海曲之光美爵枢纽酒店室内改造设计，山东日照丨GW空间设计

设计：GW空间设计 | 项目地点：日照 | 类别：酒店设计 | 2026-08-31 7354 94

“在枢纽与海之间，重建一次抵达”

“Between the Transport Hub and the Sea, Reimagining Arrival”

这是一场由结构、动线与时间共同完成的既有建筑再生。设计面对的并不是一次风格置换，而是一整套空间秩序的重写。

This project is an adaptive reuse shaped by structure, circulation, and time. Rather than a stylistic makeover, it rewrites the building’s entire spatial order.

▼酒店外观，Hotel exterior © GW STUDIO

项目位于临海城市日照市，原始功能是办公，后定位为酒店。紧邻新建综合交通枢纽，高铁、城市道路与地下停车在此交汇。GW从运营与抵达开始，以一日五视的海上礼遇为设计概念，对建筑进行了全方位的改造升级。

Located in the coastal city of Rizhao, the building was originally designed for offices before being repositioned as a hotel. It stands beside a new integrated transport hub, where high-speed rail, urban roads, and underground parking converge. Beginning with hotel operations and the experience of arrival, GW Space Design undertook a comprehensive transformation guided by the concept of seaside hospitality unfolding across five moments of the day.

▼建筑改造前，Building before renovation © GW STUDIO

▼酒店外观，Hotel exterior © GW STUDIO

改造不是为建筑覆盖一层“设计风格”，而是重新组织边界、动线与使用方式。从拂晓到夜阑，空间不以房间目录被逐一陈列，而是以人的一天被重新串联。

The renovation does not simply wrap the building in a new design language. It reorganises boundaries, circulation, and patterns of use. From dawn to nightfall, the spaces are not presented as a catalogue of rooms, but connected through the rhythm of a guest’s day.

“海上礼遇｜一日五时”

“Seaside Hospitality | Five Moments of the Day”

日照的海并不需要被复制成图案，设计将它转译为一天中变化的光、色温、曲线与材质反射五个时刻，也是一条由公共到私密、由抵达到安居的空间路径。

The sea of Rizhao is not reproduced as a decorative motif. Instead, it is translated through five moments of shifting light, colour temperature, curves, and material reflections. Together, these moments trace a spatial journey from public to private, from arrival to retreat.

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拂晓｜重建抵达

Dawn | Reimagining Arrival

保留骨架，重写使用秩序

Retaining the Structural Frame, Rewriting the Order of Use

首层改造不是从一张空白图纸开始，原建筑的轮廓、外墙、柱网、楼梯和电梯已经确定，大面积开间则以“预留”状态展开。设计因此不是整体的推倒重来，而是把一套办公建筑的空间条件，重新组织成一套可以抵达、停留并持续运营的酒店首层。

The ground-floor renovation did not begin with a blank slate. The building’s outline, façade, structural grid, stairs, and lifts were already fixed, while large open areas remained largely undefined. Rather than clearing everything away, the design reorganises the conditions of an office building into a hotel ground floor capable of supporting arrival, lingering, and continuous operation.

通过重构动线满足酒店运营功能，由于两间现有电梯间距较远，设计置入艺术长廊，让客人在到达客房之前以“艺术”和“沉浸”的方式开启酒店入住体验。

To support hotel operations, the circulation was reconfigured. Because the two existing lifts are set far apart, an art corridor was introduced between them, allowing guests to begin their stay through a slower, more immersive encounter with art before reaching the guestrooms.

边界向外，剖面向上

Extending Outward, Opening Upward

原建筑入口退缩在内凹幕墙之后，进入室内仍被连续楼板压低。

The original entrance receded behind an indented curtain wall, while the continuous floor slab kept the interior compressed upon entry.

设计从空间角度出发，改变建筑边界，局部楼板打开，让原本平直、压缩的首层关系获得纵向尺度。

The intervention redefines the building envelope and selectively opens the floor slab, giving the previously flat and compressed ground floor a new vertical dimension.

▼酒店雨棚竣工照片，Completed hotel entrance canopy © GW STUDIO

▼挑空大堂，Double-height lobby © GW STUDIO

落客不再直接撞上门厅，而是增加了等候、转向与迎宾的余量；挑空侧板采用叠级处理，将原本偏硬的结构边界转化为连续上扬的曲面意象，与中央艺术装置共同建立入口的视觉锚点。

The drop-off no longer brings guests abruptly up against the entrance lobby. Instead, the sequence allows room to pause, turn, and be welcomed. Stepped side panels soften the formerly rigid edge of the double-height space into a continuous upward sweep, while a central art installation establishes a clear visual anchor for the entrance.

▼旋转楼梯竣工照片，Completed spiral staircase © GW STUDIO

入口后的原有楼板局部切除，结合旋转楼梯置入形成新的两层通高空间，室外光线与上下层视线在挑空中相遇。旋转楼梯既连接上下，也组织回望。人在上行时，可以同时看见入口、大堂与室外，结构改造由此转化为可被身体感知的空间。

A section of the existing floor slab was removed and a spiral staircase inserted to form a new double-height volume. Daylight from outside and views between the two levels meet within the void. The staircase not only connects the floors but also orchestrates moments of looking back: as guests ascend, the entrance, lobby, and exterior remain in view, turning a structural alteration into a spatial experience felt through movement.

由剪力墙生长出的聚合空间

A Gathering Space Shaped Around the Shear Wall

大堂吧中心是一片不可移动的剪力墙，设计以它为原点组织环形吧台，让服务界面向四周展开。上方白色曲面从结构上扬，像一片被风撑起的船帆。

An immovable shear wall occupies the centre of the lobby bar. The design uses it as an organising point for a circular bar, opening the service interface in every direction. Above, a white curved surface rises from the structure like a sail filled by the wind.

▼大堂吧竣工照，Completed lobby bar © GW STUDIO

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船帆回应建筑由游轮轮廓而来的流线，却不止于造型联想，原本需要被遮掩的结构，成为吧台的支点和空间中心。

The sail-like form echoes the building’s flowing lines, themselves derived from the outline of a cruise liner, yet it goes beyond formal association. A structural element that might otherwise have been concealed becomes both the bar’s support and the spatial centre of the room.

分台接待与艺术长廊｜让效率退后一步

Distributed Reception and the Art Corridor | Looking Beyond Efficiency

▼前台竣工照，Completed reception desks © GW STUDIO

接待前台被拆分为独立单元，入住转为更安静的一对一交流；整体前厅视线更为开放，住客可以更早感知后续动线，公共空间之间不再被一条长柜生硬截断。

The reception desk is divided into individual stations, turning check-in into a quieter, one-to-one exchange. With the long counter removed, views across the lobby become more open, allowing guests to understand the onward circulation sooner and preventing the public areas from being abruptly divided.

接待之后，空间开始逐步降低信息密度：从前厅的交流与等候，到艺术长廊的慢行与观看，人的状态也从“办理入住”转向真正进入酒店。

Beyond reception, the density of information gradually decreases. The lobby’s conversation and waiting give way to the slower pace of walking and looking in the art corridor, shifting the guest’s state of mind from completing check-in to genuinely entering the hotel.

▼艺术长廊竣工图，Completed art corridor © GW STUDIO

从大堂进入餐饮与客房区域，艺术长廊承担第二次空间转场。连续影像沿一侧展开，镜面顶棚接住流动的光，明暗变化将开放大堂的声响慢慢收住，空间情绪从公共社交过渡到更安静的内部区域。

The art corridor marks a second transition from the lobby towards the dining and guestroom areas. A continuous moving image unfolds along one side, while the mirrored ceiling catches the changing light. Gradations of brightness quieten the sound and energy of the open lobby, easing the atmosphere from public sociability towards the hotel’s more secluded interior.

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晌午｜让海成为光，而不是图案

Noon | Letting the Sea Become Light, Not a Motif

曲线聚拢日光

Curves That Gather Daylight

全日制餐厅面向白昼展开，天花以连续曲线组织照明与座席，尽端的拱形界面收住视线。蓝只在玻璃、织物与艺术品中被光唤起。海在这里被转译为一种环境感——它存在于亮度、反射、冷暖与层次之间，而不是成为可以被一眼读完的主题符号。

The all-day dining restaurant unfolds in daylight. Continuous curves in the ceiling organise both lighting and seating, while an arched surface at the far end draws the view to a close. Blue appears only where light activates glass, textiles, and artworks. Here, the sea is translated as an atmosphere of brightness, reflection, temperature, and depth rather than a theme that can be read at a glance.

▼全日制餐厅竣工图，Completed all-day dining restaurant © GW STUDIO

以空间层级保护私密

Protecting Privacy Through Spatial Layers

私密不是封闭，而是让人与外部之间多出一段可调节的距离，与全日制餐厅的开放不同，中餐区层层递进，公共动线保持清楚，每个包间又拥有自己的缓冲空间。

Privacy here does not mean enclosure, but the introduction of a measured distance between guests and their surroundings. In contrast to the openness of the all-day dining restaurant, the Chinese dining area unfolds through successive layers: public circulation remains legible, while each private dining room is given its own transitional buffer.

▼中餐区竣工图，Completed Chinese dining area © GW STUDIO

▼包间竣工图，Completed private dining room © GW STUDIO

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日昳｜聚散有序

Afternoon | Order in Gathering and Dispersal

宴会空间面对短时间内最密集的人流，也需要在不同规模之间迅速转换。设计因此不只关注宴会厅内部的视觉完成度，更把前厅、入口与厅内之间看作一套共同工作的系统，使人流能够在“聚”与“散”之间保持清楚的节奏。

The banquet spaces must absorb the hotel’s most concentrated flows of people within short periods while adapting quickly to events of different scales. The design therefore looks beyond the visual completion of the ballroom itself, treating the foyer, entrances, and hall as a single operational system so that gathering and dispersal can follow a clear rhythm.

▼宴会前厅竣工图，Completed banquet foyer © GW STUDIO

▼宴会前厅，Banquet foyer © GW STUDIO

灯光与顶面秩序进一步强化这种弹性——当活动内容变化时，空间能够通过照明氛围与家具布置重新定义中心，而不被过度固定的装饰主题限制。

The coordinated lighting and ceiling composition further reinforces this flexibility. As the nature of an event changes, the spatial focus can be redefined through illumination and furniture layouts rather than constrained by an overly fixed decorative theme.

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傍晚｜在城市与海之间，留一段缓慢

Dusk | A Slower Interlude Between City and Sea

如果说宴会空间处理的是高密度的聚集，那么行政酒廊与露台处理的则是一天中更缓慢的停留。人在这里处理短暂工作，也可以只看天空变暗。视线、座席间距与不被打扰的时间，构成休闲本身。

If the banquet spaces are designed for high-density gatherings, the executive lounge and terrace accommodate the slower pauses of the day. Guests may spend a short time working, or simply watch the sky darken. Views, generous spacing between seats, and time without interruption become the substance of leisure.

▼行政酒廊竣工图，Completed executive lounge © GW STUDIO

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夜阑｜夜枕星河，酣然入梦

Nightfall | Sleeping Beneath a River of Stars

开与合之间，把边界交给住客

Between Open and Closed, Giving Guests Control of the Boundary

进入客房层，空间的表达逐渐收束。走廊采用无主灯方式降低整体亮度，并通过天花灯带对过长的交通尺度进行分段，让连续走廊在视觉上被重新切分。照明不再承担展示，而更接近方向提示与情绪控制：从公共区域的明亮与开放，过渡到夜间住宿所需要的安静与私密。

On the guestroom floors, the design language becomes progressively more restrained. The corridors avoid a dominant central fixture, using ceiling-integrated strip lighting to lower the overall brightness and visually break down the length of the corridor. Illumination shifts from display towards orientation and atmosphere, guiding the transition from the brightness and openness of the public areas to the quiet and privacy required for an overnight stay.

▼客房走廊竣工图，Completed guestroom corridor © GW STUDIO

▼客房轿厢竣工图，Completed guest lift interior © GW STUDIO

交错分区，打破既有柱网重获空间结构

Interlocking Zones | Moving Beyond the Existing Structural Grid to Reclaim Spatial Order

原有办公建筑柱网与进深造就客房狭长格局。设计将相邻客房之间寻找空间，将布局交错咬合，让湿区在房间之间互相嵌套，以更高效的平面关系释放单间内部的入口面积。

The depth and structural grid of the former office building produced long, narrow guestrooms. The design finds usable space between adjacent rooms by interlocking their layouts, allowing bathroom zones to nest into one another. This more efficient plan releases valuable area at each room’s entrance.

交错湿区的意义并不只是节省面积，而是把原本消耗在狭长过道里的尺度重新交还给使用者。入口可以完成更衣、收纳与洗漱等行为，睡眠区因此保持更完整，房间也从“长条形空间”变成具有节奏的生活序列。

The interlocking bathroom zones do more than save space: they return to the guest the area that would otherwise be consumed by a long corridor. Dressing, storage, and washing can all take place within the entrance zone, leaving the sleeping area more complete and transforming the room from a narrow strip into a sequence of distinct living spaces.

客房由此形成三段：入口开放盥洗区、睡眠休闲区与临窗露台界面。石材、木饰面、织物与地毯随之转换，空间分区由脚下触感、顶面光线与界面开合共同完成。

The guestroom is consequently organised into three zones: an open vanity area at the entrance, a sleeping and lounging area, and a window-side terrace zone. Stone, timber finishes, textiles, and carpet shift accordingly, allowing the divisions to be registered through changes underfoot, overhead lighting, and the opening or closing of spatial boundaries.

盥洗区设置开放挂衣位与坐凳，浴衣、毛巾和随身衣物都处于转身可及的范围内，坐、挂、取、放在入口段完成。尺度优化并不追求视觉上的夸张，而是落在具体动作与使用顺序上。

The vanity zone includes an open wardrobe and bench, keeping bathrobes, towels, and personal clothing within easy reach. Sitting, hanging, taking, and placing all occur within the entrance zone. The optimisation of space is expressed not through visual spectacle, but through the careful sequencing of everyday actions.

开与合，把选择留给住客

Open or Closed | Leaving the Choice to the Guest

开，是独处时的通透；合，是同行者之间必要的私密。房间不预设唯一的使用方式，而是通过一个可变化的界面，让同一间客房适应不同关系、不同时间与不同使用场景。

Open, the room feels transparent when occupied alone; closed, it provides the privacy needed between travelling companions. Rather than prescribing a single pattern of use, an adjustable partition allows the same guestroom to accommodate different relationships, times of day, and modes of occupation.

结语｜Conclusion

从办公到酒店，这次改造真正改变的并不是建筑表面，而是改变了它被进入、被看见与被使用的方式。

In converting the building from offices into a hotel, the most consequential change is not to its surface, but to the ways in which it is entered, perceived, and used.

白日在海边落幕，建筑灯火渐明。从拂晓的抵达、晌午的光，到午后的聚散、傍晚的停留与夜间的开合，“一日五时”最终并不是一套关于海的装饰性叙事，而是一条关于时间与使用的空间路径。它没有离开过去，只是在新的运营与生活中，获得了另一种时间体验。

Daylight fades over the sea as the building begins to glow. From arrival at dawn and the light of noon to afternoon gatherings, pauses at dusk, and the opening and closing of space at night, the “Five Moments of the Day” are ultimately not a decorative narrative about the sea, but a spatial journey structured by time and use. The building has not left its past behind; through new modes of operation and patterns of life, it has entered into a different relationship with time.