彰化旅宿

引線設計｜IN-Xian Design

在彰化的一片寬闊空地上，建築由零開始逐步形構而成。設計團隊以「在地文化」作為核心語彙，發展出專屬於當地的旅宿形象。八卦窯的紅磚、拱形、泥作等質料被轉化為建築量體與室內元素。外觀則採用弧形拉伸的擴張網，形成一層輕薄的金屬網幕。其半透明的介面在日間呈現霧白質地，夜間則透光如外殼般微亮，使建築擁有既虛又實的立面表情。室外的旋轉梯則作為輔助動線與可拍照的亮點，成為外觀意象的一部分。

On an open land in Changhua, the architecture takes shape from the ground up. The design team uses local culture as its core language, developing a hospitality identity rooted in the region. Materials associated with the traditional Bagua kiln — red brick, arches, and earthen construction — are reinterpreted into architectural volumes and interior elements. The exterior adopts a curved expanded-metal mesh that wraps the building in a light, translucent veil. This semi-transparent skin appears misty white by day and softly lit at night, giving the façade a presence that is both solid and ethereal. A spiral staircase on the exterior functions as secondary circulation and a photogenic landmark that reinforces the building's visual identity.

整體設計將在地材料與文化意象重新演繹，一樓配置機能空間，主要的迎賓動線始於二樓電梯出口，旅人首先穿越如磚窯般的赭紅色隧道，隨之步入由自然採光形塑的明亮公區，直覺式的動線由此自然推進。大廳作為整個旅館的視覺焦點。天花以紅磚拱頂造型呼應八卦窯的弧拱傳統，並以磚紅、清水模、水泥質感重新組構成現代設計形式。家具則以木皮、水泥紋理、深色框架為主軸，使整體材質語言保持一致，並呈現溫潤、柔和的迎賓氛圍。採光面集中在前側，使旅人從隧道步入大廳的過程中，感受「由暗到亮」的過渡，強化抵達時的空間感受。

The design reinterprets local materials and cultural motifs throughout. The first floor houses functional programs, while the main arrival sequence begins on the second floor. Guests pass through an ochre-red tunnel recalling brick kiln before entering a naturally lit public area where circulation unfolds intuitively. The lobby becomes the hotel's focal point with a vaulted ceiling referencing Bagua kiln arches, brick-red forms paired with exposed concrete and cement finishes in a contemporary language. Wood veneer, cement textures, and dark metal frames create a c a cohesive, warm palette. Concentrated daylight at the front produces a deliberate ''dark-to-light'' transition enhancing the sense of arrival.

客房樓層位於三、四樓，並延續公共區域的材質基調，除去磚紅色調，以水泥、木皮與金屬元素為主要介面，使空間更顯沉靜內斂。房間內著重採光與視線穿透性。避免使用隔間牆，而以金屬與木頭框架取代實體量體，讓家具、衣架與置物結構呈現輕盈而俐落的機能感。除了床邊櫃、椅子等少數成品家具，多數房內固定物件皆為現場鐵工與木工訂製。床頭板使用木皮延伸地板的色系，使材質連續而統一。整體客房以簡潔、輕量、舒適為核心，不堆疊過多裝飾，而是讓入住者能專注於單純的放鬆與休息。

Guestrooms on the third and fourth floors continue the material logic of the public spaces, omitting brick-red tones in favor of cement, wood veneer, and metal for a calmer ambiance. Emphasis is placed on natural light and visual openness. Solid partitions are minimized and replaced with metal and wood framing, giving furniture, hanging rails, and storage structures a light, streamlined quality. Apart from a few loose pieces, most fixtures are custom-made by onsite metalworkers and carpenters. A wood-veneer headboard extends the tone of the flooring, unifying the material expression. The rooms prioritize simplicity, lightness, and comfort, avoiding excess ornamentation to encourage genuine rest.

全案將文化融入設計，從建築量體到室內細節都圍繞著八卦窯意象與在地材料質地，形成統一又獨特的風格。最終呈現這座在城市邊緣自成風景的旅宿，白天顯得安靜沉穩，入夜後則透出如燈籠般的微光，引導旅人走入彰化獨有的人文與建築脈絡。

By embedding local culture into both its architectural massing and interior details, the project draws consistently from Bagua kiln imagery and materials. The result is a lodging that becomes a quiet landmark on the city's edge—reserved by day and glowing like a lantern at night, guiding travelers into Changhua's distinctive cultural and architectural landscape.