© Akshat Bhatt

(Akshat Bhatt)

架构师提供的文本描述。传统的印度建筑通常与装饰细节有关，更具体地说，在拉贾斯坦邦，这种建筑通过与该地区的财富和文化相共鸣的技术来暗示要塞和宫殿。通常，人们以一种肤浅的方式与传统接触，其方式是有序的、正交的，而且往往是当代对印度-撒罗塞尼式建筑的看法。建筑经验是关于创造记忆的，通常是为了影射传统建筑，以创造持久的形象，同时又采用普遍的审美方式。从该地区汲取的技术、技术和建筑方法在主流进程中迷失了方向。在此背景下，玛娜·拉那克普尔的设计试图在全球范围内展示工作室的地域表达议程，同时又具有环保意识，而不采用俗套的干预和可预测的建筑技术。探讨了地方和区域的表达形式，将其作为重要的资源，以创造一种与未来相结合并具有渐进性的架构。

Text description provided by the architects. Traditional Indian architecture is typically associated with ornamental detailing, and more specifically in Rajasthan, the architecture connotes the forts and palaces through techniques that are resonant of the wealth and culture of the region. Typically, people engage with tradition in a superficial manner in ways that are ordered, orthogonal and more often than not, a contemporary take on Indo-Sarcenic architecture. Architectural experience is about creating memories, and often, in an attempt to insinuate traditional architecture in order to create a lasting image while adopting a universal aesthetic, intervention ends up being kitschy and pastiche. Techniques, Technology and methods of construction that draw from the region and are ‘of the earth’ get lost in the midst of mainstream processes. Within this context, the design of Mana Ranakpur attempts to demonstrate the studio’s agenda of regional expression within a global context while being environmentally conscious, without adopting a kitschy intervention and predictable construction techniques. The local and regional forms of expression are explored as vital resources to create an architecture that engages with the future and is of a progressive disposition.

酒店坐落在拉那克普尔省生动、迷人的乌代普尔山谷，酒店作为一个公共空间，有一个服务密集的项目，旨在庆祝秩序和不和谐、连续性、稳定性、缓慢的时间体验和作为一种沉醉的民族精神的乡土风情。这些价值观是通过建筑干预、形式和物质上的发挥来庆祝的，在这个季节和景观都发生了明显变化的地区，森林从郁郁葱葱变成了光秃秃的干旱，春天特苏树盛开时，山丘变红了。在山峦之中，前面有一条清澈而浅的河流，距离著名的贾恩神庙有一公里远，毗邻一座重建的老哈维利(Haveli)，“客户简报”呼吁建立一家精品酒店，为游客提供四季独特、标志性的体验。通过这种明显的严酷，极端的天气和惊人的景观，白话作为一个裸露的画布，形成了一个坚忍的背景为这戏剧性的季节变化。在当地的环境中，作为一个被填海的河床，地下水位在600毫米，这个地点是极具挑战性的。虽然当地的遗址以紧张和复杂的方式以古橄榄石纪念碑或病态住宅的形式或作为分隔农田的边界墙的形式代表着实心的石头，但酒店是在节俭的石砌石中令人回味地建造的，这种砖石在当地可以作为永恒、空间和对比、新旧和轻与重的表达全年不断变化的景观的一种表现。

Sited in the vivid, enchanted Udaipur valley in the Ranakpur province, the hotel as a public space with a service-intensive program is conceived to celebrate order and dissonance, continuity, stability, the experience of slow-moving time and the vernacular as an imbibed ethos. These values are celebrated through an architectonic intervention, form and material play in a region with a stark change of seasons and landscape, where the forest changes from Lush Green to bare and arid and the hills turn red during spring as the Tesu trees come to full bloom. Amidst the hills, with a clean, shallow river in the front, a km away from the famed Jain temple and adjoining a reconstructed old haveli, the client brief called for a boutique hotel that offers a unique, iconic experience for travelers in all seasons. Through this apparent harshness, extreme weather and striking landscape, the vernacular acts as a bare canvas and forms a stoic backdrop for this dramatic change of seasons. Amidst the vernacular milieu, the site was extremely challenging as a reclaimed river bed with the water table at 600mm. While local sites represent solid stone in an intense and intricate manner in the form of Paleolitic monuments or pathological homes or as boundary walls that segregate the farmlands, the hotel is evocatively fabricated in the frugal stone masonry which is locally available as an expression of timelessness, space and contrast, old vs new, and the light vs heavy expressing the changing landscape throughout the year.

 © Akshat Bhatt

(Akshat Bhatt)

当建筑物被拆开时，通过创建建筑物的阅读来向游客介绍设计意图，允许瞬间和空间干预。采用分层的方法来恢复集体记忆的概念，而重复则是用来建立对比和差异的一种技术。该遗址的规划方式是翻转土地，因为它向一边的河流开放，同时与旧的哈维利和寺庙形成对比。这个计划是从由来已久的9x9网格中衍生出来的，网站上点缀着点，然后就会变成树。正常状态是通过网格实现的，并利用偏差来打破秩序。通过场地的线性度将网格与南北轴线对齐，一个1.8米宽的横条用于行人的移动，加强了场地的线性规划，并带来了很强的秩序。定居点沿着这些直线墙发生，从外面直接看到风景，帮助游客在场地内定位。这些不同层次的叠加建立了建筑(常量)和景观(通过变化而运动)之间的动态，并导致偶遇和休息的时刻。一个巨大的，现有的布达佩斯树，其独特的特点，大扩展约25-30米的迪亚，被认为是一个焦点的线形视野。视图和运动都指向这棵树，这是一种传统的树的残馀，它会在一棵大树下为一个公共空间提供阴影。与主流酒店不同的是，一些客房还使用传统的jharokha(悬垂的封闭阳台)的现代玻璃化的解释，向外看这个公共空间，而另一些房间的天花板则仰望着树的下方。

Introducing the design intent to the visitor by creating a reading of the building as it is unraveled, allows for moments and spatial intervention. Layering is adopted to restore the notion of the collective memory, and repetition is used as a technique to establish the contrast and difference. The site is planned in a manner that upturns the land, as it opens up to the river on one side, while establishing contrast with the old haveli and the temple. The plan is derived from the time-honored 9x9 grid and the site was dotted with points that would then go on to become trees. Normalcy is achieved through the grid, and deviations are used to break the order. Aligning the grid with the north-south axis through the linearity of the site, a 1.8 m wide sliver is fashioned for pedestrian movement that reinforces the linear planning on the site and brings in a strong order. Settlements happen along these linear walls, crafting straight views to the outside, helping the visitors orient themselves within the site. Superimposition of these various layers establish a dynamic between architecture (constant) and the landscape (in motion through change) and leads to chance encounters and moments of rest. A huge, existing Budh tree on the site with its unique characteristic of a large spread of about 25-30 m dia, is identified as a focal point for the alignment of linear vistas. Views and movement are orientated towards this tree, which is a remnant of the customary tree-chaupal that would provide shade under a large tree to a communal space. Unlike mainstream hotels, some rooms also look out into this public space using a modern, glassy interpretation of the traditional jharokha (overhanging enclosed balcony), while other room ceilings look up to the underside of the tree.

 Ground Floor Plan

为了给活动路径赋予视觉清晰度，并在人们走过现场时创造景观和开阔视野，通过自然缩小游客的距离，支撑着象征传统的随机瓦砾墙，为运动通道提供了规模，并采用了结构策略使柱子消失。狭小的线性空间通过高度被夸大，同时与时间形成对话，总是允许游客沿着砖墙行走，从而促进定向。一个线性楼梯被包裹和推出的外观，以鼓励游客走过，进一步加强景观。水体分散在这个回路中，形成从建筑物到地面的水环，并在形成交汇点的同时调节气候控制。与天空，季节和地球的材料，景观是作为一个填充到建造的体积。倾斜的屋顶带来了天空，并表达了三维直接的看法，而墙仍然是永恒的，因为其他建筑物采取支持墙临时干预，使形式和技术之间的建筑对话。

In order to endow a visual clarity to the movement path and to create vistas and open up views as one walks through the site, Buttressed random rubble walls that are symbolic of tradition lend scale to the movement passage by naturally tapering away from the visitor and structural tactics are employed to make the columns disappear. The narrow, linear sliver of space is exaggerated through height while creating a dialogue with time, always allowing the visitor to walk along a masonry wall, hence facilitating orientation. A Linear staircase is wrapped and brought out on the façade to encourage the visitor to walk through, further enhancing the vista. Water bodies are interspersed through this loop that create the water loop from the building to the ground and temper the climatic controls whilst creating points of interchange. Engaging with the sky, the seasons and materials of the earth, landscape is brought as an infill into the built volume. The sloping roof brings in the sky, and expresses three-dimensional direct views whilst the wall remains timeless, as other edifices take support in the wall through temporary interventions that enable an architectural dialogue between form and technique.

 © Akshat Bhatt

(Akshat Bhatt)

为了通过减少交通来提高环保意识，当地的材料和人力决定了建筑干预；只有无法获得的东西是预制的，而且是从外面运来的。据当地的游客介绍，当地采用了典型的石砌和砂石地板材料调色板。在大多数情况下，当地的拉贾斯坦尼工匠和建筑工人被雇用以扎根于该地区及其景观的方式进行建筑。结构钢是一种寿命较长的材料，可减少静载。

In order to be environmentally conscious by reducing transportation, local material and manpower dictated the architectural intervention; only what was not available was prefabricated and brought from the outside. Apprising the visitor of local ethnicity, an archetypal regional material palette of Stone Masonry and Sandstone floors has been adopted. For most part, the local Rajasthani craftsmen and construction workers were employed to build in a manner rooted in the region and its landscape. Structural steel has been used as it is a long life span material, reducing dead load & thereby overall material consumption. The concrete consumption is insignificant for a building of this type and size. The spanning system is made with locally available kashia stone- a sandstone that can span up to 3 meters and trusses are used to support it. Being in seismic zone 2, a lean, vernacular method of creating structural stability is adopted that allows for the creation of large spans that are well-optimised by the nature of the space. The steel joists that hold up the Kashia slabs are visible within the guest rooms. The main load bearing wall of the hotel cuts through the corridor one side, in contrast with the fabric panels on the other side. An acoustic ceiling also reminisces the perforations while cutting doing ambient sound.

雨水被收集起来，来自污水处理厂的灰色水被用来灌溉作为景观一部分的坚硬的当地树木。在施工过程中，避免了采伐树木，并从挖掘地基过程中积累的废料中，构建了外部硬景观，并将其回收利用。一个独特的暖通空调系统是一个重要的组成部分，它使用地球冷却、蓄热和置换通风来降低能源消耗。虽然传统的空调系统消耗了建筑能耗的40%，但除了能耗较低外，该系统还确保了更好的室内空气质量，避免了循环利用。水和空气在不同的开放循环中循环，空气从干燥的三明治屋顶之间排出。从地面出现的塔楼有助于将空气输送到室内，并作为建筑表现的一种手段，使人想起拉贾斯坦邦的传统堡垒。多层玻璃被用来产生气流和过滤阳光。通过玻璃传递的最小热量被用来诱导置换通风系统。雅利是传统的拉萨萨尼石贾利斯与丝状的唤起，被重新在乙烯基，作为一个概念的设备过滤光和空气的舒适性。

Rainwater is harvested and Grey water from the sewage treatment plant is used to irrigate the hardy, local trees that are a part of the landscape. During construction, tree-cutting was avoided and the external hardscape is constructed and recycled from the waste materials that was accumulated during the digging process of the foundation. An exclusive HVAC system is developed as a significant element; a system that uses Earth cooling, Thermal Storage and Displacement ventilation to reduce energy consumption. While conventional air-conditioning systems consume 40% of the energy used in a building, apart from lower energy consumption, this system also ensures better indoor air quality and avoid recycling. Both water and air circulate in distinct open loops and air is exhausted from in-between the dry, sandwiched roof. Towers that emerge from the ground help to transfer air to the interiors, and work as a means of architectural expression that is evocative of the traditional forts of Rajasthan. Multiple layers of glass are used to generate draughts of air and to filter sunlight. The minimal heat transmitted through the glass is used to induce the displacement ventilation system. Jaalis that are evocative of traditional Rasjasthani stone Jaalis with filigree are recreated in vinyl as a notional device to filter light and air for comfort.

 © Akshat Bhatt

(Akshat Bhatt)

白天进入建筑物的日光是以一种避免白天使用人工光线的方式进行的。夜光让艺术画廊产生共鸣，所有的灯光都是从顶部发出的，暗示着天空、雅利或透明的玻璃。景观照明是清理杂乱，并被从别墅和酒店建筑借来的灯光照明。悬挂式屋顶用于从村舍下弹跳生命，其总体意图是有效地协调照明，使之与运行中的电缆保持一致，没有锐利的渲染。来自西方的光线是一种戏剧性的，温暖的黄色，手工艺在不同的房间里的一系列经验，而明亮的南光是用来把发光带入室内空间。

Daylight ingress into the building is ensured in a manner that eliminates the use of artificial light during the day.  Night lighting resonates that of an art gallery; all lighting is from the top with a hint of the sky, the jaali or the clear glass. The landscape lighting is de-cluttered, and is lit with borrowed light from the cottages and the hotel buildings. The overhang roof is used to bounce life from under the cottage and the overall intent is to efficiently orchestrate lighting in line with the running cables with no sharp rendering. Light from the west that is a dramatic, warm yellow, crafts an array of experiences in the different rooms, while bright southern light is used to bring in luminosity into interior spaces.

 © Akshat Bhatt

(Akshat Bhatt)

一个最小的调色板，石头，玻璃，钢和乙烯基，不会分心太多的表面，是采取的建筑是强烈的和裸露骨在同一时间。混凝土采用最小值，硬边与木材温热对比，结构体系/施工技术以尽可能少的包覆形式清晰地表达出来。作为对70年代印度现代的一种帽子顶端，坚固的，最小的家具在橡胶树和玫瑰木镶嵌作为插入，旨在反映酒店的环境关切。在穿孔的对比圆形图案也模仿和表达自己的意图，在室内装饰，亚麻布和家具。为了融入当地的工艺和文化，家具来自当地的工匠和工匠。

A minimal palette of stone, glass, steel and vinyl that is not distracted by too many surfaces is adopted to craft an architecture that is intense and bare-boned all at the same time. Concrete is used to a minimum, hard edges are contrasted with timber warmth, and the structural system/ construction techniques are expressed clearly with as little cladding as possible. As a hat tip to the 70’s India modern, the solid, minimal furniture in rubberwood and rosewood inlay as inserts is designed to reflect the environmental concerns of the hotel. The contrasting circular pattern in the perforations also mimics and expresses itself as an intention in the upholstery, linen and furniture. As an attempt to blend in the local craft and culture, the furniture is sourced from local artisans and craftsmen.

就像丛林中的温室一样，玛娜·拉那克普尔试图通过挖掘嵌入在时间里的各种层来重建这个被发现的遗址。它植根于地域性和集体记忆，通过它的建筑，它创造了界面，这些界面不仅仅表现为丝线或华丽的装饰，而是作为时间的反映。

Like a glasshouse in a jungle, Mana Ranakpur attempts to recreate the site as it was discovered, by unearthing the various layers that have been embedded in time. Rooted in regionality and collective memory, through its architecture, it creates interfaces that are expressed not as mere filigree or ornate decoration, but as a reflection of time.

Architects Architecture Discipline

Location Ranakpur, Rajasthan 306702, India

Category Hotels

Principal Architect Akshat Bhatt

Design Team Sneha Gurjar, Nidhi Khosla, Stuti Sahni, Debbayoti Dey

Area 65000.0 ft2

Project Year 2013

Photographs Akshat Bhatt