本項目是一個酒店景觀升級改造項目，我們在仔細考察項目周邊環境及原有景觀風格之後，對景觀翻新改造提出了更高的要求：能夠對濱海景觀利用到極致 ”。 三亞魯能JW萬豪酒店位於海南省三亞市的大東海灣旁。大東海沙灘平坦細軟，緩緩延伸，長達千米。“水暖沙白灘平”早已使大東海蜚聲海內外，成為冬泳避寒勝地，是三亞開發較早、較成熟的海濱度假區。
SHUISHI: “This is a hotel landscape upgrading project. Having carefully examined the surrounding environment and the original landscape style of the project, we put forward higher requirements for the renovation of the landscape: maximizing the utilization of coastal landscape.” JW Marriott Hotel Sanya Dadonghai Bay is located by the Dadonghai Bay, Sanya City, Hainan Province. The Dadonghai beach is flat and soft, stretching gently up to a kilometer long. As a winter resort, Dadonghai has been famous at home and abroad for its “warm water, white sand and flat beach”. It is an early developed, mature seaside resort in Sanya.
▼景觀設計將近海面完全向遊客打開，將周圍環境與酒店景觀相融合，以“跌水”儘可能消除高差，使視野開闊 Open the offshore area completely to tourists, with the hotel landscape integrated with the surroundings, eliminate the height difference with “water fall” to broaden the field of vision.
▼總平面圖 Plan
▼酒店改造鳥瞰圖 Aerial view of hotel reconstruction
原場地雖臨海但現狀空間形態沒有形成和海景的聯繫，植物甚至阻隔了看海的視線。本場地對於設計有著極大的限制，設計首要解決的就是原有場地對於酒店環境的遮擋。在打開的觀海面基礎上，我們在思考以怎樣的方式形成一種新的設計語言，摒棄掉所有實物，將大自然的畫卷完全展開給觀光者。設計希冀有一種自然的、非實質的、動態的構築物來與海面相融合。
Although the original site is near the sea, it keeps no connection with the seascape because of the existing spatial form. The plants have even blocked the sight of the sea. This site has great limitations on the design. The primary issue of the design is to solve the obstructed view from the original site in the hotel environment. On the basis of the open view of the sea, we are thinking about how to form a new design language, to discard all objects and unfold a full picture scroll of nature to the tourists. With the design, we hope to have a natural, immaterial, dynamic structure to merge with the sea.
” 身在海邊，如果我們不能感受到海風的吹拂，視線不能延續直到海面，這樣的場所就不具有臨海的特質，我們就需要重新找到和大海對話的方式。”
“While we stay by the sea, if we can’t feel the breeze of the sea, or extend our sight to the sea, such a place won’t have the seaward characteristics. We need to recover a way to talk to the sea.”
創造應順應海邊自然要素的場所形態，讓人和海形成互動。最終設計師在海風中尋求到了靈感，通過動態的、不規則的線條來呈現這樣幾字形的、彷彿凝固了的海風構築物。
The creation should conform to the spatial form of the natural elements of the seaside, letting people interact with the sea. Finally, the designer is inspired by the sea breeze to present a zigzag shaped, frozen breeze-like structure with dynamic, irregular lines.
▼由動態的、不規則的線條構成的海風構築 Structure with dynamic, irregular lines.
景觀設計上以分析海邊的風、光環境為基礎，為了把視線引向海面，設計在場地和海面之間設置了鏡面水景。海風型的藝術構架就存在於這水光之間。
The landscape design is based on the analysis of the wind and light environment of the seaside. To guide the sight line to the sea, we have designed a mirror-like waterscape between the site and the sea. The see breeze-like artistic structure lies in the water and light.
靜止的藝術構架被水面倒映，使靜態的空間有了動態的意味，在這裡，抽象的海被轉化成變幻的光、影、風，形在人的坐、臥、行之間，彷彿重新看到了大海的樣子。
The static artistic structure is reflected on the water surface, giving a dynamic sense to the static space. Here, the nonobjective sea is transformed into variable light, shadow and wind, as if people see the sea again when sitting, lying, and walking.
▼靜止的藝術構架倒映在水面上 The static artistic structure is reflected on the water surface.
▼藝術構架模型在真實環境中的演示 Demonstration of the artistic framework model in real scenery.
▼燈光模擬海洋生物發光的自然現象，讓海的意境更加強烈 Lighting simulation of the natural phenomena of marine bioluminescence, which makes the artistic conception of the sea more intense.
▼藝術構架模型展示 Demonstration of the artistic framework model
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