The Service 1921 restaurant at Anantara hotel, Chiang Mai, Thailand, completed in 2013

If the essentially modern buildings designed by the Australian architect Kerry Hill, who died on 26 August aged 75, share a defining characteristic, it is surely the sensitivity they show to their surroundings.

澳大利亚建筑师凯瑞·希尔(Kerry Hill)于8月26日去世，享年75岁，他设计的这些本质上现代的建筑，如果有一个共同的特点，那就是它们对周围环境的敏感性。

Take Aman Tokyo, Aman Resorts’ first uncompromisingly urban project, which opened in December 2014 on the upper storeys of a steel-and-glass tower designed by Kohn Pedersen Fox, the sort of high-rise you could find in any thriving city. Alight in the hotel’s spectacular 33rd-floor lobby, however, and you could only be in Japan. The walls soar 26m, and like the ceiling, are lined in heavily textured translucent washi paper to give the impression that one is inside a gigantic lantern anchored by a zen garden of water, gravel and rocks.

以阿曼·东京为例，Aman Resorts的首个不妥协的城市项目于2014年12月在Kohn Pedersen Fox设计的一座钢制和玻璃塔楼的上层启动，这是在任何繁荣的城市都能找到的高层建筑。然而，在酒店壮观的33层大厅下车，你就只能在日本了。墙壁高耸26米，就像天花板一样，内衬着质地极强的半透明瓦什纸，给人的印象是，一盏巨大的灯笼被一个由水、砾石和岩石组成的禅宗花园锚定。

The rooms are similarly sensitive to their location: a sliding shoji screen separates the sleeping area from the bathroom, which is furnished with a deep square tub (or furo) of the same black basalt as its walls. If these are dark intimate spaces, the bedrooms are filled with light from a wall of glass, against which runs a long, low day bed and tokonoma, (the raised platform used to display flowers, ornaments and shrines in Japanese homes). There is tatami matting on the floor.

这些房间对它们的位置也同样敏感：一个滑动的鞋面屏风将睡眠区与浴室隔开，浴室配备了与墙壁相同的黑色玄武岩的深方形浴缸(或呋喃)。如果这些是黑暗的亲密空间，卧室里就会充满来自玻璃墙的光线，玻璃墙上有一张长长的低空床和托克诺玛(日本家庭用来展示鲜花、装饰品和神社的凸起的平台)。地板上有纹身。

Aman Tokyo hotel, Tokyo, Japan, completed in 2014

Aman东京酒店，日本东京，2014年竣工

The five lodges he designed for Amankora in Bhutan (2004-7) are more modest in scale, but no less of their place, though Hill was careful to point out in a rare interview that they are only ‘Bhutanese in spirit. We [did] not replicate their high decoration and colourful nature’. The lodges focused instead on incorporating traditional local materials, from nettle fibres and yak hair to stone and rammed mud. In an area prone to earthquakes the latter was not ‘a credible method’ by which to build a 21st-century hotel. ‘But of course you can do stabilised earth,’ he said, because ‘it is earthquake resistant’. Hill believed in the ‘contemporisation of materials’ as ‘important parts of the decision making’.

他为不丹的阿曼科拉(2004-7)设计的五个住所规模较小，但也不亚于他们的位置，尽管希尔在一次罕见的采访中谨慎地指出，他们只是“不丹精神上的不丹人”。我们没有复制他们的高装饰和色彩缤纷的自然。取而代之的是融合传统的本地材料，从荨麻纤维、牦牛毛到石头和夯土。在一个容易发生地震的地区，后者并不是建造21世纪酒店的“可靠方法”。“但你当然可以稳定地球，”他说，因为它是抗震的。希尔认为“材料的同时代化”是“决策的重要组成部分”。

Born in Perth in 1943, where he designed the City of Perth Library (2016, the state capital’s first major civic building in nearly half a century) and the State Theatre Centre, he grew up a keen Australian Rules footballer, training as an architect at the local technical college and then the University of Western Australia. He eventually left his hometown in 1971 when he secured a job in Hong Kong.

1943年，他出生在珀斯，设计了珀斯市图书馆(2016，该州首都近半个世纪以来的第一座大型市政建筑)和国家剧院中心。他成长为一名热衷于澳大利亚足球规则的球员，在当地技术学院和西澳大利亚大学接受建筑师培训。1971年，当他在香港找到工作时，他终于离开了家乡。

He subsequently lived in Bali, then Jakarta, and in 1979 moved to Singapore, where he set up Kerry Hill Architects having secured a commission from the hotelier Adrian Zecha. It was Zecha who went on to found Aman in 1988. The relationship was cemented when Hill later designed him a home, which Zecha said was the most comfortable he had ever lived in.

后来他住在巴厘岛，然后是雅加达，并于1979年搬到新加坡，在那里，他建立了克里山建筑师事务所，并从酒店经营者阿德里安·泽查那里获得了一笔佣金。是泽查在1988年创立了阿曼。希尔后来为他设计了一个家，泽查说这是他生活过的最舒适的地方。

Amanemu hotel, Shima, Japan, completed in 2016

天弥酒店，日本石马，2016年竣工

Hill went on to design nine Aman Resorts – among them Amansara in Cambodia; two in Sri Lanka; Amanemu, in Shima, 300km southwest of Tokyo; and Amanyangyun in China. Each was as conscious and sensitive as the next. Amenemu in Shima draws on the design of Japanese minka houses and their internal cedar screens that are crafted incorporating delicate fretworked panels known as kumiko – a technique that dates back to the 7th century.

希尔继续设计了9个AmanResorts，其中包括柬埔寨的Amansara；斯里兰卡的两个；在Shima的Amanemu；东京西南300公里；以及中国的Amanyangyun。每个人都像下一个一样有意识和敏感。鹿儿岛的amenemu借鉴了日本明卡房屋的设计，以及它们的内部雪松屏幕，这些屏幕采用了称为Kumikko的精密Freworked面板，这是一个可追溯到7世纪的技术。

Of course Hill’s practice, which remains based in Singapore with an office in Fremantle, Western Australia, did not work only for Aman. (Other significant hotels include the Sentosa, Singapore; the Sukhothai, Bangkok; The Datai on the Malaysian island of Langkawi; and the Desert Palm, Dubai.) Nor did it work exclusively in the hospitality sector: the Singapore Cricket Association Pavillion is theirs; and in 2012 it won the contract to design a new 100ha Royal Military Academy in Jordan, incorporating a theatre, mosque, museum and extensive sporting facilities.

当然，希尔的工作地点仍然是新加坡，在西澳大利亚的弗里曼有一个办事处，但并不是只为阿曼工作。(其他重要酒店包括新加坡圣淘沙、曼谷苏霍泰、马来西亚兰卡维岛的Datai和迪拜的沙漠棕榈岛。)它也不是只在酒店业工作：新加坡板球协会展馆是他们的；2012年，它赢得了在约旦设计一所新的100公顷皇家军事学院的合同，其中包括剧院、清真寺、博物馆和广泛的体育设施。

‘We like to think that each building is designed especially for its context and its place,’ Hill once said. ‘I feel that you need to perpetuate the traditions within the culture and material of a place through your architecture so that it is appropriate.’ It is a typically wise statement from an innately modest and private man, who saw his duty as an architect as somehow predetermined: ‘I am an architect like a dog is a dog. That’s my lot in life.’ §

希尔曾说：“我们希望每个建筑都是专为其环境和地点而设计的，”希尔曾经说过。“我觉得你需要通过你的建筑在文化和材料中延续传统，这样它是合适的。”这是一个非常明智的说法，来自一个非常谦虚和私人的人，他以某种方式把他的职责看作是一个建筑师：“我是一个像狗一样的建筑师是一只狗。这是我的一生。”

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