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B.L.U.E.建筑设计事务所：海南万宁市的日月湾，是一个生态观光资源丰富，拥有中国最优质冲浪资源的海湾。日月湾地处热带季风海洋性气候区，气候全年温暖湿润，温差较小，阳光充足。项目所在的逐浪度假区背山靠海，距离海边仅 500 米，是一个以冲浪为主题，集运动、住宿、商业于一体的复合型度假生态区。
B.L.U.E. Architecture Studio：Sun Moon Bay, located in Wanning, Hainan, is a coastal area rich in ecological and tourism resources and is widely regarded as offering the finest surfing conditions in China. Situated within a tropical monsoon maritime climate zone, the bay enjoys a warm and humid climate year-round, with minimal temperature variation and abundant sunshine, providing ideal natural conditions for outdoor activities throughout the year. The project is located within Zhulang Resort, a mixed-use destination themed around surfing that integrates sports, accommodation, and commercial functions. Nestled between the mountains and the sea, the resort lies approximately 500 meters from the coastline, forming a comprehensive ecological leisure environment centred on surf culture.
酒店场地位于度假区东北角，地势较平缓，无法直接眺望到海景。同时距离园区的核心设施人工造浪池和商业区也均有一定的距离，是一个相对孤立的区域。南侧为二期项目工地，东侧和北侧毗邻机动车道。如何应对场地周边不利的条件及不稳定的因素，成为设计最初的课题。在现场勘查之后，我们决定用一个明确的边界形成围合式的布局，采用内向的姿态，构建一个自成一方天地的“园中之园”。
The main challenges of this project arise from the specific conditions of the hotel site. Located at the northeastern corner of the resort, the site features relatively gentle topography but lacks direct visual access to the sea. It is also situated at some distance from the resort’s core amenities—including the artificial wave pool and the main commercial zone—resulting in a comparatively isolated setting. In addition, the site is bordered by the second-phase development area to the south, while vehicular roads run along its eastern and northern edges, introducing further environmental and contextual constraints. In response to these unfavourable conditions, the design adopts an inward-oriented strategy. Following a site analysis, a clearly defined spatial boundary and an enclosed layout were proposed to create a self-contained environment—an “enclosed garden within the resort”— establishing a spatial realm with its own internal order.
▽场地原始图片 ©B.L.U.E.建筑设计事务所
▽设计概念图 ©B.L.U.E.建筑设计事务所
建筑空间
酒店的四周被绿植和树木包裹着，在外部不见建筑的全貌，更像是一片小树林。一条小路穿过自然景观把人引向酒店主入口，蜿蜒的路径让客人在行进过程中也渐渐完成心境的切换。路尽头首先进入到酒店首层的架空廊道之下，继续漫步向前，视野豁然开阔，中庭水池呈现出来。明亮开放的内部空间与建筑外部的封闭观感形成了强烈对比。
Spatial design and concept
Surrounded by dense greenery and trees, the hotel dissolves into the landscape, its overall form deliberately subdued so that it reads more as a grove than as a built structure. The main entrance is approached via a winding path set within the landscape, where the gradual movement through the greenery mediates a subtle shift in mood before arrival. At the end of the path, visitors pass beneath the elevated colonnade at ground level. Moving forward, the compressed threshold gives way to a sense of openness as the central pool gradually comes into view. The bright, open courtyard stands in deliberate contrast to the solid façade, heightening the spatial tension.
41*45 米方正的水庭院，是整个建筑空间的核心。环绕水池的首层空间被整体架空，形成连续的回廊。我们的设计过程不是在构建一个实体，更像是在创造一条路径——酒店的大堂、简餐厅、卫生间、电梯间等功能被打散分别置于回廊四周，其中也穿插了躺椅、大台阶等多个半户外休息区。不同尺度的空间，让客人随时可以停下脚步，找到最契合心理状态的停留之所。水池的存在也使人无法直接穿行抵达各个功能区，而是将客人的动线延长，在行走中获得探索式的体验。同时，围合式的空间也构建了特别的视线关系——对内，客人在看与被看之间，形成了一种既亲密又疏离的互动关系；对外，景墙和柱廊间也形成了一个个框景，外部的绿色涌入进来，使得自然渗透在每一处空间之中。在这里，空间不是一个固定的、冰冷的物理结构，而是一个随时间持续生长的动态场域。
The 41 × 45 meter water courtyard at the centre is conceived as the spatial core of the entire complex. The ground floor surrounding the pool is elevated to form a continuous colonnaded promenade that encircles the water. The design strategy choreographs a circulation path: the hotel lobby, casual dining area, restrooms, elevator cores, and other functions are distributed along the perimeter of the corridor, articulated by a sequence of semi-outdoor resting zones, including lounge chairs and stepped platforms. Spaces of varying scales allow guests to pause at any moment, choosing a setting that resonates with their shifting moods. The presence of the pool prevents direct shortcuts between functions, deliberately extending circulation routes and transforming movement into an exploratory experience. Meanwhile, the inward-facing configuration establishes layered visual relationships. Internally, sightlines overlap across the courtyard, producing moments of visual connection that oscillate between intimacy and distance. Externally, framed views emerge between landscape walls and colonnades, drawing the surrounding greenery inwards so that nature permeates every corner of the space. In this way, the architecture is conceived not as a static object but as a dynamic field—one that continuously evolves over time.
置于架空连廊上方的盒子分别是公共客厅和酒店客房。25 间客房没有集中设置，而是被拆分成 3 个体块分布在水池的东、西、北三面；南侧则布置了较小体量的公共客厅，将整个建筑的视野打开，化解围合式布局造成的封闭感。所有盒子的两端都做了悬挑的设计，有一种漂浮在水面之上的轻盈。
Above the elevated colonnade sits a series of distinct volumes accommodating the public lounge and guest rooms. Rather than consolidating the 25 rooms into a single block, they are divided into three separate masses positioned along the east, west and north edges of the courtyard. On the south side, a smaller public lounge volume is introduced, strategically opening up the composition and mitigating the sense of enclosure created by the courtyard layout. Each volume is designed with cantilevered ends, creating a perception of lightness, as though floating above the water.
连廊和客房盒子构成的建筑轮廓简明利落，立面仅使用了灰白色的涂料和银灰色铝板两种主材，呈现出纯净内敛的观感。酒店平静的气质与度假区内其他空间的动感也形成了反差，仿佛除了物理边界之外，在酒店内外之间也形成了一道无形的屏障，让冲浪归来的客人，瞬间进入到一处静谧的港湾，沉静下心绪，得到放松。
The colonnade and the guestroom volumes together define a clear and sleek architectural silhouette. The façade is composed of two primary materials—light grey paint and silvery aluminium panels—creating a pure and restrained aesthetic. The hotel’s serene character stands in deliberate contrast to the vibrant atmosphere of the surrounding resort, as though an invisible boundary existed beyond the physical separation. This allows guests returning from surfing to immediately unwind, settle their minds and enjoy a moment of calm.
整个建筑以水庭院为中心，内向式的空间构成，回应着山与海的双重景观。所有的居住盒子和公共空间都背山面水，身后被树林和群山环绕，眼前的镜面水池反射着天光云影，水天相连，成为一道永久的风景。游走在水边，我们的身体也随之开放，被自然触发细腻的感知——材质粗粝的质感传递阳光的温度、清风掠过水面的清凉……人们不单单从视觉，而是从各个感官去感知空间和时间的流转。在特殊情况下，水池中的水也可以被抽走，形成一个临时场地，举行艺术展、演出等文化活动，让庭院空间从静态的风景转换为活力的社区客厅。
The entire building is organised around the central water courtyard, forming an introspective spatial composition that frames both mountain and sea vistas. All residential and public spaces are oriented with their backs to the mountains and their fronts to the water, nestled amid the surrounding forests and peaks. The pool in front of them reflects the sky and clouds, blending water and sky into a continuous, ever-present landscape. As one walks along the waterside, the senses gradually awaken to the rhythms of nature, evoking a more nuanced perception— the coarse textures of the materials convey the warmth of sunlight, while the breeze skimming over the water brings a refreshing coolness. Visitors engage with the space not only through sight but through a full spectrum of sensory experiences, perceiving the passage of time as it
unfolds within the environment. On special occasions, the pool can be drained to create a temporary venue for art exhibitions, performances, and other cultural events, transforming the courtyard from a static landscape into a dynamic community living room.
室内空间
首层主要的室内空间是酒店接待和公共餐厅。玻璃幕墙面向水景展开，整体开放通透。酒店的接待结合餐厅咖啡吧台设置，小巧亲切，在办理入住的同时，客人可以随时在旁边长凳坐下，观赏庭院的风景。设计将室外连廊的地面、顶面材质都延伸铺展到室内来，模糊空间边界，让水庭院的自然灵动唤起室内空间的活力。
Interior space
The main public areas on the ground floor are the hotel reception and the public dining area. The glass façade facing to the water creates a fully transparent and inviting environment. The reception is integrated with the coffee bar of the dining area, offering an intimate and welcoming experience—guests can check in while casually sitting on nearby benches, enjoying the courtyard view. Materials used for the floor and ceiling of the outdoor corridor are seamlessly extended into the interior, blurring the boundaries between inside and out, allowing the vitality of the water courtyard to infuse the indoor space.
二至四层的客房共有三种户型。每个房间都有面向水庭院的整面玻璃幕墙，获得纯粹的景观。 在平面布局上，我们尽可能的减少隔墙的使用，让不同生活场景自然的连成一体，延续建筑的空间逻辑和特质。客房的室内色调以柔和的米色为主，使用了哑光橡木、木化石、肌理涂料等天然、温润的材质。设计语言简约克制，不以昂贵的材料体现奢华，而是通过细节和质感 ，传达超越物质的生活态度。
The guestrooms on the second to fourth floors are organised into three typologies. Each room has a full-height glazing facing the water courtyard, offering uninterrupted views. Partitions are minimised wherever possible, connecting different living scenarios to flow naturally into one another, reinforcing the building’s spatial consequence and character. The interiors of guestrooms are rendered in soft, neutral tone, with natural, warm materials such as matte oak, fossilized wood, and textured finishes. The design language is minimalist and restrained, expressing luxury not through expensive materials, but through thoughtful details and tactile quality-conveying a lifestyle that transcends mere materiality.
总结
日月湾度假酒店是一个从“负空间”开始的设计。我们把内部体验置于外观形式之上，让建筑成为一个能延展到生活中的风景。设计用空间叙事回应场地环境的同时，也试图回应当下人的内心——把居住变成一个去建筑化的、由感官触发情感共鸣的体验。
Conclusion
Sun Moon Bay Resort Hotel is a design that begins with “negative space.” During the design process, the internal experience was prioritised over the exterior form, which allows the architecture to unfold as a landscape that extends into daily life. While the spatial narrative responds to the site environment, it also seeks to engage the inner world of its occupants— transforming living into a de-architecturalisation experience, one where sensory perception evokes emotional resonance.
在高压力的社会环境中，现代人的消费模式正经历从功能消费到情绪消费的转变，人们更需要一个承载情感的心灵空间。酒店约 6000 平的总面积之中，有近 1600 平米的空间没有被定义具体的使用功能。设计上的节制和留白，为使用者的想象力留出了余地。空间通过人的停留获得意义，人也在栖居中确立自身存在。这次设计实践，让我们不断审视建筑的意义，也希望以此做为一个起点，探寻建筑更大的包容性。
In the contemporary context of a high-pressure society, the consumption patterns of modern people are shifting from functional demand toward emotional engagement. What people increasingly seek is not simply utility, but space serves as an emotional sanctuary. Within the hotel’s total floor area of approximately 6,000 square meters, nearly 1,600 square meters are intentionally left without specific program. This restraint and spatial “void” create room for imagination and reinterpretation. Space acquires meaning through human presence, and individuals, in turn, affirm their sense of being through dwelling. This design practice has prompted us to continually reflect on the meaning of architecture, and we hope it may serve as a point of departure—an inquiry into architecture’s capacity for greater inclusiveness.
▽设计图纸 ©B.L.U.E.建筑设计事务所
项⽬名称：⽇⽉湾度假酒店
项⽬所在地：海南省万宁市
项⽬类型：建筑设计 室内设计
建筑师：⻘⼭周平、藤井洋⼦、刘凌⼦、⾦厚均、王嘉慧、陈乃纶、冯蕾
业主：中国旅游集团投资运营有限公司
占地⾯积：4123.16㎡
建筑⾯积：6585.01㎡
设计周期： 2023年3⽉—2023年9⽉
施⼯周期：2024年1⽉—2025年10⽉
摄影师：夏⾄
短⽚制作：夏制映画
建筑材料：艺术涂料，莱姆⽯，粉末喷涂铝板，砾⽯混凝⼟
室内材料：⽊纹⽯材，⽩橡⽊⽊饰⾯，艺术涂料
合作设计院：深圳市建筑设计研究总院有限公司
景观设计：致舍（北京）景观规划设计有限公司
灯光顾问：万润智慧（⼴东）科技有限公司
总包：中建三局集团有限公司
精装：浙江亚厦装饰股份有限公司
Project Name：Riyue Bay Yuyue Artia Hotel
Project Location： Wanning, Hainan, China
Category：Hotel, Architecture Design and Interior Design
Architect/s Shuhei：Aoyama, Yoko Fujii, Lingzi Liu, Houjun Jin, Jiahui
Wang, Nailun Chen, Lei Feng
Client：China Tourism Group
Site Area：4123.16㎡
Building Area：6585.01㎡
Design Period：03. 2023 – 09. 2023
Construction Period：01. 2024 – 10. 2025
Photography Credit：Xia Zhi
Video Credit：XIA ZHI PICTURES
Builidng Materials: Decorative coating，Limestone，Powder-coated aluminum panel，Exposed aggregate concrete
Interior Materials: Wood-textured stone，White oak veneer，Decorative coating
Collaborating Design Institute: Shenzhen General Institute of Architectural Design and Research Co. Ltd.
Landscape Design: Z’scape
Lighting Consultant: Mason Wisdom Technologies Co. LTD.
Construction General Contractor: China Construction Third Engineering Bureau Group Co. LTD.
Interior fit-out: Zhejiang Yasha Decoration Co. LTD.
“ 酒店用一个明确的边界形成围合式的布局，采用内向的姿态，构建一个自成一方天地的“园中之园”。”
审稿编辑：Maggie
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