© Guy Wenborne

盖伊·温伯恩

灵感来自巴塔哥尼亚的牧羊场建筑。不是河口的主要房屋，而是温暖的室内建筑，是为巴塔哥尼亚的日常生活而建的养羊场，有自己的辉煌；干燥羊皮的谷仓和河口的许多其他工程，由于寒冷或风，或两者兼而有之。还有许多人类居住在巴塔哥尼亚的迹象，比如无尽的铁丝网，牧羊犬的小房子等等。

The inspiration are the sheep farm’s buildings of Patagonia. Not the main houses of the estancias, their warm interiors closed to their place, but the buildings made for the sheep farm works where daily life in Patagonia is lived, and finds an splendor of its own; the barns for drying the sheep’s hides and for the many other works at the estancias, that have to be done inside because of the cold or the wind, or both. An the other many signs of human live dispersed in Patagonia, like the endless wire fences, the small houses for the shepherd’s dogs, et.,

 © Germán del Sol

(Germán del Sol)

庭院是空荡荡的中央庭院或广场，介绍了位于酒店核心的广阔的巴塔哥尼亚荒野。它三面环绕着两个客房大楼，主客房在后面稍高一点，酒店的公共区域被放置在那里。广场是空的，除了一些大石头，但充满了建议：它就像一个人为看森林所做的清晰的切割。它让人们看到一个人在想什么，不管是自然环境，还是让男人和女人享受生活的强大文化，就像巴塔哥尼亚的生活一样。主广场是一个邀请离开酒店温暖的环境，漫步在野外，不担心天气是否刮风或寒冷，记住一个人的日常生活的所有舒适，等待回来时，日常生活的剪切任务。

The Courtyard The empty central courtyard or plaza, introduces the vast wilderness of Patagonia at the core of the hotel. It is surrounded in three sides by two guest rooms buildings, and the main one in the back a little higher, where the common areas of the hotel are placed. The plaza is empty, except for a few big boulders, but is full of suggestions: it is like the clear cut that one makes to see the forest. It lets one see what one minds, whether it is the natural environment, or the strong culture that has allow men and women, to enjoy a life, as life is in Patagonia. The main plaza is an invitation to leave the warm environment of the hotel, and go wandering in the wild, unworried if the day is windy or cold, keeping in mind that all the comforts of one daily life, are awaiting when one is back, the shear tasks of daily life spared.

 General Plan

拉丁美洲文化-将其人民与自然联系在一起，而不需要街道、城镇和城市的调解，就像中世纪以来在欧洲发生的那样。拉丁美洲有一个古老的建筑传统，这些建筑作品站在大自然中间，只是为了给牧羊人或商人过去或晚上逗留的地方带来活的迹象，或者人们偶尔聚在一起庆祝他们古老的仪式。

Latin American Culture Latin American culture relates its people with nature, without the mediation of streets, towns and cities, as it happens for instance in Europe, since the middle ages. Latin America has an ancient tradition of works of architecture that stand in the midst of nature, just to bring signs of live to places where shepherds, or merchants use to pass or to stay by night, or where people gather once in a while, to celebrate once again, their ancient rites.

 © Guy Wenborne

盖伊·温伯恩

今天，我们的文化很可能帮助来自大城市的现代旅行者与自然环境联系起来，并有丰富的体验。旅行是一个特殊的机会，让孩子们再次对外面世界发生的事情更加好奇，而不是对自我内部发生的事情感到好奇。

Today our culture may well help modern travelers coming from big cities, to relate with the natural environment, and have a fruitful experience. Travel is an special occasion to be children again more curious about what happens in the world outside, than about what happens inside the self.

 © Guy Wenborne

盖伊·温伯恩

对我来说，形式建筑既不是建筑的形式，也不是用来建造它们的材料。对我来说，建筑是一种额外的天赋。一份可以填补我们通常所说的空白的建议的礼物。我们头顶上的地方，当一个人心不在焉的时候，它会邀请一个人做白日梦。从远处看，雷莫塔就像一个巨大的黑色谷仓，它温暖的黄色灯光在黎明或夜晚闪烁，它的内部充满了光线，部分地透过垂直玻璃的垂直序列显现出来。在广阔的巴塔哥尼亚平原上，雷莫塔似乎是一个温暖的地方。它的精益求精被限制在一个工作的谷仓的外观，以降低旅客的期望，所以它的内部将意外地出现在它所有的辉煌。

The Form Architecture, to me, is neither the form of buildings, nor the materials used to build them. For me, Architecture is an extra gift. A gift of suggestions that may fill what we usually call the empty space. The place above our heads, that invites one to daydream when one is distracted looking away without any intention. Remota appears from the distance as a big black barn, its warm yellow lights gleaming at dawn or night, its interior full of light revealed in part, through the vertical sequence of vertical glass. Remota appears as a welcoming warm place to stay, in the vastness of Patagonia’s plains. Its refinements are confined behind a working barn look, to lower the travelers expectations, so its interior will appear unexpectedly in all its splendor.

意料之外的雷莫塔建筑的好方面反映出，对我们来说，旅行和流浪都是为了给意外出现的机会，并从中找到好的一面。建筑物被围成一系列连续的垂直窗玻璃，在外墙上打开。

The good side of the unexpected Remota’s Architecture reflecs that for us, traveling and wandering is all about giving a chance to the unexpected to appear, and find good in it as is. The buildings are enclosed in a continuous sequence of vertical windowpanes opened in the exterior walls.

建筑结构我们采用混凝土结构的柱子，楼板和内墙，以确保房间的隐私和防火。该结构采用防水胶合板，以1英尺厚的膨胀聚氨酯芯作为绝缘材料。这些面板涂上了一层合成沥青膜，为建筑物提供了最佳的隔热性能，并能抵御风雨。沥青膜上覆盖着黑色的细砾石，以保护其免受紫外线的照射。PVC双层玻璃热窗，在外墙形成连续的垂直开口。

Building Structure We used a concrete structure of pillars, slabs and interior walls, to ensure room privacy and fireproofing. The structure is enclosed by waterproof plywood panels with a 1 foot thick expanded polyurethane core as insulation. The panels are coated with a synthetic asphalt membrane to provide the building with the best insulation, and protection against the rain and wind. The asphalt membrane is covered with black fine gravel to protect it from the UV rays. The PVC double glazing thermo windowpanes, form a continuous sequence of vertical openings in the exterior walls.

 © Guy Wenborne

盖伊·温伯恩

巴塔哥尼亚平原的自然草本植物-这里的景观-到处都是野生的。院子里有一些很大的不稳定的巨石，站在那里来强化空虚感，在黎明或黄昏时捕捉太阳的微光。巴塔哥尼亚平原的野生景观也覆盖了建筑物的屋顶。屋顶的混凝土板涂有相同的合成沥青膜和2英尺高的野草地毯。有三条木制走廊，把这三座建筑连接在一条穿过院子的捷径里。他们中的两人被覆盖，另一人去游泳池和桑拿房是开放的。走廊低矮的木墙，限制了庭院，他们的屋顶直线形成一个封闭的地平线，让人欣赏广阔的超越。

The landscape The natural grasses of the Patagonian plains are left to grow wild all around the place. In the courtyard some big erratic boulders, stand to enforce the sense of emptiness and capture the low light of the sun at dawn or dusk. The wild landscape of the Patagonian plains covers also the roofs of the buildings. The roofs concrete slabs are coated with the same synthetic asphalt membrane and a carpet of wild grasses 2 feet high. There are three wooden corridors, that connect the three buildings in a shortcut that crosses the courtyard. Two of them are covered, and other one, which goes to the pool and sauna house is open. The corridors low wooden walls, put a limit to the courtyard, and their roofs straight line form a close horizon that let one appreciate the vastness beyond.

 © Guy Wenborne

盖伊·温伯恩

室内设计在我们的建筑工作中可能无法被理解。巴塔哥尼亚日新月异的灯光通过窗玻璃的垂直切割顺序进入大楼。然后围绕着大的混凝土或木制的柱子，沿着天花板滑行，在混凝土板下很好地悬挂在木架上。光线被遮住暗木家具的织物的鲜艳颜色所捕捉。这座坚固而斯巴达式的几何家具是由工地上的木匠制作的，这些家具是用死的本土大木块制成的，这些家具是从仍在巴塔哥尼亚低地靠海而生的伦加树木的大片森林中回收的。在所有的家具中，手工完成的工作是可以欣赏的。这是男女手艺的成果。不是一个巨大的设计努力或抛光工业质量的产品。客人的卧室也有一些木枕木(大长木片)垂直从地板到天花板，以支撑厚厚的木制长椅和桌子，珠子头，并使隔间与浴室，更友好，但仍然隔音。

The interior design The interior design might not be understood apart of our architectural work. The ever changing light of Patagonia enters the building through the sequence of vertical cuts of the windowpanes. Then it surrounds big concrete or wooden pillars, and slides along the ceilings wooden trellises that hang well under the concrete slab. The light is captured by the bright colors of the fabrics that cover the dark wood furniture. The strong and Spartan geometric furniture, was made by carpenters at the job site, out of big pieces of dead native wood, recovered from big forests of Lenga trees that still thrive close to the sea in the Patagonian low lands. In all furniture, the work done by hand can be appreciated. It is the fruit of men and women craftsmanship. Not the product of a big design effort or of polished industrial quality. The guest bedrooms have also some wood sleepers (big pieces of lenga wood) running vertically from the floor to the ceiling, to support thick wooden benches and tables, the beads head, and make the division with the bathroom, more friendly but still soundproof.

 © Guy Wenborne

盖伊·温伯恩

所有的起居室和餐厅区域，再加上二楼的两间大房间-温室，可以在阳光下晒太阳而不需要待在外面-或者音乐室，可以用很多不同的方式使用，而且家具几乎适合任何地方。

Flexibility All the living rooms and dinning room areas, plus the two big rooms up in the second floor -the conservatory, for basking in the sun without the need to stay outside- or the music room, can be used in many different ways, and the furniture fits almost in any place.

独特的施工方法。这些柱子和屋顶首先是为了保护工人免受恶劣天气的影响而做的。然后，这个结构被工业用的胶合板围起来，很容易挂起来。一旦面板被固定在板子上，它们就被涂上沥青膜，而沥青膜以卷筒的形式出现，并粘在面板上。PVC双层玻璃窗随后被吊死。建设过程是一个连续的工程序列，允许许多不同的团队同时工作。

Unique construction methods used. The pillars and roof were made first to protect the workers from the bad weather. Then the structure was enclosed with plywood panels industrially made, and very easy to hang. Once the panels were fixed to the slabs, they were coated with the asphalt membrane, that comes in rolls, and is glued to the panels. The PVC double glazing windowpanes were hanged afterwards. The construction process was a continuous sequence of works, that allowed for many different teams to work simultaneously.

 © Guy Wenborne

盖伊·温伯恩

节能功能。雷莫塔有许多保存功能。雷莫塔舍弃一切看似不必要的东西，不仅为了环境友好型，而且也为了精神。一位智利诗人说，重要的不是每晚打开的灯，而是曾经关灯的灯，这样才能记住光的…。。雷莫塔采用低耗电灯泡，同时采用黄色遮阳、低耗水浴室配件、洗衣系统、建筑物绝缘性好、对太阳的正确定位为被动能源、节能取暖等措施来改善其色彩质量。等等，眼镜有紫外线保护膜等。

Energy saving features. Remota has many saving features. Remota spares all what seems unnecessary to refine travelers, not only to be environmentally friendly, but for the sake of the mind. A chilean poet says, That what is important is not the light That one turns on every night, But the light that one once turned off, to have a memory of light…. Remota uses low consuming light bulbs, while improving its color quality with yellow shades, low consuming water bathroom fittings, laundry system, Good insulation of the building, and the proper orientation to the sun as passive energy, saves energy for heating etc. etc., The glasses have a UV rays protection film, etc.

最大的挑战。使独特的文化和性质的地方出现在酒店内的富丽堂皇，给客人和终生的体验。我们是如何克服这些挑战的。带着对工作的爱和关心，以及对创造工作的人的关爱。有了一些专业知识，耐心之海。一种激情。

The biggest challenges. To make what is unique in the culture and nature of the place to appear in plenitude inside the hotel, to give guests and experience of a lifetime. How did we overcome those challenges. With love and care for the work, and for the people who makes it. With some expertise, a sea of patience. An passion.

意料之外的人必须敞开心扉，才能看到意外的好一面，这通常比我们预期的要好。

The unexpected One has to be open to see the good side of the unexpected, that usually is better than what we expect.

Gern del Sol，建筑师，2006年3月

Germán del Sol, architect March, 2006

 © Guy Wenborne

盖伊·温伯恩

Architects Germán del Sol

Location Puerto Natales, Natales, Magallanes y la Antártica Chilena Region, Chile

Category Hotels

Design Team José Luis Ibañez, Architect, Francisca Schuler, Architect. Carlos Venegas, Architect.

Area 12000.0 sqm

Project Year 2006

Photographs Michael Turek , Germán del Sol

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