© Kaori Ichikawa

(Kaori Ichikawa)

架构师提供的文本描述。位于志贺县森山市的西特·玛丽娜酒店，不仅位于社区的中心区域，而且还假装是它创造的催化剂。因此，我们思考如何通过设计未来的建设来运作，导致建设和重建项目，除了拥有居住在城市自然和历史上的技术和材料，他们将人们连接到这个自然的生活和风格的概念。

Text description provided by the architects. The Setre Marina Hotel located in Moriyama City, Shiga Prefecture looking at the Lake Biwa, is not only in the center area of the community but also pretends to be its catalyzer for its creation. Therefore we thought how trough design Future constructions could be operated, leading to construction and reconstruction of projects that besides having technology and materials that dwell in nature and history of the city, they would connect people to this concept of natural life and style.

 © Kaori Ichikawa

(Kaori Ichikawa)

在湖泊与陆地和城市之间的过渡地带，我们可以看到20世纪的发展所引起的各种变化，甚至海堤也已经失去了原来的形状。在这片土地上，湖的改造留下的水体把城市和碧瓦湖从古代连接到今天，把人和自然联系在一起。

The transition area between the lake and the land and urban area, we can find a variety of changes caused by the development of the 20th century where even the seawall has lost its original shape. In the land endorheic bodies of water left by the transformation of the lake links the city and the Biwa lake from its ancient Times to the present day, connecting people with nature.

 © Kaori Ichikawa

(Kaori Ichikawa)

我们试图随着项目的发展，应用生态系统的概念，并将建筑融入其中。通过雨水创造的两个小内湖，像一个特定地点的生物群落生态在东侧和西侧涌动，内涵，创造出与自然生态相连接的栖息地，在东侧，种植林地培育，希望在未来它会成为一片森林，在此同时，建筑被打断，在自然建筑和建筑之间，建筑是建筑的对象。

We tried to as the project developed, to apply the concept of ecotone and blend the building within it. Created through rainwater, two small inner lakes surge like a site-specific biotope ecology in the east and west side, the intension, to create dwells that connect with the natural ecotone of the site, in the east side, planted woodlands nurture, in hopes that in the Future it would become a forest, the building in the meantime as interrupted gradations, between the natural and the structure that identifies the building as architecture, as an object.

 © Kaori Ichikawa

(Kaori Ichikawa)

折叠板，如板，是由斜柱支撑的，目的是在看不到结构梁的空间中，在其平台上形成一个生长屋檐的地方，并延伸到一个绿色的平台，从而控制太阳辐射，只有在下面的空间中才能看到这种板的形状，而这些空间暴露在内部空间中。这座建筑被像平台一样的石板所包围，并不断地被大自然所包围。由于思考，风从碧瓦湖穿过内部空间，在南北并排排列的同时，改变了由东向西延伸的带状墙的角度。

Folded plate like slabs are supported by the oblique pillars aiming at the effect of space where structural beams are not to be seen, creating in its platform a place to grow eaves that also extends to create a green platform controlling in this way solar radiation, this slabs shape can only then be perceived in the spaces below where is exposed into the interior space. The building, surrounded by its slabs that are like platforms becomes surrounded continuously by nature. As a result of thinking, wind from Lake Biwa to go through the interior space, and are arranged side by side in succession in the north-south, while changing the angle of the wall of the strip extending from east to west.

 © Kaori Ichikawa

(Kaori Ichikawa)

除了钢筋混凝土建筑结构外，还探讨了一种已工业化的未完成材料的概念，并试图尽可能利用该地区能够收集到的天然材料，继承过去日本的传统方法、技术和传统，然后将它们应用于当代建筑中。

In addition to the architectural structure made of reinforced concrete, it is explored the idea of an unfinished material that has been industrialized, also trying to use as much as possible the natural materials that can be Collected in the region, inheriting traditional methods, technologies and traditions of past Japan, then applying them in contemporary architecture.

 Hotel Ground Floor Plan

酒店底层规划

隔墙的结构采用了原始的和传统的抹灰和土的方法。南北核外墙，是用灰泥和土混合而成的，也叫德国墙，是现代太朔建筑中常见的一种方法，是日本人在墙上采用的一种方法，使磨粒大小的灰泥或土在墙上的应用成为可能，尽可能地粗糙。颗粒的大小，使它看起来尽可能像多萝山(潮湿的土壤山)。

The structure of the partition walls where built using the primitive and traditional process of plastering and soil. The outer wall of the north-south core, is made by mixing mortar and soil also called German wall which are common in modern architecture of the late Taisho, it’s the adopted method of Tsukeru on the wall, a Japanese technic that makes possible the appliance of roughed grain sized plaster or soil on the wall, roughing as much as possible, the grain size to make it look as much as possible like Doroyama (wet soil mountain).

 © Kaori Ichikawa

(Kaori Ichikawa)

在房间入口处的地板上采用了三瓦土地板，墙壁在空间上随处可见，它被选择为Otsu墙，一种来自大津地区的灰泥墙，中间墙和灰泥墙。墙的修整是薄弱的，不均匀和不稳定的，但这将创造机会让其他人参与和参与这座建筑的改变。通过在这个项目中使用植物，我们通过土壤、自然光、水、风、树木提供了大量的接触；例如声音和气味，这些特定于该地区的元素被纳入了建筑中，聚集在酒店里的人们可以感知到生态环境的存在以及建筑与自然之间的过渡。

In the floor of the room entrance was applied Sanwa dirt floor, the finish of the wall everywhere in space, it was selected Otsu wall, a style of stucco wall provinient from the region of Otsu and, intermediate wall, and plaster wall. The finishing of the wall is weak, not homogeneous and not stable, but that will create the opportunity for other people to be involved and participate in the changing of this building. By using plants in this project, we provide a lot of contact through soil, natural light, water, wind, trees; such as sound and smells, these elements specific to the region and incorporated in the architecture, can be perceived by the people that gather in the hotel aware them to the presence of the ecotone and the transition between building and nature.

 Setre Diagram

塞特图

风(风)

Wind (wind of it)

与酒店有关联的小教堂的想法。它被假定是一个充满了从碧瓦湖吹来的强烈自然风的空间。因此，我们试图把这个项目作为自然风演奏的乐器，一种弦乐器，就像希腊神话中的弦乐器，风之神吹着风，我们，风琴的存在，这一次我知道。这是对风琴的解释，这是一个当风吹过时播放声音的空间。

The idea of a chapel associated with the Hotel. It is assumed a space filled with strong natural wind blowing from Lake Biwa. Therefore, we seek to make the project as an instrument played by the natural wind, a stringed instrument like the one present in Greek mythology, the god of the wind Aeolus blows the wind, we, the presence of the Aeolian harp that tuneful this time I know. This is an interpretation of the Aeolian Harp, a space that plays sound when the wind passes through.

 © Kaori Ichikawa

(Kaori Ichikawa)

或者产生风速的内部空间，在重复分析的同时，通过模拟和模型，开始对建筑形式的细节进行考察。以国产落叶松LVL为结构材料，将结构胶合板置于框架外，从而发挥水平力。计划作为上气道的内部空间，我把91毫米的螺距0.72mm的SUS钢丝在那里。

Or produce a wind speed of how the internal space, while repeating the analysis by simulation and model, began to inspect the details of the opening and architectural forms. To create a Frame Structure continuous curved material by domestic larch LVL as a structure, I put the structural plywood to frame the outside, thereby play a horizontal force. Plan as an upper airway of the internal space, I put in a 91mm pitch of 0.72mm SUS wire there.

 Chapel Ground Floor Plan

礼拜堂底层图则

然后卡门涡旋由气流围绕弦产生，弦开始共振作为激发力它们，声音是由共振产生的，在墙的构造上是木制的围护结构。它是厚度2.5mm的思想胶合板内部尽量薄，以增加振动。此外，该仪器还可以通过改变打开和关闭东方和西部的开口部分的程度来控制风力，并改变音调。

Then Karman vortex is generated around the string by the air Flow, the strings began to resonance as excitation force them, sound is born to resonance in the construction of the wall is a wooden enclosure. It is the thickness of 2.5mm thought plywood inner try as thin as possible to increase the vibration. Further, the instrument can be used to control the force of the wind by changing the degree of opening and closing an opening portion provided on the east and west, and change the tone.

 © Kaori Ichikawa

(Kaori Ichikawa)

凹进这个仪器，甩掉耳朵的人。这是一个平静的空间，在任何时候都能回荡碧瓦湖的海浪，但空间中的风力开始流动，大风开始听到，音调会根据风向和风速变化。当风伴随着地球表面摩擦力能量的变化和地球的吸引力以及周围山脉和碧瓦湖的非均匀太阳能的关系而出现时，通过插入这座建筑，人们到目前为止，这是因为你可以想象到各种无法察觉的自然力量。

Dent enter into this instrument, shed the ear people. It is a calm space to echo the sound of the waves of Lake Biwa at all times, but the wind strength in the space begins to flow, high wind began to hear, tone will change depending on the direction and speed of wind. When the wind that occurs accompanied by changes by the energy of the friction force of the earth's surface and attraction of the Earth and relations of a non-homogeneous solar energy of the surrounding mountains and Lake Biwa appear as sound, by interposing this architecture, people so far This is because you can imagine a variety of natural forces that could not imperceptible.

Architects Ryuichi Ashizawa Architects

Location Mizuhocho, Moriyama, Shiga Prefecture, Japan

Category Hotels

Area 1348.0 sqm

Project Year 2013

Photographs Kaori Ichikawa