2022-05-25 09:24
“ 这个夏天 一起去看海。 ”
设计师手记 水晶般湛蓝的海水 温暖炽烈的日落 梦幻般的风景 纯粹的亚麻 奶油色石头 天然材料的集合 返璞归真的魅力 不与时间相争 不与世俗相论 在这里,你,仅为你
Sardinia holiday rentals



翡翠海岸(Costa Smeralda)或翡翠海岸(Emerald Coast)是意大利撒丁岛东北部长达 55 公里的岩石海湾、白色沙滩和碧绿海水,是地中海一些最具标志性的度假别墅和度假村的所在地 由著名建筑师名册于 1960 年代建造
。因此,当总部位于巴黎的 Stera Architectures 事务所的建筑师 Stefania Stea 受委托在那里设计一座度假屋时,她面临双重挑战:这座房子必须与周围的景观融为一体,并与该地区独特的建筑保持同等地位。
Costa Smeralda, or the Emerald Coast, a 55-kilometre-long stretch of rocky coves, white sandy beaches and turquoise waters in the north-east Sardinia, Italy, is the home to some of the most iconic vacation villas and resorts in the Mediterranean built in the 1960s by a roster of acclaimed architects.So when architect Stefania Stera of Paris-based practice Stera Architectures was commissioned to design a holiday house there, her challenge was two-fold: the house had to blend in with the surrounding landscape as well as be on equal footing with the area’s unique architecture.


Stera 在翡翠海岸度过了童年的夏天,观察了该地区的发展并幻想着建造酒店,因此她非常适合这个项目。这座房子坐落在一块岩石露头上,由互锁的体量、露台、露台和小径组成,它们在同等程度上呼应了场地的岩层和毕加索、布拉克和格里斯的立体派绘画。该建筑采用无烟煤涂层,由花岗岩、大理石和陶瓷表面和种植区域刺穿,其独特的雕塑存在和微妙的复杂性使其成为一个身临其境的度假胜地,也是科斯塔斯梅拉达建筑万神殿的一个有价值的补充。
Having spent her childhood summers in Costa Smeralda observing the area’s development and fantasizing about building hotels, Stera was uniquely suited for the project.Nestled on a rocky outcrop, the house unfolds as a composition of interlocking volumes, terraces, patios and pathways that echo, in equal measure, the site’s rock formations and the cubist paintings of Picasso, Braque and Gris.Featuring an anthracite coating, punctured by granite, marble and ceramic surfaces and planted areas, the building’s uniquely sculptural presence and subtle sophistication makes for an immersive getaway as well as a worthy addition to Costa Smeralda’s architectural pantheon.




翡翠海岸作为迷人度假胜地的地位——想想好莱坞明星和俄罗斯百万富翁——可以追溯到 1960 年代,当时卡里姆·阿加汗·伊斯玛仪王子被其原始的自然美景迷住了,决定将其发展为高档度假胜地。在严格的建筑和分区规则的指导下,要求新建筑融入山区景观,度假村由一系列受人尊敬的现代主义建筑师巧妙地设计,每个人都通过他们独特的视角过滤当地的白话。
Costa Smeralda’s status as a glamorous vacation spot - think Hollywood stars and Russian millionaires - traces its origins back to the 1960s when Prince Karim Aga Khan Ismaili, enchanted by its raw natural beauty, decided to develop it as an upscale resort destination.Guided by strict architectural and zoning rules that required that new buildings blend into the mountainous landscape, the resort was masterfully designed by a series of esteemed modernist architects, each one filtering the local vernacular through their unique perspective.




即使斯特拉在童年的夏天从未亲眼目睹度假村的发展,仍然不可能不考虑到撒丁岛这一地区的标志性作品,来自瑞士-法国建筑师雅克·库埃尔在卡拉看到的雕塑形式 di Volpe 酒店,意大利建筑师和设计师 Cini Boeri 在 Maddalena 岛上的野兽派悬崖顶 Casa Bunker,它建于 60 年代中期,Stera 小时候从附近的 Monte dArena 海滩密切关注。
Even if Stera never saw first-hand the resort’s development during her childhood summers, it would have still been impossible not to take into account the iconic work that laces this part of Sardinia, from Swiss-French architect Jacques Couëlle’s sculptural forms seen in the Cala di Volpe Hotel, to Italian architect and designer Cini Boeri’s brutalist cliff top Casa Bunker on Maddalena island, whose construction in the mid-60s Stera kept tabs on as a child from the nearby beach of Monte d’Arena.




这座房子被设想为一座“赤脚宫殿”,它与位于翡翠海岸中心的切尔沃港崎岖多岩石的地形和谐地融为一体,这要归功于其与周围岩层相呼应的体积结构和无烟煤涂层。颜色,以及向 Cini Boeri 前面提到的 Bunker House 的深色致敬。建筑物的空间配置与场地的地形、方位、普遍的天气条件和景观一样多,用建筑师的话来说,目标是创造一个“与自然和谐和连续的建筑长廊,不同的世界在这里相遇和 交叉,一个互补另一个”。
Conceived as a “barefoot palace”, the house is harmoniously integrated into the rugged, rocky terrain of Porto Cervo which is situated in the heart of Costa Smeralda thanks to its volumetric composition that echoes the surrounding rock formations and the anthracite coating that picks up their colour, as well as pays homage to the dark colour of Cini Boeri’s aforementioned Bunker House. The building’s spatial configuration was informed as much by the site’s terrain as by its orientation, prevailing weather conditions, and views, with the goal in the architects’ words to create an “architectural promenade in harmony and continuity with nature, where different worlds meet and cross, one complementing the other”.











The network of courtyards, terraces, balconies and ramps that mark the house’s intimate relationship with the site is complemented by meandering paths connecting a series of lawned plateaus, decked terraces, natural water pools and fire pits dotting the property.Unfolding on two levels, with an additional basement floor housing the service areas, the house revolves around a ground floor courtyard designed along a north-south axis that connects the parking areas on the north with the sea to the south. Flanked on the east and west by bedrooms, the central courtyard functions as an entrance patio, circulation hub and outdoor dining area. The communal areas on the first floor, on the other hand, are designed along an east-west axis with the open plan sitting and dining room orientated towards the soaring rocky cliffs on the west.









While the latter was designed as a chapel-like vaulted space, the former seamlessly blends into a terrace and outdoor sitting area thanks to floor-to-ceiling, retractable windows and a graphic, rug-like marble flooring. On the same level, the master bedroom was designed as an enfilade of smaller and larger spaces with adjoining private balconies, courtyards and terraces with alternating sea and courtyards views.



The house’s interiors are as sculpturally dramatic and subtly choreographed as its multi-faceted exterior. Minimalist cubic spaces are mixed with organically shaped rooms, arched passageways and vaulted ceilings; wide windows offering expansive vistas are juxtaposed with narrow openings and portholes that frame narrow views; and rough finishes such as plaster walls and granite floors are intertwined with tin-glazed ceramic tile work and lacquered furnishings.



后者还为原本柔和的白色灰泥、灰色石头和天然木材的调色板增添了色彩,而在户外露台和露台上使用相同的瓷砖,以与当地植被和海洋相呼应的蓝色和绿色色调柔化无烟煤色的外观 . 天然材料的选择加深了房屋与其自然环境的对话,并呼应了撒丁岛的工艺,正如斯特拉所说,为房屋注入了耐用性和人性化的感觉。
The latter also add colourful accents to an otherwise muted colour palette of white plaster, grey stone and natural wood, while the use of the same tiles on outdoor terraces and patios soften the anthracite exterior with blue and green hues that echo the local vegetation and sea. The choice of natural materials deepens the house’s dialogue with its natural surroundings as well as echoes Sardinian craftsmanship, imbuing the house, as Stera says, with a sense of durability and humanity.
米科诺斯岛的 Kalesma
Kalesma of Mykonos



让人感到非常自由和令人欣慰的满足。Kalesma Mykonos,在希腊语中恰如其分地翻译为“邀请”,正是这样做的,它邀请挑剔的度假旅行者到一个宁静、阳光普照、奢华的度假胜地,这里有悠闲的精致和基克拉迪的魅力,他们可以重新平衡自己的思想,重新调整自己的生活。身体。
After a pandemic-induced year-long travel moratorium, there’s something deeply liberating and reassuringly gratifying about stepping into a brand new hotel that has just opened its doors, especially if it’s located on one of the most beautiful and cosmopolitan islands in the Mediterranean.Kalesma Mykonos, which fittingly translates as ‘invitation’ in Greek, does exactly that, inviting discerning holiday-seeking travellers to a tranquil, sun-drenched, luxury retreat of laid-back sophistication and Cycladic charm where they can rebalance their minds and reset their bodies.



这家五星级精品酒店由 25 间豪华套房和两座较大的别墅组成,由雅典建筑事务所 K-Studio 和 Studio Bonarchi 创始人、室内设计师 Vangelis Bonios 设计,是一个地道而独特的米科尼亚社区。Kalesma 坐落在岛屿西南部的 Aleomandra 岬角上,结合了您所期望的豪华度假村的所有设施,从私人游泳池和美食到健康护理,以及慵懒的室内/室外生活方式和风景如画的环境 ,享有爱琴海的广阔景色。
Comprising 25 luxury suites and two larger villas, the five-star boutique hotel was designed by Athens-based architecture practice K-Studio and interior designer Vangelis Bonios, founder of Studio Bonarchi, as an authentic yet exclusive Mykonian neighbourhood. Perched atop the Aleomandra cape on the southwest of the island, Kalesma combines all the amenities you’d expect from a luxury resort, from private pools and fine dining, through to wellness treatments, with a languorous, indoor/outdoor lifestyle and a picturesque setting, complete with expansive views of the Aegean Sea.



酒店建在山脊上,地理位置得天独厚,可以欣赏到东边的日出和西边德洛斯岛的落日美景。K-Studio 充分利用酒店的得天独厚的地理位置,将社交区精心布置在场地的最上部,让所有客人在泳池边享受日光浴、在露台上用餐或在火坑周围放松时都能欣赏到全景。“Aloni”的中心,一个改造过的打谷场,曾经用于磨小麦,现在用作户外休息室。在斜坡的下方,套房和别墅被设想为隐蔽的休憩之所,提供宽敞的住宿以及私人游泳池和露台、室外淋浴和独立浴缸。
Taking advantage of the property’s privileged location, K-Studio has thoughtfully placed the social areas at the uppermost part of the site to allow all guests to enjoy panoramic views as they sunbathe by the pool, dine on the terrace or relax around the fire pit at the centre of “Aloni”, a repurposed threshing floor, once used for grinding wheat now used as an outdoor lounge. Lower down the slope, the suites and villas are conceived as secluded retreats, providing spacious accommodation along with private pools and patios, outdoor showers and freestanding bathtubs.



但是,让 Kalesma Mykonos 在岛上众多豪华酒店中脱颖而出的原因在于,它直率、开放地拥抱了 Mykonos 深情的基克拉迪遗产。设计团队从岛上的乡土建筑中汲取灵感,不仅体现在粉刷的体量和木制凉棚等建筑风格上,还体现在其简陋的复杂性、雕塑感和公共维度上:酒店围绕中央广场展开,一系列环环相扣 粉刷过的书卷,换句话说,采用了典型的基克拉迪村庄的形式。
But what makes Kalesma Mykonos stand out from the island’s numerous luxury hotels is its forthright, open-eyed embrace of Mykonos’ soulful Cycladic heritage.The design team has drawn from the island’s vernacular not just in terms of architectural tropes such as whitewashed volumes and timber pergolas but also in terms of its humble complexity, sculptural sensibility and communal dimension: the hotel unfolds around a central square as a series of interlocking whitewashed volumes, taking the form, in other words, of a typical Cycladic village.




通过当代极简主义的镜头过滤,酒店的立方体形式、光滑的边角、柔和的圆形开口和格子墙构成了一个雕塑作品,其传统的简约让客人沉浸在一个轻松的环境中。通过摒弃典型的蓝色门窗,采用纤细的黑色框架,摒弃了铺路石上传统的粉刷轮廓,并引入融合传统与现代的手工家具,团队将当地白话与精致美学无缝融合 永恒的精致。
Filtered through a lens of contemporary minimalism, the hotel’s cubic forms, smooth-edged corners, gently rounded openings and latticed walls constitute a sculptural composition whose traditional simplicity immerses guests into a relaxing environment.By eschewing the typical blue-painted windows and doors for slim black frames, doing away with the whitewashed outlines traditionally applied to the paving stones, and introducing handcrafted furnishings that blend tradition with modernity, the team has seamlessly integrated the local vernacular with a refined aesthetic of timeless sophistication.








The artful amalgamation of vernacular and contemporary elements that characterises the hotel’s exterior can also be experienced in the interior. Underpinned by the sculptural geometries of typical Cycladic houses, the interiors echo the rugged Mykonian landscape through a stripped down, monastic aesthetic of clean lines, an austere décor, and a palette of natural materials and earthy hues.Whitewashed walls juxtaposed with darker surfaces like the sandblasted stone floors and chestnut roof beams create a subdued backdrop, while bamboo reed ceilings, brushed wood furnishings, stonewashed linen fabrics and brass details add texture.







室内设计师 Vangelis Bonios 通过大量定制的手工制作的家具,从中世纪风格的橡木和藤制扶手椅到质朴的控制台和雕塑般的黑色熔岩咖啡桌,增强了本土与极简主义的美学,这些家具与现代风格无缝融合 来自 Rick Owens 和 Apparatus Studio 等设计师的现代主义优雅设计。
除了模糊内部和外部界限的布局外,Kalesma 还充满了悠闲的魅力,让人感觉既真实又令人向往。
Interior designer Vangelis Bonios has enhanced the vernacular-meets-minimalist aesthetic with numerous bespoke hand-crafted furniture pieces, from mid-century-inspired oak and rattan armchairs, to rustic consoles and sculptural black lava stone coffee tables, which are seamlessly mixed with contemporary designs of modernist elegance from designers such as Rick Owens and Apparatus Studio.In addition to a layout that blurs the line between interior and exterior, Kalesma is imbued with a laid-back glamour that feels both authentic and aspirational.






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