人们听过三亚的海，却不曾见过三亚的山。但阿那亚找到了三亚除海洋沙滩之外的另一种可能。在这里，雄厚硬朗的山峦，为这片山谷与外界的喧闹间树起天然屏障。远离熙攘的人群、热辣的海风，阿那亚为人们在海与山之间，觅得了这处安居之所——三亚的山。One must have heard of the sea in Sanya, but mighthave not seen mountains there.However, aranya finds another possibility besides thesea and beach in Sanya. Giant rugged mountains erectnatural barriers between the valleys and noiseoutside. Away from bustling crowds and the hot seawind, aranya finds for you a habitat of peacebetween the sea and mountains—Y Hotel.

Y hotel位于三亚的山北区，米白色的建筑隐藏于地下，客房屋顶与住区地面几乎齐平，这使得它非但不阻碍周边住区景观视线，反而成为社区独特的风景。去掉不必要，但不剥离韵味，在三亚的山，无论景观，建筑，室内，都祛除装饰主义，都以最少的语言表达出自然、内敛、质朴的侘寂感受，少而简，美而静。Y Hotel, located in Shanbei District of Sanya, is acreamy white building concealed underground, withits roof nearly aligned with the ground of theresidential area, which enables it to avoiddisrupting the view of surrounding residential areasbut become unique scenery in the community. Removingthe unnecessary while retaining artistic charm, YHotel eliminates ornamentation from landscape,architecture and the interior, and conveys anatural, restrained and simple sense of wabi-sabi,which is reduced and simplified but beautiful andquiet.

这是一种向内的表达，设计需要不断做减法，以最克制的姿态书写空间。而植物本身的姿态与光影，则是这个小空间里最好的叙事者。This is an introversive expression, as design needscontinuous subtraction and spatial creation with themost restrained attitude. Original shapes andshadows of plants are the best narrators in thesmall space.

Y hotel入口外是一片靠近社区环道的空地，抬头便可以看到群山近在咫尺。设计团队尝试把它还原成山的一隅，让植物与石头加入，建立起场地与周围山峦之间独有的关联。团队还首次尝试了大范围沙生植物设计。沙生植物拥有强大的根系、抗日灼、生命力强，可以适应三亚气候。色彩饱和度低、呈灰蓝色系的沙生植物群组合起来容易呈现设计想要的高级灰调质感，这样的质感也与空间寂静质朴的气质相匹配。At the entrance to Y Hotel, there is an opening closeto the ring road of the community, where one canlook up to see mountains in a very short distanceaway. The design team made an attempt to restore itto a corner of a mountain, and create a uniqueconnection between the opening and surroundingmountains by adding plants and rocks. The team alsotested the design of psammophytes in a large areafor the first time. Psammophytes characterized bysturdy roots, resistance to sunburn and greatvitality can adapt to the climate in Sanya. Whencombined together, psammophytic flora in desaturatedand greyish blue tones is easy to show the premiumgrey texture desired in design, which also matchesthe tranquil and simple temperament of the space.

确定好植物群的基调，植物设计师先后8次选苗，在效果图和模型上去梳理植物的组合方式，形态关系。为实现全面立体的感受，设计师还将植物效果制作成360°VR视频，以此交底沙生单位，在现场共同完成了我们想要的灰度色系植物栽植。After determining the tone of flora, plant designersselected seedlings 8 times successively, andanalyzed the way of their combination and relationsof their shapes on rendering drawings and models. Toget a comprehensive stereoscopic experience,designers also produced a 360°VR video of plantingeffects, which was given as technical disclosure tothe contractor of psammophytes, with whom wefinished planting vegetation in the grey colorscheme we desired on site.

白衣仙女之舞、银角麒麟作为骨架，光棍树、硬叶麒麟为中层绿量，美洲龙舌兰、银边龙舌兰、泷之白丝等多种龙舌兰点景，芙蓉菊和迷迭香作为铺底材料。毛茸茸的灰蓝和灰绿的色块交错，可以形成犹如油画般的质地。On the framework formed by kalanchoe beharensis andeuphorbia stenoclada, euphorbia tirucalli andeuphorbia xylophylloides compose green biomass atthe middle level; a great variety of agave americanasuch as agaue americana, agave angustifolia andagave schidigera decorates landscape; crossostephiumchinense and rosmarinus officinalis are paved on thebottom. The crisscross appearance of brushy greyishblue and green lumps of color can form a texturelike oil painting.

地面的铺装以砾石铺底，具有自然风化轮廓石头作为点景，它们与植被之间的边界模糊，仿若共生，一起演奏出别样的荒野风情。The ground is paved with gravel on the bottom anddecorated with stones, of which the contours arenaturally weathered. Stones and vegetation, withtheir boundaries blurred, seem to be symbiotic, andperform a unique song of wilderness.

主庭院位于建筑负一层，自北向南呈缓坡向下。从室内往外看是一幅可以将远山囊入的框景画面，那么，这幅画的内容要怎么填才能巧妙衔接起建筑、室内，将自然引入？建筑设计首先提出了诉求——它一定不是人们一来就会盯着看的空间。所以设计师首先排除了景观庭院的常规场景营造手法，比如种一棵有造型的大树，或者置一块有顿感的巨石，它们都显得过于抢镜，与空间格格不入。设计师希望人们在这个空间里看到的是一种特定的感知，而非某一个具象的物。The main courtyard is on the basement floor 1,sloping gently downwards from north to south.Looking outside in the building, one will see aframed picture of distant mountains. Then, how shallwe paint it to ingeniously link the building and theinterior and bring nature inside?First, architectural design required that it woulddefinitely not be a space to be stared at by guestson their arrival. Therefore, designers firsteliminated conventional methods for creating scenesin landscape courtyards, such as planting aspecially trimmed tall tree or placing a sturdy hugerock, which are too eye-catching and incompatiblewith the space. Designers hope that people will gaina certain perception rather than see a concreteobject in this space.

如果把空间比喻成乐章，它不是独奏，而是一曲和谐的合奏。当阳光从远处的山间冒出来，透过山峦，穿过树林，地上的野草随微风吹拂，光与影自然地蔓延进空间，安静而自然，这才是我们想要的画面。它没有绝对的焦点，但处处都是景。If the space is compared to a movement, it is not asolo but a harmonious ensemble. When the sun risesabove distant mountains, sunlight shines throughranges, forests and weeds on the ground swaying inthe breeze, and casts shadows naturally into thespace, which is the quiet and natural scene wedesire. There is no absolute focus but sceneryeverywhere.

确定空间质感后，便是寻找适合空间气质的树种。当看到白千层时，所有设计师都认为没有比白千层更适合这个空间的树种了。它的树皮呈多层薄剥落状，灰绿色的树叶纤细而狭长，与天空一起组成浑厚苍劲的画面。After determining the spatial texture, we beganlooking for a tree species fit for the spatialtemperament. When seeing melaleuca Leucadendron, alldesigners agreed that no tree species is moresuitable than it for the space. Its bark appearspeeling in multiple layers, and its greyish greenleaves are thin and long, to create a vigorous andforceful scene with the sky.

整个主庭院一共栽植了19颗白千层，因吊车无法驶入，工人们只能一颗一颗手工抬进来，再按照坡度高低从密到松排布。Across the main courtyard, there are 19 trees of thespecies in total, which workers carried inside ascranes cannot enter and arranged first densely andthen sparsely according to the degree of slope

底部空间是由砾石、低矮植被、石头组合而成的地面铺装，它的设计同样也是模拟自然。砾石的色调，我们认为它更偏向于是自然的杂合色而非纯色，属于混合的灰调。其次，铺底的植被与砾石边界应是模糊的，是整体而非割裂。石头摆放的位置、深度要像是从山体中自然滚落至此的状态……The bottom space is paved by combining gravel, lowvegetation and rocks, the design of which alsosimulate nature. The tone of gravel in our eyes is amixed grey, which is more like a natural variegatedcolor rather than a pure color. Besides, boundariesbetween vegetation on the bottom and gravel shouldbe blurred as a whole rather than in a split way.Rocks should be placed and inlaid as if they rolleddown from mountains to the courtyard naturally…

这幅自然的框景，就这样一点一滴被填满，最终形成了“仿佛若有山”的感受，景观在不经意间将一座庭院引入进来。框架中的风景与远方的山组合在一起，构成一幅质朴的光影画面，仿佛它原本就长这样。而模拟自然，恰是最难。In this way, the framed picture of nature is paintedbit by bit, to finally create an experience of“seemingly in a mountain”, and unconsciouslyintroduce a courtyard with landscape. Thecombination of scenery in the frame and distantmountains composes a simple scene of light andshadow, which seems to be its original look. It isthe hardest task to simulate nature.

首先是质感，为了追求质朴而静谧的自然肌理，材料经历了7/8轮打样，设计师反复去对比它们的颜色、质感、尺度等。池底选择的暹罗白石材，是由意大利、希腊、斯里兰卡的白色大理石搭配而成，它的纹路交错但并不冗杂，在遇水之后可呈现自然的颜色过渡，映出由浅及深最美的蓝。同时也适用于弱酸弱碱等多种环境，稳定性较高。First, to pursue a simple and tranquil naturaltexture, material samples were made in 7/8 rounds,during which designers repeatedly compared them incolor, texture, dimensions etc. Siam white slabs areselected for the bottom of the pool. They are acombination of white Italian, Greek and Sri Lankanmarble, with crisscross but uncomplex lines, whichcan display a natural color transition in water andreflect the most beautiful change from light to deepblue. Meanwhile, they are also applicable to variousconditions such as slightly acidic or alkalineconditions, with high stability.

墙体立面材料同样反复实验，通过观察测试材料在干燥与湿水等不同情况下的色彩变化、不同光影照射下的效果之后才得以选出，再以干挂的方式上墙。Materials on walls were also tested repeatedly andselected by observing the color changes of testedmaterials in different conditions such as dry andwet conditions, and their effects in light andshadow. Afterwards, they were mounted on walls bydry-hang.

单块石材的尺度也需恰到好处，既与整体氛围协调，不显突兀的同时又能表达出空间张力。而当泳池每一个小区域的体块感都如此清晰时，两颗古桩鸡蛋花树则赋予了空间浑厚的力量感。Each slab should also be in perfect dimensions, tofit in with the overall atmosphere without lookingabrupt while expressing spatial tension. When thefeel of blocks is so clear in each small zone of theswimming pool, two trees of plumeria rubra endow thespace with a deep sense of power.

在多专业的共同努力下，空间最终呈现的效果是令人欣慰的。它让人们刷新了对三亚之美的认知，虽与喧嚣保持一定的距离，但并不遥远。它让追随阿那亚从北到南，来到三亚置业的业主们，收获了这处得以安顿身心，慰藉灵魂的修行之所，让他们再一次相信“人生可以更美”。Under the concerted efforts of professionals inmultiple fields, it is gratifying to see the finaleffect of the space. It refreshes the beauty ofSanya in the minds of people, keeping a certaindistance from hustle and bustle but not far away. Itenables owners, who follow aranya from north tosouth and purchase properties in Sanya, to find sucha place, where they can relax themselves and gainspiritual comfort, and to believe that “life can bemore beautiful” again.

项目名称：YHotel

业主单位：阿那亚

景观面积：3150㎡

项目地址：海南省三亚市吉阳区

景观设计：WTD纬图设计 

设计团队：李卉 张黎 赵冬舸 唐志杨 张盼 李理 李玥 刘思雨 张书桢 李苗 王利如 宋照兵 姚淞骅 代彪建筑设计/室内设计：尚壹扬设计

照明设计：北京周红亮照明设计有限公司

摄影：河狸景观摄影 雷坛坛