架构师提供的文本描述。竞争

Text description provided by the architects. COMPETITION

塔米纳热水浴项目是2003年两级竞赛的结果.该进程第一阶段的目的是在城市规划方面协调有待进行的大型建筑干预措施。新的五星级酒店应该建在哪里？医疗中心的扩建应该设在哪里？新的公共热水浴应该如何从现场进入？该计划是投资和协调整个SFR。1.6亿新建筑和结构改造。

The project for the Tamina thermal baths is the result of a two-stage competition from 2003. The aim of the first phase of the process was to coordinate the large pending architectural interventions in terms of town planning. Where should the new five-star hotel be located, where should the extension of the medical centre be set, and how should the new public thermal baths be accessed from the site? The plan was to invest and coordinate a total of SFr. 160 million in new constructions and structural alterations.

 © Walter Mair

(WalterMair)

比赛的第二部分涉及设计项目的两大新建筑-酒店和热水浴。建筑办公室

The second part of the competition involved designing the project’s two major new constructions – the hotel and the thermal baths. The architectural office Smolenicky & Partner won the project for the Tamina thermal baths, Hilmer & Sattler and Albrecht Architects the project for the new hotel.

 © Roland Bernath

罗兰·伯纳特

景观状况

LANDSCAPE SITUATION

该度假村的城镇规划特色主要是大型有代表性的建筑，坐落在广阔的公园景观中。在这方面，度假村显然有别于Bad Ragaz村的身份。在贝莱波克会议期间，在靠近一个村庄的地方建造具有纪念意义的旅馆的原则成功地应用于瑞士阿尔卑斯山的一些地点。最重要的例子是因特拉肯、圣莫里茨和格斯塔德。在坏拉加兹，从贯穿高尔夫球场连接坏拉加兹和梅恩菲尔德的主干道上分出两个球囊。在新的项目中，热水澡被故意安置在通往度假村公共设施的库尔-德萨克上，如翻修后的温泉大厅、赌场和高尔夫俱乐部的新会议中心。沿着公园运行的第二条路一直是免费的，可以到达这三家大酒店，并散发出一种更私密、更平静的氛围。

The town-planning character of the resort is dominated by large representative buildings set in an expansive park landscape. To this extent the resort clearly distinguishes itself from the identity of the village of Bad Ragaz. During the belle époque this principle of building monumental hotels in close vicinity to a village was successfully applied to a number of locations in the Swiss Alps. The most important examples are Interlaken, St. Moritz and Gstaad. In Bad Ragaz two cul-de-sacs fork off from the main road that runs through the golf course connecting Bad Ragaz and Maienfeld. In the new project the thermal baths were deliberately located on the cul-de-sac accessing the resort’s public facilities, such as the new conference centre in the renovated spa spring hall, the casino and the golf club house. The second cul-de- sac running along the park has been kept free to provide access to the three grand hotels, and emits a more private and calmer atmosphere.

形式与外部空间

FORM AND EXTERIOR SPACE

建筑体积的形式不是独立的，而是从外部空间的包围中显现出来的。例如，在露天浴池的区域内，建筑物的体积向后退一步，将晒日光浴的草坪延伸到山脊的树木茂密的山坡上。视野延伸到现有的建筑物，被新种的树木所遮挡。客人们体验到一片森林和山坡融为一体的公园景观。

Instead of being freestanding, the form of the building volume emerges from the enclosing of exterior spaces. In the area of the open-air baths, for instance, the volume of the building is stepped back and opens out the sunbathing lawn to the wooded slopes of the mountain ridge. The view extends past the existing buildings, screened by newly planted groups of trees. The guests experience a park landscape that melts into woods and mountain slopes.

 © Roland Bernath

罗兰·伯纳特

尽管建筑风格紧凑，但主要的景观、公园般的氛围仍保持原貌.因此，这个度假村仍然以公园为特色。温泉大厅的主要入口设置在温泉浴池的视觉轴上，从主干道开始，标志着它作为公共设施的深度。

The predominant landscaped, park-like atmosphere remains intact despite the compact manner of building. Thus the resort remains characterized by its park. The main entrance to the thermal baths, the spa spring hall, is set on the visual axis of the cul-de-sac in order, from the main road, to mark its presence in the depth of the site as a public facility.

 © Roland Bernath

罗兰·伯纳特

建筑标准

CRITERIA OF THE BUILDING

塔米纳热水澡被明确地认为是大酒店文化的一部分。该项目的文化和美学特征既与瑞士传统，也与波罗的海沿岸的大酒店(如Heiligendamm)有着密切的关系。因此，建筑体积具有巨大的特征，以便作为与度假村内其他建筑物同等的机构而脱颖而出。同时，热水澡的目的是相对于温泉大厅几乎“城市”的石工特征。这就解释了热水澡白雪皑皑的木制品，让它成为了一个历史度假胜地建筑中的亭子般的特色。

The Tamina thermal baths is explicitly conceived as a part of the grand-hotel culture. The cultural and aesthetic identity of the project seeks an affinity to both Swiss tradition and the grand hotels of the Baltic coast, such as Heiligendamm. For this reason the building volume has a monumental character, in order to stand out as an institution equal to the other buildings in the resort. Simultaneously the thermal baths are intended to relativize the almost “urban” stonework character of the spa spring hall. This explains the snow-white woodwork of the thermal baths, lending it the pavilion-like character of the architecture of a historical holiday resort.

 © Roland Bernath

罗兰·伯纳特

这种使用显式度假建筑的策略在建筑的正式的椭圆形窗口中得到了强调。从里面看，窗户有超维画框的效果.椭圆相框在维多利亚时代风景如画的时代很普遍，本项目的目的是通过画面的姿态来具体表达对相对中立的景观的看法。

This strategy of using an explicit resort architecture is underscored in the building’s formally fanciful oval windows. Seen from the inside, the windows have the effect of over-dimensional picture frames. Oval picture frames were widespread in the Victorian era for landscape scenes, whereby the intention in the current project is to give specific expression to the view over the relatively neutral landscape by means of the gesture of the frame.

 Floor Plan

Smolenicky提供的文本

Text provided by Smolenicky & Partner Architecture

 © Roland Bernath

罗兰·伯纳特