holiday destinations. The holistic design approach is clearly visible: numerous details form a common thread running through the entire project. An interesting aspect is the organization of the hotel that sophisticatedly adapts to the topographic circumstances. The garage thrones the building and its 25 guestrooms, and on which the hotels park extends, from which the seven garden-suites and their private gardens can benefit with delight. Looking over the garden, one can find the public spaces: reception, lobby, the restaurant and it’s extending terrace, which gracefully curve out overlooking the garden with a view that extends to the far horizon. The blueprint and façade are developed in a close dialogue: what is hidden behind the façade can already be seen from the outside in a unique and unmistakable way, without revealing too much of what goes on in the inside.

THE ARCH AS A LEITMOTIF It was essential for noa* to incorporate locally prevalent elements, such as the arches in the façade, or the hipped roof, which looks back to a long tradition in the village of Oberbozen. At the same time, the rhombus is included; a decorative element that appears amongst the many railroad-houses along the Ritten railway, which connects the different summer holiday destinations. The holistic design approach is clearly visible: numerous details form a common thread running through the entire project. An interesting aspect is the organization of the hotel that sophisticatedly adapts to the topographic circumstances. The garage thrones the building and its 25 guestrooms, and on which the hotels park extends, from which the seven garden-suites and their private gardens can benefit with delight. Looking over the garden, one can find the public spaces: reception, lobby, the restaurant and it’s extending terrace, which gracefully curve out overlooking the garden with a view that extends to the far horizon. The blueprint and façade are developed in a close dialogue: what is hidden behind the façade can already be seen from the outside in a unique and unmistakable way, without revealing too much of what goes on in the inside.

 © Alex Filz

亚历克斯·菲尔兹

 Fourth floor plan

四楼图则

 © Alex Filz

亚历克斯·菲尔兹

在公共空间的上方，客房位于三层，套房位于建筑的相应边缘，可由他们的立方托架清晰地识别，从而为建筑的Faherade设置了一个自信的建筑特色。地面上的一个平坦的双弓从地面开始，在尺寸上有一个显著的飞跃，在上面的地板上形成了一个简洁的单轴拱型。这使得外部空间的质量对于夏季务虚会变得更加可见和有形。尤其是在Arcades后面的这个区域，其中内部和外部空间融合-Loggas函数作为连接元素，并且框架窗口的房间接缝将继续到女儿墙。景观由反射的黑色玻璃元件捕获，该反射的黑色玻璃元件用作分隔房间的阳台隔断，并且光学地将拱形视图倍增。在屋顶上，清晰地拆卸下来，它的屋顶几乎是自己的建筑，坐落在健身区。再次，毫无疑问，拱门的元素，作为一个铜色的贝壳穿过屋顶结构，并不对称地定位，为一种特别生动的建筑语言设置了一个自信的语句。

Above the public spaces, the guestrooms are located on three floors – with the suites on the respective edges of the building, clearly recognizable by their cubic bays, that set a confident architectural accent to the building’s façade. What begins on the ground floor as a flat double arch at the façade, develops through a significant leap in dimensions, into a concise uniaxial arched façade in the floors above. This allows the quality of the outer spaces to become more visible and tangible for the summer retreat. It is especially in this area behind the arcades, where inner and outer space merge – the loggias function as connecting elements, and with the frameless windows the room seams to continue as far as the parapet. The landscape is captured by the reflective black glass elements, which are used as balcony partitions dividing the rooms and which optically multiply the arched view. On the very top, clearly detached and with its hipped roof almost appearing as a building on its own, sits the wellness area. Here again, unmistakably, the element of the arch, which, as a bronze- coloured shell breaks through the roof structure and – positioned asymmetrically – sets a confident statement for a particularly lively architectural language.

Above the public spaces, the guestrooms are located on three floors – with the suites on the respective edges of the building, clearly recognizable by their cubic bays, that set a confident architectural accent to the building’s façade. What begins on the ground floor as a flat double arch at the façade, develops through a significant leap in dimensions, into a concise uniaxial arched façade in the floors above. This allows the quality of the outer spaces to become more visible and tangible for the summer retreat. It is especially in this area behind the arcades, where inner and outer space merge – the loggias function as connecting elements, and with the frameless windows the room seams to continue as far as the parapet. The landscape is captured by the reflective black glass elements, which are used as balcony partitions dividing the rooms and which optically multiply the arched view. On the very top, clearly detached and with its hipped roof almost appearing as a building on its own, sits the wellness area. Here again, unmistakably, the element of the arch, which, as a bronze- coloured shell breaks through the roof structure and – positioned asymmetrically – sets a confident statement for a particularly lively architectural language.

 © Alex Filz

亚历克斯·菲尔兹

在力腾的新艺术建筑的永恒框架，被捕捉在内部，并以一种抽象的方式进行。同时，一种清晰、对比和一致的元素框架形成了一个反复出现的细节，可以追溯到整个建筑。此外，拱门的主题在室内得到延续，例如，在房间里是一面镜子，在底部是圆形的，在休息室里是壁炉，拱门围绕着自己的轴线，或者是在温泉露台上作为懒人的靠背。家具大多是独立式和松散的定位，优雅而朴素的室内装潢增强了氛围。所有的东西都是从跳蚤市场找到的，或者是以前酒店里的一些珍宝。整个建筑都是悬挂在天花板上的金灯雕塑。

FRAMING The timelessness of the Art Nouveau buildings at Ritten entail, is captured in the interior and carried out in an abstract manner. At the same time a kind of clear, contrasting and consistent framing of elements forms a recurring detail, which can be traced throughout the entire building. Also the theme of the arch finds its continuation in the interior, for example in the rooms as a mirror that is rounded at the bottom, as a fireplace in the lounge, where the arch is extruded around its own axis, or as the lounger’s backrest at the spa terrace. The furniture is mostly freestanding and loosely positioned, elegant and plain upholstery enhance the ambience. Amidst everything are unique finds from flea markets or little treasures from the previous hotel. Dispersed throughout the building are golden lamp sculptures hanging from the ceilings.

FRAMING The timelessness of the Art Nouveau buildings at Ritten entail, is captured in the interior and carried out in an abstract manner. At the same time a kind of clear, contrasting and consistent framing of elements forms a recurring detail, which can be traced throughout the entire building. Also the theme of the arch finds its continuation in the interior, for example in the rooms as a mirror that is rounded at the bottom, as a fireplace in the lounge, where the arch is extruded around its own axis, or as the lounger’s backrest at the spa terrace. The furniture is mostly freestanding and loosely positioned, elegant and plain upholstery enhance the ambience. Amidst everything are unique finds from flea markets or little treasures from the previous hotel. Dispersed throughout the building are golden lamp sculptures hanging from the ceilings.

 © Alex Filz

亚历克斯·菲尔兹

在公共区域，选择了一个无缝的树脂地板作为一个元素，以使房间不断流动。在地板上创建了带有木地板的“岛屿”，确定了休息室和餐厅的不同区域。这一概念也适用于顶层的水疗中心。不仅在公共区域和水疗中心，尤其是在客房和套房，充满激情的室内焦点无处不在。特别注意套房的海湾窗户，为休息区提供壁炉、独立的浴缸或沙发景观。空间的定义是房间内的外壳，其中墙，地板和天花板都配备了相同的材料。这种诱人的气氛也是通过木材的使用来实现的，木材从来没有出现过乡土，而是高贵的，质朴的，没有寒冷的。

In the public area, a seamless resin floor was chosen as an element to allow the room to flow continuously. “Islands” with wooden flooring were created within the floor, that define the different areas of the lounge and restaurant. This concept is also applied to the spa on the top floor. Not only in the public area and the spa, but especially in the guestrooms and suites, a passionate focus on the interior is omnipresent. Special attention is paid to the suites’ bay windows, which offer lounge areas with a fireplace, free-standing bathtubs or sofa landscapes. Spaces are defined with room-in-room shells, where wall, floor and ceiling are furnished with the same material. The appealing and inviting atmosphere is also achieved through the use of wood, which never appears rustic but noble, homogenously plain, without being cold.

In the public area, a seamless resin floor was chosen as an element to allow the room to flow continuously. “Islands” with wooden flooring were created within the floor, that define the different areas of the lounge and restaurant. This concept is also applied to the spa on the top floor. Not only in the public area and the spa, but especially in the guestrooms and suites, a passionate focus on the interior is omnipresent. Special attention is paid to the suites’ bay windows, which offer lounge areas with a fireplace, free-standing bathtubs or sofa landscapes. Spaces are defined with room-in-room shells, where wall, floor and ceiling are furnished with the same material. The appealing and inviting atmosphere is also achieved through the use of wood, which never appears rustic but noble, homogenously plain, without being cold.

没有开始，没有结束，当然最大的亮点，已经从遥远的可见，是水疗区，它的豪华悬臂游泳池。在水疗区，你可以找到广阔的休憩区、退避区，以及一些亲密的露台，有的在海湾窗户上，有的在屋顶上，在新鲜空气中休息。一个独特的眼球捕捉器，是扫地圆筒，它在建筑物的南侧钻到倾斜的屋顶和突出在正面的另一边，一个倒立的拱门，作为一个特殊的游泳池。该外壳，其中池是封闭的，覆盖着相同的青铜色铝板与外部的立方海湾窗口。它形成了一个凯苏拉到深棕色的屋顶，并允许一个迷人的反射。在里面，几个楼梯通向圆柱体的中心。自动推拉门打开，一个人下降到水中，伴随着弯曲的外壳，一个是引向无穷大池中的地平线。

NO BEGINNING, NO END Certainly the biggest highlight, already visible from far off, is the spa area, with its extravagant cantilevered pool. In the spa area one finds expansive rest areas retreat zones, as well as some intimate terraces either on top of the bay windows, or cut into the roof, for a rest in the fresh air. A unique eye catcher, is the sweeping cylinder, which on the south side of the building drills its ways into the hipped roof and protrudes on the other side of the facade an upside down arch, serving as the exceptional pool. The shell, in which the pool is enclosed, is covered with the same bronze-coloured aluminium panels as the outside of the cubic bay windows. It forms a caesura to the dark brown hipped roof and allows for a fascinating play of reflections. On the inside, a few stairs lead to the centre of the cylinder. The automatic sliding door opens and one descends into the water, accompanied by the curved shell, one is lead towards the horizon in the infinity pool.

NO BEGINNING, NO END Certainly the biggest highlight, already visible from far off, is the spa area, with its extravagant cantilevered pool. In the spa area one finds expansive rest areas retreat zones, as well as some intimate terraces either on top of the bay windows, or cut into the roof, for a rest in the fresh air. A unique eye catcher, is the sweeping cylinder, which on the south side of the building drills its ways into the hipped roof and protrudes on the other side of the facade an upside down arch, serving as the exceptional pool. The shell, in which the pool is enclosed, is covered with the same bronze-coloured aluminium panels as the outside of the cubic bay windows. It forms a caesura to the dark brown hipped roof and allows for a fascinating play of reflections. On the inside, a few stairs lead to the centre of the cylinder. The automatic sliding door opens and one descends into the water, accompanied by the curved shell, one is lead towards the horizon in the infinity pool.

 © Alex Filz

亚历克斯·菲尔兹

近六米深，弯曲，透明和温和的反射创造了某种类型的雕塑延伸到内部。当从尾部进入时，水池上覆盖着一个青铜色的圆形外壳，它逐渐溶解成一个由杆子组成的圆形网状结构，直到一个人游到开阔的天空下：金属和水之间的相互作用，创造了一种向无限自由的过渡。这是一个软衰落的过程，溶解了这个圆柱壳，从而触发了漂浮的感觉，同时享受遥远的视野。这种近乎雕塑式的极点出现结构，是对不断出现的拱门和菱形的另一种解释-近距离观察可以让人看到，弧形的极点在相交时会产生一个菱形。这很可能是一段可以想象到的旅程的顶峰，甚至在进入大楼之前也是如此。

Nearly six meters deep, the curvature, the transparency and the gentle reflection create some sort of sculpture that reaches into the interior. When entering from the rear end, the pool is covered with a bronze-coloured rounded shell, which increasingly dissolves into a rounded net structure of poles, until one swims out under the open sky: an interplay between metal and water that creates a transition into boundless freedom. It is a process of soft fading out that dissolves this cylindrical shell and thus triggers the feeling of floating while enjoying the distant view. This almost sculptural appearing structure of poles is yet another interpretation of the ever appearing arch and the rhombus – closer observation allows one to see that the curved poles create a rhombus when intersecting. This may well be the summit of a journey that might have been imagined even before entering the building.

Nearly six meters deep, the curvature, the transparency and the gentle reflection create some sort of sculpture that reaches into the interior. When entering from the rear end, the pool is covered with a bronze-coloured rounded shell, which increasingly dissolves into a rounded net structure of poles, until one swims out under the open sky: an interplay between metal and water that creates a transition into boundless freedom. It is a process of soft fading out that dissolves this cylindrical shell and thus triggers the feeling of floating while enjoying the distant view. This almost sculptural appearing structure of poles is yet another interpretation of the ever appearing arch and the rhombus – closer observation allows one to see that the curved poles create a rhombus when intersecting. This may well be the summit of a journey that might have been imagined even before entering the building.

 © Alex Filz

亚历克斯·菲尔兹