DINZ德网 | 非常建筑 · 工坊与住宅的结合

张永和与鲁力佳于1993年在美国创立的非常建筑事务所，在过去近30年中，从一个以研究、创新为特 色的个人工作室逐渐发展成国际知名的建筑设计事务所，在建筑、艺术和设计领域，将前瞻性的视野、丰富的经验、良好的专业素养和独特的创造力结合，挖掘不同文化内核和现代表达手法。非常建筑坚信设计的价值，强调研究，重视方法，致力于建造工艺的革新，逐渐形成了一个涵盖多个设计领域 的综合实践性事务所。

宁波东钱湖的教育论坛是一个由会议中心、酒店、美术馆和住宅等设施组成的群落。由于业主从业教育并收藏艺术，因此在该项目中教育与艺术并重。论坛还专门为来访的学者及艺术家建造了四栋“坊宅”，即工坊与住宅的结合，以供他们进行相对长期的研究或创作。

The Education Forum at Dongqian Lake in Ningbo is a community that includes a convention center, a hotel, an art museum, villas, and other facilities. The owner is passionate about education as well as art. A group of four studio-houses are built specifically to accommodate visitors, especially scholars or artists who may come for a relatively extended period of time to conduct research and/or work on creative projects.

鸟瞰四栋坊宅 ©田方方

四个坊宅中的三个是张永和于20世纪90年代初在没有业主和基地的情况下首次构思的，设计的焦点是如何模糊古典主义与现代主义之间的界线。这些“纸上建筑”实际上是严肃地对建筑核心问题之一 "空间"的研究，同时也是可建造的方案。坊宅设计的特殊背景使这组建筑成为教育论坛有关艺术研究讨论的参与者。

Three of the four studio-houses were conceived by Yung Ho Chang without client nor site in the early 1990’s as an attempt to blur the line between Classicism and Modernism. These “paper architecture” are in fact serious investigations of a core issue of architecture“space”and buildable propositions as well. This particular history of the project makes these four pieces of architecture an engaging participant in the discussion and exchange of ideas on art and research at the Forum.

张永和绘制的院宅研究，1991年 ©FCJZ

院宅研究实体模型 ©FCJZ

这组坊宅可以认为是建筑空间概念的测试。在这些坊宅中，工作-生活使用需求相对开放，促使我们以空间形态为主导推动设计，产生了四个空间原型，每栋具有独一无二的空间特质。空间设计也不可避免地涉及对体验进而对生活方式的想象。

The studio-houses are meant as experiments to test out ways to organize architectural spaces. The openness of the work-live program allows us to produce four distinctly different spatial conditions. Designing space can never be separated from imagining experience as well as lifestyle.

The four studio-houses are thus named respectively after an architectural element that characterizes the spatial organization. They are House with Face-to-Face Loggias, House with Cruciform Glass, House with Walkable Beam, and House with Flipped Roof.

廊廊相对宅

House with Face-to-Face Loggias

设计操作想象将一个对称的体量沿中轴分为两半，向外拉开，并在之间置入一水体，在其两侧的底层对应地布置了敞廊。相对的两个廊下空间横跨水面形成该坊宅的半室外-室外生活场所。

During design, a symmetrical volume is imagined being sliced in the middle and pulled apart to accommodate a pool flanked by two loggias on the ground level, one on each side. The two facing loggias define the open space in between framing both outdoor and semi-outdoor events.

廊廊相对宅鸟瞰 ©田方方

廊廊相对宅入口 ©李柯梁

居者要穿过水院从一侧的住所抵达另一侧的书斋去工作，工作结束回归住所再次跨水而过。过水，成为每日生活中的仪式之一。坐在廊下与对面廊下的朋友隔水交谈, 是小住于此的又一乐趣，此刻廊的关系化作人的关系。

The inhabitant needs to cross the water court from the living quarters to work in the study on the other side and then cross it again on the way back, which creates a ritual for daily living. Sitting in a loggia and talking to a friend is another pleasure the house offers. At that moment, the relationship of loggias morphs into that of people.

两廊之间的水院 ©李柯梁

从底层的工作空间看水院及厨房 ©田方方

生活廊一层的厨房 ©田方方

生活廊的楼梯 ©田方方

生活廊二层的起居空间 ©田方方

工作廊二层的书斋 ©田方方

一层的研究室以风车形布置。二层的玻璃宅被透明的十字形双层幕墙均分为四间同等大小的房间，其使用分别限定为起居、餐厨、休息、洗浴；同时双层幕墙的空腔将二层和一层联通起来。

On ground level, spaces are organized with a pinwheel formation; on the upper level, a transparent volume is divided into four equal quarters for living, cook/dining, sleeping, and bathing by a hollow cruciform double curtain wall that connects the second-floor to the ground below.

玻璃十字宅鸟瞰 ©田方方

玻璃十字宅的每侧各有门廊 ©李柯梁

玻璃十字宅二层入口侧立面 ©田方方

一层的十字形半室外空间 ©李柯梁

十字形天井 ©李柯梁

二层玻璃宅的空间既开敞又分割。居者沿外侧玻璃墙环绕而行，得以欣赏周边连续的水院，且一瞥四个方位上院墙缺口中透过来的远方风景。

The space in the upper floor glass house is simultaneously open and divided. The inhabitant may move along the outer glass curtain wall enjoying a panoramic view of the surrounding water court, which is only punctured by the sceneries through the cuts in the peripheral wall.

二楼出入口 ©田方方

二层由十字空腔玻璃幕墙隔开的四间房间 ©田方方

二层玻璃宅的承重墙从玻璃幕墙围合面推进来，形成有水院环绕的房间之间的过渡 ©田方方

从二层房间俯瞰一层 ©田方方

一层四个研究室之一的烹饪实验室 ©田方方

一个造型艺术工坊属性的高空间被两个内向的超大门廊夹于中间。十字形可走人的横梁穿过画室上空。

A double-height space for plastic art studio is bookended with two oversized porches and floats in the middle a cruciform beam that is walkable.

来去梁上宅鸟瞰 ©田方方

来去梁上宅入口 ©田方方

从东侧看来去梁上宅 ©田方方

在这栋坊宅里，创作围绕梁展开。居者可以站在梁上审视自己的创造，也可从梁上吊挂作品，或从梁上进入书房。

The inhabitant’s creative process unfolds around the beam: standing on it to examine his/her art on the walls or underneath, hanging from it work-in-progress, or crossing it on his/her way to the library.

贯穿建筑和庭院的梁 ©田方方

从边院看楼梯间 ©田方方

从廊下看工作室室内 ©田方方

在可行走十字横梁上 ©田方方

横梁可通往图书室 ©田方方

从可行走的十字横梁上可以欣赏挂在两侧墙面上的艺术作品 ©田方方

三楼的厨餐厅 ©田方方

一个大空间由一个颠倒坡屋顶划分出工作和居住两个相通的部分。

A single space is divided by an inverted sloped roof into two zones, one for work and one for live.

翻转屋顶宅鸟瞰 ©田方方

翻转屋顶宅廊侧立面 ©田方方

翻转屋顶宅主入口 ©田方方

居者创作与生活几乎在同一空间里。在视线上，各在屋顶一侧的工作和居住区域只有有限的联系；但居者无论在哪一侧总能意识另一侧的存在。坊宅的意义在于既分又合。

This inhabitant lives and works in the same space, almost. Visually, live and work areas on opposite sides of the inverted roof have limited connection yet whichever side the inhabitant is on he would be constantly aware of the other. Studio-house juxtaposes combination and separation.

入口 ©田方方

一层的开放空间 ©田方方

通过门廊望出去，上面可看到屋顶与二层之间的空隙 ©田方方

二层生活区 ©田方方

从浴室门口看二层生活区 ©田方方

钢筋混凝土像粘土一样被用来塑造纯粹的空间。通过木模板，外露的混凝土表面纹理避免了抽象化并获得了物质性表现。

木模混凝土墙面细部 ©李柯梁

木模混凝土塑成的建筑空间：从室内到室外 ©李柯梁

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