本帖最后由 赵立娇 于 2020-8-14 18:27 编辑
▽文本诠释下的织梦小屋——一米藏/ Dream house under the interpretation ofthe text——Hiding House
Wutopia Lab接受业主委托历经六年完成了位于上海市中心的带有一个黑院子的隐秘的收藏者之家——一米藏。 Wutopia lab has completed a Collector'shome with a black courtyard called the hiding house in the center of Shanghaiover the past six years.
1.背景 1. Background
2020年7月, 这个历经六年波折的闹市小宅院终于宣告落成。 In July 2020, after six years of ups anddowns, the small house in downtown area was finally declared completed.
▽建筑俯瞰图/ Building bird's eye view
它是小博物馆，图书馆，陈列室，可以做会所，也是家，更是业主送给自己妻女的礼物。虽然业主本身也是建筑师，但依然逃脱不了摇摆不定。从最初的会所或者微型美术馆，到自宅到最后展示藏品社交会友和居住兼顾的一米藏。这个变化的过程是其生活和定位变化的过程。 It is a small museum, library and showroom.It can be used as a club, as well as a home. It is also a gift given to hiswife and daughter by the owners. Although the owner himself is also anarchitect, he still can not escape the vacillation. From the club or micro artgallery, to the house, to the multi-functional residential buildings with thefunctions of displaying collections, meeting friends and living. The process ofchange is the process of their life and positioning changes.
2.设计思路 2. Design ideas
设计师一开始就为项目设定了一个基本框架不变而可以灵活调整局部的建筑学剧本。设计师用一道连续的界面把建筑分成两部分。界面前的生活空间和界面后的服务空间。 The designer set a basic framework for theproject from the beginning, and can flexibly adjust the local architecturalscript. The designer uses a continuous interface to divide the building intotwo parts. The living space before the interface and the service space afterthe interface.
在连续的界面以南是兼顾展厅和图书馆的起居室，餐厅和主卧室以及独立在院子里的茶室，院子内分为花园和舞台。连续界面之后是厨房，厕所，设备空间以及一个女主人空间一个展示藏品的闺蜜室，夹层空间用来作为服务人员休息，储藏和男主人空间以及家庭起居。 To the south of the continuous interface isthe living room, dining room and master bedroom, as well as a tea roomindependent of the courtyard. The courtyard is divided into garden and stage.After the continuous interface is the kitchen, toilet, equipment space and a girl‘s space - a boudoir room for displaying the collection, and themezzanine space is used for the service staff to rest, store and host the roomas well as for family living.
▽建筑一层平面图/ First floor plan of building
被设计成图书室式的起居室，具有仪式感，四壁不着一物，但窗外即景。两侧黑色书架展示业主的收藏品并限定了起居室的方向感。 The living room, which is designed as alibrary style, has a sense of ceremony. There is nothing on the four walls, butit is on the scene outside the window. The black bookshelves on both sides displaythe owner's collection and limit the sense of direction in the living room.
▽起居室兼具图书室功能，框景里树藤/ The living room has the function of alibrary, and there are trees and vines in the frame view
搭升降梯可以从居室到夹层，连接了竖向的交通。夹层的主要空间是属于男主人的。这个有些暗的私人居处通过窗口联系着门厅，卧室和起居室，这种合理窥探的设置来自于设计师念念不忘的索恩博士博物馆的体验。 Take the elevator from the bedroom to themezzanine, connecting the vertical traffic.The main space in the mezzaninebelongs to the host. This dark private home connects the foyer, bedroom andliving room through the window, and this kind of reasonable prying settingcomes from the designer's unforgettable experience of Dr. Thorne's Museum.
▽起居室一角的升降梯/The elevator in the corner of theliving room
▽倾泻在夹层暗室里的微弱光影/ The faint light and shadow pouring intothe mezzanine darkroom
而男主人女儿的空间是界面背后的闺蜜室，它是一个有着闪闪发亮的星系的蓝色宇宙。每颗星都是用透明亚克力球定制的展品架，这是阿那亚儿童餐厅中泡泡装置的缩微版。 The girl’s space is the boudoir room behindthe interface. It's a blue universe with shiny galaxies. Each star is acustom-made display rack with transparent acrylic balls, a miniature version ofthe bubble installation in Anaya children's restaurant.
▽女儿房里的蓝色宇宙/ Blue universe in daughter's room
▽透过亚克力球看窗外世界/ Looking out the window through the acrylic ball
黑色是极好的背景基调衬托绿树和白色房子。以黑色火山岩铺装作为基色，以太湖石作为花坛的堆石，配合如龙蛇的紫藤和长势喜人的紫荆，因地制宜就地取材地打造一个微型的黑色当代中式花园。 Black is an excellent background toneagainst the green trees and white houses. With black volcanic rock pavement asthe basic color, Taihu stone as the pile stone of flower bed, with Wisteria ofdragon snake and pleasant growth of Bauhinia, a miniature black contemporary Chinesegarden is created according to local conditions.
▽黑白之间的太湖石和藤荆植物/ Taihu stone and rattan plants betweenblack and white
茶室转角不能有柱子，连续的玻璃窗在角部要开放，这样屋面要悬挑4米。上夹层的楼梯要轻薄，不要有踢面，也要从仅仅120厚的墙体上悬挑。设备尽量隐蔽，所要的空间压缩到极致。玻璃窗要大，不能有多余的分割，才能容的下最好的景色。这个设计中充满了非标的设计，离不开业主深化设计团队的支持。 There should be no columns at the corner ofthe teahouse. Continuous glass windows should be opened at the corner, so thatthe roof should be overhanging for 4 meters. The stairs on the mezzanine shouldbe light and thin, without risers, and cantilevered from a wall only 120 thick.The equipment should be concealed as far as possible, and the space required iscompressed to the extreme. The glass window should be large, and there shouldbe no unnecessary division to accommodate the best scenery. This design is fullof non-standard design, which cannot be separated from the support of the owner'sdeepening design team.
▽茶室转角连续的玻璃窗/ Glass windows with continuous corners in the teahouse
▽轻盈的悬挑楼梯/ Light cantilevered stairs
堆石对建筑师和工人都是漫长艰苦的工作。太湖石因为相邻石头不同关系而能表现出不同状态的。所以当石头落位后，经过不同角度的观察和判断后，调整角度或者索性替换，堆石充满了不确定性和惊喜。最后20平米的石院费时六个小时才稍具规模。 Rockfill is a long and hard work forarchitects and workers. Taihu stone can show different states because of thedifferent relationship between adjacent stones. Therefore, when the stonefalls, after observing and judging from different angles, adjusting the angleor simply replacing it, the rockfill is full of uncertainty and surprise.Finally, it took six hours for the stone yard of 20 square meters to takeshape.
▽庭院里的堆石/ Rockfill in the courtyard
废弃的壁炉和入户门成为一米藏一个沉默的历史记录。一条贯穿书架和墙壁的连续金属线条。是建筑的零零标高，斑驳的红漆大门，把漆刨掉后，露出沧桑历史的大门的本来柚木的材质。被覆盖的文本仿佛考古般恢复了原貌的特征。 Abandoned fireplaces and entry doors.are a silentrecord of history. A continuous line of metal running through the bookshelf andthe wall. It is the zero elevation of the building, the mottled red paint gate.After the paint is planed off, the original teak material of the gate ofvicissitudes and history is exposed. The covered text seems to have restored itsoriginal features like archaeology.
▽刨掉斑驳红漆后的柚木门/ The teak door after peeling off the mottled red paint
建筑中文名中的一个字——米，得自于屋主女儿小名中的一个字。作为隐喻的符号镶嵌在庭院大门和建筑物勒脚上，也是建筑物历史和回忆的记录。 A word in the Chinese name of a building,MI, is derived from a word in the owner's daughter's nickname.. As a metaphor,symbols embedded in the courtyard gate and building plinth are also records ofbuilding history and memory.
庭院里的帷幕是由下而上收放，这样在没有帷幕的时候就不会因为悬空的窗帘盒而打破空间连续性。 The curtain in the courtyard is retractedfrom bottom to top, so that when there is no curtain, the space continuity willnot be broken because of the hanging curtain box.
▽庭院里的帷幕/ The curtain in the courtyard
设想是简单的，但落实起来有许多难点需要处理，帷幕两侧和建筑物的交接，收纳后的防水和排水处理等等。但经过深化设计团队技术攻关后，你看到帷幕徐徐升起，把庭院分成舞台和花园两个部分，树影落在帷幕之上，或者半透明的帷幕背后若隐若现的景物和人，你中有我，我中有你而模糊了时间和空间的戏剧性那一刻，所有的折腾都是值得的。 The assumption is simple, but there aremany difficulties in the implementation, such as the handover between the twosides of the curtain and the building, the waterproof and drainage treatmentafter storage, etc. However, after deepening the technical research of thedesign team, you can see that the curtain rises slowly, dividing the courtyardinto two parts: the stage and the garden. The shadows of trees fall on thecurtain, or the scenery and people looming behind the translucent curtain.
▽设计师以庭院紫藤花为范本设计了穿孔板的花纹，配上灯光仿佛烟火瀑布。 The designer takes wisteria in thecourtyard as a model to design the pattern of perforated plate. With the light,it looks like a fireworks waterfall.
▽为了不让落水管打断屋檐连续的黑线，水管呈现之字状让黑线穿过。 In order not to let the downpipe break thecontinuous black line of the eaves, the water pipe presents a zigzag shape tolet the black line pass through.
▽设计师设计了漩涡纹排水口，才配得上周边如云雾的太湖石。 The designer designed the vortex patterndrain outlet to match the surrounding Taihu Lake stone.
▽曲折有致攀附到墙顶的楝树的中段加了一个支撑，灵感来自于时常出现在达利绘画中的拐杖。 A support is added to the middle of theneem tree that climbs to the top of the wall, inspired by the crutches thatoften appear in Dali's paintings.
▽而茶室立面是用肌理变化来表达设计师某天风过心头吹出涟漪的愉悦感觉。 The facade of the teahouse is to express thedesigner's pleasant feeling of rippling with the change of texture one day.
整整74个月。业主说他一开始并不知道想要一个什么样的房子，但有一点很明确是要展现生活里那种闪光的戏剧性，但又不能浮夸。双方都在倾听对方的意见并阐述自己的理由然后以作品完整性作为最后评价标准作为各自退让或者调整的依据。这就是建筑师为建筑师设计收藏者之家的故事。 74 months. The owner said that he didn'tknow what kind of house he wanted at the beginning, but he had one thing veryclear: he wanted to show the flash drama in life, but he could not exaggerate.Both sides are listening to each other's opinions and explaining their ownreasons, and then take the integrity of the work as the final evaluationstandard as the basis for their concession or adjustment. This is the story ofarchitects designing hidden houses for architects.
3.建筑文本诠释 3. Interpretation of architectural texts
作为场所，收藏者之家具有个人身份的核心层面文本，可以是真实的，也可以是虚构的，或者交织在一起。场所是包含可能性，假设性和幻想的一个复杂文本—-有可能发生事件的场所。它存在于空间之中，渗透着不同的社会概念，形成外观的或者展示文化的场景，有的场景会引起强烈的生理和情绪反应，唤醒身体意识，场所具有的物质和符号价值能够创造变动的不同纬度的灵感。 任何人对场所的审视和观察以及认知都是渗透着社会概念，少数人会注意到天气和光线象征投射到场所上的人类情感。如此以社会概念创造作为文本的场所也会持续改写场所的外观。在收藏者之家中，公共和私人之间的界限有时变得模糊不清。如果以事件的角度看。真实和虚构，公共和私人彼此以不同尺度的场所互相镶嵌成暧昧的文本。而场所作为文本也不拘泥于固定的地点或者事件甚至时间。文本甚至没有尽头，不断综合事件发展出更新的文本，收藏者之家就这样成为让人持续发现和重新认识的场所。 As a place, Hiding House has the core leveltext of personal identity, which can be real, fictional or interwoven. Place isa complex text containing possibility, hypothesis and fantasy - a place whereevents may occur. It exists in space, permeated with different social concepts,forming external or cultural scenes. Some scenes will cause strongphysiological and emotional reactions, wake up the body consciousness, and thematerial and symbolic value of the place can create the changing spirit ofdifferent latitude. Anyone's examination, observation andcognition of the place is permeated with social concepts. A few people willnotice that the weather and light symbolize the human emotions projected on theplace. In this way, the place created by social concept will continue torewrite the appearance of place. In Hiding House, the line between the publicand the private is sometimes blurred. If you look at it from the perspective ofevents. Reality and fiction, public and private are embedded into ambiguoustexts in different scales. As a text, place is not limited to fixed place orevent or even time. There is no end to the text. The collection house becomes aplace for people to continuously discover and re recognize.
昆曲演员从房子的大门缓缓走到庭院中。灯光将墙壁上的圆形壁龛变成了一轮满月，倒映在地面镜面上，这就是黑院子里的镜花水月。演员清歌曼舞，何似在人间。这个短暂瞬间的美丽，之后回忆起来仿佛幻觉，但在那个时刻，则是永恒的。这大约是设计师真正想要表达的主题。 Kunqu opera performers walk slowly from thedoor of the house into the courtyard. The light turns the circular niche on thewall into a full moon, which is reflected on the mirror of the ground. This isthe moon in the black yard. The actors are singing and dancing in the world.The beauty of this short moment, later recalled as if illusion, but in thatmoment, it is eternal. This is about the theme that designers really want toexpress.
▽轴侧图/Axonometric
▽二层平面图/Second Floor Plan
▽总平面图/ Master Plan
▽前立面图/Front Elevation
▽入口立面图/Entrance Elevation
项目信息 项目名称：收藏者之家——一米藏 地址：上海，中国 时间：2014.5~2020.7 设计团队：Wutopia Lab+三益中国 主持建筑师：俞挺 方案设计团队：Wutopia Lab 项目建筑师：李宗泽，穆芝霖 设计师：潘大力等 深化设计团队：上海三益建筑设计有限公司 主要设计人员：祝宇梅，胡文晓，于兵，周一翔，王粲，蒋虹，茅娅倩，徐炜栋等 项目经理及总协调：张昊 照明顾问：张宸露 家居顾问：王芳 摄影：CreatAR Images 施工负责人：陈育文 面积：建筑面积139平方米，庭院面积105平方米 材料：火山岩、太湖石、穿孔铝板、玻璃、钢板、硅藻泥、木材、白色水泥
Project information Project name:The hiding house Location: Shanghai, China Time: 2014.5~2020.7 Design team: Wutopia Lab & SUNYAT Chief Architect: Yu Ting Proposal design team: Wutopia Lab Project Architect: Li Zongze, Mu Zhilin Designer: Pan Dali ,etc. Proposal development team: Shanghai SunyatArchitecture Design Co., Ltd. Main designers: Zhu Yumei, Hu Wenxiao, YuBing, Zhou Yixiang, Wang Can, Jiang Hong, Mao Yaqian, Xu Weidong, etc. Project Manager and General Coordinator:Zhang Hao Lighting Consultant: Chloe ZHANG Home Consultant: Wang Fang Photography: CreatAR Images Person in charge of construction: ChenYuwen Area: construction area 139 square meters,courtyard area 105 square meters Material: volcanic rock, Taihu stone,perforated aluminum plate, glass, steel plate, diatom mud, wood, white cement
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