On the regionality and culture of hotel design

On the regionality and culture of hotel design

Successful hotel design should not only meet the needs of its use function, but also be novel in design. More importantly, it has its different regional and cultural characteristics. Nowadays, under the influence of internationalism, many regions and different nationalities have the same face, which is extremely sad, just as many domestic designers believe in modernism, minimalism and high technology as design principles, which is a very wrong trend. The world is rich and colorful because of different ethnic backgrounds, different geographical features, different natural conditions and cultures left over from different historical periods. So from this perspective, the more regional, the more cosmopolitan. The design of the hotel is functional and must meet international standards. In other words, it also has the same norms and standards as international standards to meet the consumption rights and use rights of different countries and nationalities. Due to the consideration of regional and cultural differences, the spiritual orientation and cultural taste of hotels are different. I think this is the success of a hotel.

I. Regionality The so-called regionality or locality of design refers to the absorption of local, national and folk styles and various cultural traces left by the history of the region. To some extent, regionality is narrower or more exclusive than nationality, and it has a high degree of recognition. Because folk customs, cultures and artistic works in many regions have evolved in isolation, their assimilation and alienation are limited even under the limited communication and intercommunication in the past, so their identifiability is very clear. For example, they are all embroidery, but Xiang embroidery is far from Su embroidery.

On the other hand, the culture, folk customs and cultural relics formed in different times in the same area are also different, which is caused by the time period. As we can see, Wu's Ming and Qing furniture is very different.

The formation of regionality is inseparable from three main factors: first, the local regional environment, natural conditions and seasonal climate; Second, historical heritage, ancestral training and lifestyle of ancestors; The third is folk etiquette, local culture, local customs and local materials.

It is precisely because of the above factors that a unique regional style has been constructed. In modern design, there are many designers who embody the characteristics of nativism. As early as the post-war Japanese modern architecture, the design of Hiroshima Memorial Park for Atomic Bomb Victims and Kagawa Guild Hall in Ge Tan County has absorbed the architectural motives of local nationalities and folks, and reflected the development trend of localism earlier. Later, a series of works by Japanese contemporary architects had similar exploration tendency. Localism does not mean the antique and revival of local traditional buildings. Localism is still an integral part of modern architecture. It follows modern standards and demands in function and structure, and only partially absorbs traditional motives in form.

There are basically four design methods advocated by localism:

1, Reviving traditional style design (Reviving tradition)

This way is also called. Revitalize the folk customs? , or? Revitalize the local style? The technique of arousing the vernacular. It is characterized by maintaining and strengthening the basic structure and form of traditional and local buildings, highlighting cultural characteristics and deleting trivial details, basically simplifying traditional and local buildings and highlighting formal characteristics. The outstanding representative buildings and interiors are Thailand? Bounague Architectural Design Office? (Bunnag Architects) Bali, Indonesia 1996 Design? Novit? Benoa Hotel. Novotel Benoa, Singaporean architect Bedmar 1997 Design De? Swiss Club Road Club? (ernesto bedmar, house on Club Road in Switzerland) and so on. These buildings and interiors basically adopt pure folk architecture and indoor characteristics, which strengthen the formal characteristics and highlight the local characteristics, while omitting some details of traditional and local buildings, with outstanding results.

2. Develop traditional design (re-inject tradition).

This method obviously uses traditional and local design typical symbols to emphasize national tradition, local tradition and folk style. Compared with the first one, this technique is more symbolic and symbolic, but it does not necessarily follow the traditional way in structure. A typical example is 1996 designed by Bounague Design Office in Yangon, Myanmar? Candoji Palace Hotel. Kandawgyi Palace Hotel was designed by Japanese architect Kazu -hiro Ishii 1993 and Correa 1986- 1992 in Jaipur? Jaipur Art Center? (Jaahar Kala Kendra, Jaipur), Design by Akitsev Architects in Thailand 1996 Maldives * * * and China? Banyan Tree Resort Maldives. (lintel design and planning, Banyan Tree Maldives) and so on all belong to this type. Strictly speaking, there is no clear distinction between these two types, and there are more places that rely on traditional and local buildings and indoor forms, while the objects of buildings are often museums, resorts and other buildings and indoor rooms that are easy to play traditional and local characteristics.

3. Continue the traditional design.

The so-called extension of tradition means using traditional forms to expand into modern uses, such as educational institutions, large hotels, holiday centers and so on. These types of structures are traditional, and the local buildings and interiors did not exist before, which formed the so-called? Expansion? Expansion refers to the expansion of functions, and the form is traditional. For example, the Itegra Education Center in Dala, Piria, Sri Lanka, designed by Sri Lankan architect Bawa at 198 1, uses covered walkways to connect all the building units. Although this practice exists in traditional Sri Lankan architecture, it has never been used on such a large scale, thus expanding the structure and form of traditional and local architecture and interior, which is typical of this type. Indonesian? Graha Sipta？ Hardy Plana Design Office? 1997 design of Bali, Indonesia? Regent Hotel? Delikusnadi of Grahacipta Hadi Prana Design Office (The Legian) has similar characteristics and is very popular, because it is not limited to the traditional framework, but can emphasize the motivation of local architecture and traditional national architecture through repeated expansion and overlapping, and at the same time achieve the purpose of serving modern functions.

4. Re-interpret the tradition of traditional architecture.

This method is very close to some techniques of postmodernism. The only difference with the methods of western architects is that western architects use symbols of western classical architecture or symbols and colors of western popular culture, while this school advocates the use of traditional architectural symbols from Asia and other non-western countries, emphasizing the sense of architectural context. As a school of postmodernism, it should be advocated as a way and way. Outstanding representative works include Murasa Kino Wakuden Building in Kyoto, Japan designed by Japanese architect kishida fumio 1995. This building adopts a very simple reinforced concrete structure, and the support of the building adopts concrete columns and steel beams, which are exposed and have some characteristics. Constitutionalism only uses vertical wooden walls on the facade, accounting for more than half of the whole facade area, which makes the wood reflect the symbol of traditional architecture, rather than relying on modeling or decoration. The interior is also very clean, concise and square, which embodies the characteristics of traditional Japanese interior cleanliness. This design only uses some localism features, while the whole design uses modern structure, forming postmodernism with localism and nationalism features.

In our hotel design, the latter two methods are usually adopted, that is, the expansion and continuation of traditional design and the reinterpretation of traditional design. Because the environment we want to create must first conform to the functions used by the hotel, and transplant or reinterpret the atmosphere and taste for this purpose. The transplant to be emphasized here is mostly furniture and ornaments, while deductive design is space and form.

Second, cultural intervention? Culture? It means:

First, in a broad sense, it refers to the material and spiritual production capacity and the sum of material and spiritual wealth created by human beings in the process of social practice. In a narrow sense, it refers to spiritual production capacity and spiritual products, including all forms of social consciousness: natural science, technical science and social ideology. Sometimes it refers to knowledge and facilities in education, science, culture, art, health and sports. As a historical phenomenon, the development of culture has historical inheritance; In class society, it is class-oriented, but also national and regional. The cultures of different nationalities and regions have formed the diversity of human culture. As a social ideology, culture is a reflection of the politics and economy of a certain society, and at the same time it has a great influence on the politics and economy of a certain society.

The second is common sense.

Thirdly, it is the general name of literature and enlightenment applied by China's ancient feudal dynasties. Wang Rong's Preface to Poems on Qushui in Southern Qi Dynasty: Set spirit and reason on scenery and customs, and set Fu culture soft and far-reaching. ?

In today's diversified design thoughts, cultural intervention is inevitable, and its intervention methods are also diverse. Through interior conceptual design, space design, color design, material design, fabric design, furniture design, lamp design and display design, we can produce certain cultural connotations and achieve certain metaphorical, suggestive and narrative characteristics. Among the above means, exhibition design is the most expressive and appealing, that is, the scope of exhibition mainly refers to various painting arts, pictures, wall hanging and so on. Hanging on the wall? Porcelain, clay pots, bronzes, glassware, wood carvings, etc. On all kinds of furniture? . This kind of display is the most complete in visual image, which not only expresses a certain nationality, regionality and historicity, but also has excellent aesthetic value. This is one of the most commonly used methods at home and abroad, such as Renaissance New York Hotel? Shangri-La Hotel Bar Wall Sculpture (Hong Kong? China) huge mural in the atrium, porcelain plate in Australian Leatherwood Lodge room, porch terrace in front of the entrance stairs of Hyatt Fisherman's Wharf Hotel (San Francisco. USA) In America.

1, metaphorical, suggestive and symbolic

Metaphor is often an idea conveyed by concrete things and an abstract symbol. People can understand it from nonverbal intuition, language symbolization, historical and cultural factors and so on. There is no doubt that design is meaningful, and it is practical, functional and symbolic as soon as it comes into being. The earliest design can be said to be a place or building where human beings live, symbolizing family, warmth and so on. Although design is meaningless from its material composition itself, the meaning of design is given by people, and the building is man-made. It must contain human factors, and practicality and symbolism are indispensable. Schultz also said in the book Meaning in Western Architecture that design is a meaningful symbolic form. People draw abstract meanings from the changes of a series of phenomena. The meanings of any phenomenon are interrelated, and all phenomena can be reflected in this connection, which can be understood by anyone. Therefore, the ability of abstraction and induction is the fundamental difference between human beings and other animals, and the feeling of meaning is its fundamental need.

The basic purpose of any symbol is to preserve the achievements of human induction and abstraction, and it is a supplement to human induction and abstraction. It is through symbols that human beings can transcend their personal environment and live a social and purposeful life. Symbols are not limited to spoken and written language, but also include gestures and other expressions, as well as more abstract concepts. Any human product can be regarded as a symbolic tool, which helps to create a specific meaning in the connection with the environment. Non-verbal behavior depends on a structured symbol system and linguistic behavior. Design system is actually a symbol system, and the whole architectural history has explained the development and application of design symbol system, which belongs to a part of cultural history.

The symbolic meaning of design is a very important aspect, which was neglected in the past. In the sense of hotel space design, communication must be understood. Of course, the purpose of design is not only to communicate, but also to create an environment.

Metaphor regards design as a language by semiotics, that is, the basic genre is a universal and inherent language, which is determined by factors such as practicality, structural reliability, economy, technology and equipment. On the other hand, the poetic language of design makes the architectural appearance, spatial form, color texture, social customs and etiquette, historical and cultural accumulation and other factors. Success should be the dual expression of these two languages.

In contemporary western practice, there are three ways to regard design as a language:

First, using point, line, surface, space, texture and color as vocabulary tends to create the pure formal beauty of abstract geometry. Understanding by intuition alone is only a psychological and physical reflection, and there is no need for practice.

Secondly, taking building components such as doors, windows, walls and roofs as vocabulary, the concept of function is introduced, and the understanding of architecture needs more knowledge, which leads to the fact that the facade should be the result of plane.

The third is to use classical vocabulary and traditional local vocabulary, similar to dialects, idioms and allusions used in literature, to understand the high cultural literacy of such buildings. This design method belongs to the category of metaphor.

Literally, metaphor is a rhetorical device. Metaphor is a symbol of consciousness and a figurative metaphor based on meaning. Hegel said: Symbols are ready-made external things directly presented in perceptual concepts. This external thing is not seen directly from itself, but from the broader and more general sense it implies. Therefore, symbols imply abstract concepts with concrete visual images.

Metaphor has two main factors, one is meaning, and the other is image. In metaphor, meaning and image are not completely consistent, so the understanding of metaphor is vague and diverse. For example, the symbolic meaning of the Sydney Opera House has many explanations. Metaphor requires design to make people feel by means of suggestion, association and recall. From the semiotic point of view, metaphor refers to a processing method, which links information with code by selecting or replacing some information component; You can also connect all the components through code, so as to establish a connection between the part that appears in the information and the part that does not appear in the information.

Another is to quote historical fragments, deform them or change their positions, materials and combinations, which is the so-called metaphor of quoting classics. This metaphor revives the original traditional language and time with semiotics, and makes the new space and the old space have a visual connection, just like quoting classic idioms and allusions in literature. The original functions of ancient buildings have basically disappeared today, but reusing the forms or structural fragments of ancient space in the new space will enable people to realize the inheritance of historical civilization and improve the indoor aesthetic value.

Step 2 describe

Compared with the metaphor of design, the narrative of design is more direct and concrete, and its image and object are independent and complete, but at the same time they belong to a wider range. For example, murals, calligraphy, porcelain and pottery, which are widely used indoors, have relatively complete storylines, allusions and samples to tell people directly. Therefore, narrative can be used in the design to achieve theme contrast, such as the atrium mural in Shangri-La, Hong Kong Island, the mural and furnishings in Shangri-La Bar in Kowloon, the revolving bar in Willard European Union Hotel, the Auckland Municipal Theatre and Radisson Palm Springs Resort and Hotel Restaurant, which all tell people a direct and concrete allusion and add interest and knowledge to the indoor space. This design can not only reflect the personality of the hotel space, but also convey the regional culture and history for people and increase the cultural nature of the hotel.

Third, how to look at the historical context and seek the breakthrough point. The humanistic context and the spirit of regional places are the accumulated products of the reproduction and development of each nation. Whether to copy it as it is or take it from the outside, pay attention to symbols or choose its essence, or stand on the position of modern nostalgia, these are all different opinions. The design process is a process of feeling, not only the feeling of scale and space, but also the important feeling of human nature, and treating tradition is still a process of feeling. Traditional aesthetics divides sex into three types:? Nature is God, human nature is Qi, and physical property is form. ? Only those who are human? Qi, can the shape of matter be described? Vivid? It can be described as both god and shape. Most of the existing gardens in Suzhou, or those that have disappeared, are private gardens. There is a problem that many predecessors have not noticed? That is to say, most of the classic gardens left behind are the perfect combination of gardeners and craftsmen. Most gardeners are rich. Cultural person? Most gardens are not what they are today, and the scale was not built at one time. She is a process of constantly understanding, cultivating and supplementing, and she is constantly seeking her own feelings. Meaning? With what? Context? This process.

And then what? Artistic conception? Is it? Enlightenment? The result sought. Artistic conception? This aesthetic concept runs through the whole history of the development of China traditional art after the Tang Dynasty, permeates almost all artistic fields, and is also the essence of China national aesthetics. Since the Ming and Qing Dynasties, she has gained a unique expression, especially in painting, calligraphy and gardening.

And then what? Enlightenment? It's purely personal. Leave? Enlightenment? A gardener with his own personality and behavior can't really understand the beauty of his gardening. As we all know, the study rooms in Lingering Garden and Netlion Garden have different effects because of their owners' different personalities, interests and personalities. Liu Shu, the second generation gardener who stayed in the garden, was a typical scholar-bureaucrat and retired in middle age. Although the silent color is good, but the nature likes flowers and stones, good calligraphy and famous paintings? . His study is in a quiet and independent environment in the garden, so he can concentrate on his studies. His name is Tao Yuanming's poem Reading Shan Hai Jing. When you have cultivated, do you still read my book? Meaning. According to the cloud of Yuanye, Zhaitang is just a gas storage, which makes people awe-inspiring. Therefore, the formula should not be open. The basis of research? Choose a remote place? Tourists don't know this. This shows Liu Shu's concentration on his studies. What about another famous garden? There are four bookstores in Wang Shi's Garden, and the most wonderful ones are Jundu Huaxuan and Wufeng Bookstore. Guanfeng Reading Paintings is located in the northwest of Caixiachi, hidden behind Cangjie White. The entrance is four rooms wide, three bright and dark, high and spacious. This is a main scene in the garden and the only guest study in the northern study that is not blocked by the wall. Scholars were moved by the beautiful scenery in the garden when they visited, and their poems were full of vigor and richness, so they invited each other to the guest study, polished the paper or left poems, or wrote poems, or linked sentences between subject and object, which was extremely elegant. Its indoor furniture is exquisite and elegant, yet simple and elegant. Carved flowers on three sides and half a window make the porch bright and clean. Throughout the garden, there are pavilions and pavilions around the inner ring pool. Most of the buildings are built near the pool, and a little space echoes Chishan to gain the charm of water. Wufeng Bookstore behind Xie Xiulou is the fourth entrance of Wang Shiyuan Community. Looking from the horizontal axis, it is located at the easternmost end of the four major bookstores in the park, and its position is also the forefront, only half of the roof of Ji Xuzhai. The two bookstores are scattered back and forth, and they are very close. There is a side door in the building, and the front of the court is separated by a wall. The reading room is five rooms wide, with no half wall in the north and south, and a glass half window in the upper part. The corridor in the room leads to the east and west. The courtyard is wide from east to west, narrow from north to south, with the north wall of Xiexiu Building in the south, and a large area of white is like drawing paper to express the lonely and elegant life feelings of the owner. There is no water in front of the hospital, and there is a rockery to describe the majestic beauty of the real mountain. The distant mountains are powerful, and the sparse forests are affectionate. . The stone mountain in front of the courtyard looks like five ancient peaks in Lushan Mountain. The main peak of Beishan is like a laminated stone lake, like a stack of clouds, while the peripheral lake stones are mostly horizontally stacked, like clouds embracing each other, and a stack of peak stones in the middle of the enclosure wall is difficult to touch and draw, like the five old peaks in the cloud barrier. This mountain and this scene are also the feelings of the garden owner. A true portrayal of the inner world yearning for the ravine, the so-called? Mountains are my nature, and mountains are my love? Yes It can be seen that only these two bookstores can show this claim? Netscape fisherman? Song Zongyuan is an extremely elegant person.

To sum up, it is the difference in personality and hobbies between the two gardeners. Enlightenment? The difference? The resulting meaning is different from the environment. The craftsmen just continued to finish their work at the suggestion of the garden owner. This is a process of empathy. It is true that many excellent traditional craftsmen in Jiangnan do have their amazing skills, but after all, they are not creators, but just builders. As far as the study of the above two gardens is concerned, their architectural techniques, such as hanging, fighting arches and overhanging eaves, are all concerned? There are many similarities, but the overall feeling is different, because space contains modality, so we can't just look at tradition from the appearance, and we can't ignore the understanding of modality and the feeling of the garden owner because we study many techniques and the division of space in traditional architecture too much. Enlightenment? Understanding of the process. Design is like artistic creation. If you don't feel it, your work will be pale and powerless. So, in the design process, what about the designer? Feeling? With what? Enlightenment? It goes without saying.

It can be seen that taking its shape is easy to float, taking its meaning is easy to astringent, but not complete. This is the first one, that is, the timeliness of space, selective retro, combined retro. For example, in the design of modern space environment, ornaments or symbols with strong attributes are integrated, and with the help of traditional architectural techniques, special space treatment is carried out to inherit the humanistic spirit. The second is the spatialization of time? Human cultural heritage? Simulated revival? . ? Just visiting? It is completed through human memory, and the historical features, styles and events in the long river of time are rearranged and combined through human memory, so that they are presented in the same spatial combination, which involves that the connection points of each space in the design are homogeneous spaces, which rearrange and integrate all information resources that human beings can use. So, what are we talking about here? Revival? Instead of retro, the former is selective retro, and the spatialization of time is that human beings use their brains to re-process, sort out and combine their cultural heritage, which has great personalized characteristics. Most of this kind of design works pursue differences rather than unified order.

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