Hostel, Nantou

南投旅宿

MEI建築 MEI Architecture

山林之中，雲霧流轉在坡地的高低起伏間穿梭又停駐。基地位於海拔約840公尺的山區邊緣，圍繞著茶樹低伏、檳榔樹挺立，蕨類依附其間的環境，長年水氣使場域帶著靜謐而野性的氣息。本案由兩棟建築構成，左側為餐廳，右側為客房。基地面對約三至四米的坡度地形落差，轉化為建築的層次語彙：兩棟量體分別落在不同高度，中段以空橋串聯，讓行走的節奏沿著坡勢緩慢推進，以層層疊合的幾何外觀，使量體自然融入環境中。

Clouds and mist drift across the undulating mountain slopes, settling into a landscape shaped by constant moisture and dense vegetation. Located at approximately 840 meters above sea level, the site is defined by low tea shrubs, upright areca palms, and interwoven ferns, giving it a quiet, untamed character that informs the architectural response. The project comprises two buildings: a restaurant to the left and guest accommodations to the right. A height difference of three to four meters is translated into architectural stratification, with the two volumes set at different elevations and linked by a sky bridge. Movement unfolds gradually along the slope, while layered geometric forms allow the architecture to settle naturally into the terrain.

設計回歸自然，期望訪客在此放慢節奏、親近山林，並將「抵達、停留、歸房」三段動線構成一段連續漸進的入住體驗。訪客抵達時能一覽全貌，穿越前院後逐漸靠近餐廳，於此被接待與安排入住，服務動線與餐廳機能整合配置，減少人流在同一空間反覆穿梭。餐廳以灰階、木質與金屬構成主要語彙，以降低室內的視覺干擾，將視線主權交給窗外景色。上層亦規劃面向景色座位與近似包廂的觀看位置，使停留不只是用餐，而是與景色共同完成的觀景片段。

To return to nature, the design invites visitors engage with the mountain environment. Circulation follows a sequence of arrival, pause, and retreat. Upon arrival, the overall composition is immediately perceptible before visitors move through the front courtyard toward the restaurant. Reception and check-in are integrated into this area, while service circulation is carefully coordinated to minimize overlap with dining activities. The restaurant interior adopts a restrained palette of greys, wood, and metal, reducing visual distraction and directing attention outward. Upper-level seating faces the landscape, including more enclosed alcove-like areas that foster quieter moments of observation, allowing dining to become a contemplative experience.

越過空橋後，住宿區便轉為獨立領域。客房分佈於右側量體一至三樓，雖然各房型格局略有差異，但在風格與尺度節奏上維持相近調性，以現代極簡為主。各房型依據座向調整開口位置，透過大面開窗與陽台，引進自然光，使遠山與竹林成為室內的背景層次。室內以混凝土與深色基底收斂視覺，讓光線在牆面上形成優美陰影；木質元素則被安排於光線可觸及之處，在日光映照下帶出溫潤質地。金屬細節納入轉角與收邊位置，於側光之下勾勒出俐落輪廓。夜晚時，照明降低亮度與存在感，使照明僅作為引導與陪伴，讓空間默默回應窗外霧氣與雨聲的變化，維持恬靜而內斂的氛圍感。雲霧來去之間，實體與虛體交錯配置，使量體在光線與霧氣中呈現若隱若現的層次感。立面不規則的挖空與幾何切角，對應水氣蒸發、凝結、再度落下的循環意象，讓建築不僅是空間容器，也像被賦予時間感的風景介面。

Beyond the sky bridge, the accommodation wing enters a more private realm. Guest rooms occupy the first to third floors of the right-hand volume, with varied layouts unified by a consistent scale and minimalist material language. Openings respond to orientation: large windows and balconies admit daylight and frame views of distant mountains and bamboo groves. Concrete surfaces and dark base tones recede to let light shape the space through soft shadow, while wood elements introduce warmth where daylight reveals their texture. Metal details are used sparingly at edges and corners, where side lighting accentuates their precision.

At night, lighting functions primarily as guidance. As mist thickens and rain falls, the architecture responds quietly, sustaining an atmosphere of calm and restraint. Solid and void interweave through irregular recesses and geometric cuts in the façade, allowing the volumes to shift subtly with light and fog. In this way, the building becomes not only a spatial structure, but an interface shaped by landscape, climate, and time.