Ani Nii Shobo Lodge Sandra Iturriaga + Samuel Bravo

2016-08-25 09:00
 © Juan Balazs
(Juan Balazs)
建筑师提供的文字说明。主要材料:木质结构Quinilla(双齿曼尼卡拉)、棕榈叶(IRATay、Shebon)、外壁Quilla和金属丝网、内部木镶板:Caprona(Calypocyllumsprucetum)、Quinilla和ShifHuhutaco(双翅目)的人行道。
Text description provided by the architects. Predominant materials: wood structure quinilla (bidentata manilkara), roofing in palm leaf (irapay, shebon), exterior walls quinilla and wire mesh, interior wood paneling: capirona (calycophyllum spruceanum), pavements in quinilla and shihuahuaco (Dipteryx Micrantha).
 
阿尼尼索博是石皮伯语森林的大房子,是建立在石壁博人传统医学基础上的疗养中心和自然保护区。
Ani Nii Shobo, big house of the forest in Shipibo language, is a healing center and nature reserve based on the traditional medicine of the Shipibo people
 © Samuel Bravo
塞缪尔·布拉沃
该项目位于秘鲁亚马逊地区Ucayali地区的当地社区San Francisco de Yarinacocha附近的泻湖岸边。乌卡亚利河季节性洪水决定了这一景观及其生态系统的波动高达8米,淹没并连接了广大的河岸地区。该项目由一系列位于森林和水之间的可变边缘的项目组成。
The project is located on the banks of a lagoon near the native community of San Francisco de Yarinacocha in the Ucayali region in the Peruvian Amazon. The Ucayali river’s seasonal floods determine this landscape and its ecosystems with fluctuations of up to 8m that inundate and connect vast riverside areas. The project consists of a series of programs that are located along this variable edge between forest and water.
 © Samuel Bravo
塞缪尔·布拉沃
该项目包括供游客使用的房间、志愿者之家、礼堂(长屋)、餐厅和服务空间。
The program consists of rooms for visitors a volunteer house, a house of ceremonies (longhouse), a dining room and service spaces.
 © Samuel Bravo
塞缪尔·布拉沃
树木和景色的情况决定了该项目的实施。重要的是要保护和珍惜先前存在的条件,更好地欣赏小屋的湖面景观,并将餐食置于一组古老的帕丘科树下,这些树有着纤细的淡树干,与拟议中的体积形成对比。
The situation of the trees and views was decisive to place the program. It was important to preserve and value preexisting conditions, favoring the the lake view of cabins and placing the dining under a group of old Pachucos, native trees with a slender pale trunk, contrasting with the proposed volume.
 Axonometric

                            
 Axonometric

                            
 Axonometric

                            
该项目的基础是使用当地材料,如Capirona和Quinilla木材,以及irapay棕榈叶屋顶。对乡土建筑的观察寻求建设性的逻辑,以便该项目可由当地工匠建造。根据当地工艺,采用简化调制的结构网格以及建设性的解决方案。
The project is based on the use of local materials such as capirona and quinilla wood and irapay palm leaf  roofing. Constructive logic was sought on the observation of vernacular architecture, so that the project could be built by local craftsmen. A structural grid that simplifies modulation was used as well as constructive solutions according to local crafts.
 © Samuel Bravo
塞缪尔·布拉沃
为了适应该区域极端炎热和潮湿的气候,亚马孙人民制定了一个简单但具体的规则体系,建立了一个以在直接环境中使用材料为基础的结构。石皮波的房子有高大的屋顶,由棕榈叶制成,坡度陡峭,有利于水的径流,而热空气则集中在体积的顶部,形成了清新而通风的阴凉处。在这个空间里,有一个甲板,它既是地板,也是房子的桌子,它集中了日常活动,在制作工艺的同时,还带来了吃饭和长时间的谈话。
To fit the extremely hot and wet climate of the region, the peoples of Amazonia have developed a simple yet specific system of rules, creating a n architecture based on the use of materials in the immediate environment. The Shipibo houses have tall roofs made of palm leaves with a steep slope which favors water runoff, while the hot air is concentrated at the top of the volume, creating a fresh and airy shade. In this space a deck, which is both the floor and the table of the house, concentrated daily activities, resulting in meals and long conversations accompanied by craft making.
 © Samuel Bravo
塞缪尔·布拉沃
这就是我们为集体餐厅找到的角色:一间大的石壁屋。餐厅可以完全开放或关闭,形成一个有通风皮肤的露台。
This was the role we found for the collective dining room: a large shipibo house. The dining room can be completely open or closed yielding a covered terrace with a vented skin.
 © Samuel Bravo
塞缪尔·布拉沃
覆盖的户外边缘创造了一个阴影环绕居住和中间的阴阳为日常生活。墙本身往往与屋顶融为一体,或消失成可渗透的叠加。
Covered outdoor margins create a shaded surround for habitations and an intermediate umbral for quotidian life. Walls themselves tend to merge with the roof or fade into a superposition of permeable
 © Juan Balazs
(Juan Balazs)
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
Architects Sandra Iturriaga, Samuel Bravo
Location Yarinacocha, Pucallpa, Peru
Category Lodging
Area 1162.0 sqm
Project Year 2014
Photographs Samuel Bravo, Juan Balazs

                    

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