建筑設(shè)計(jì)：坂茂建筑事務(wù)所

橢圓住宅，福島，日本

建筑設(shè)計(jì)：坂茂建筑事務(wù)所

1 庭院/Courtyard

這座住宅位于典型的開發(fā)成熟地區(qū)，場(chǎng)地附近有一條蜿蜒向南的小巷和一條朝北延伸的高速公路，宅基地形狀呈普通的矩形。由于場(chǎng)地外部并無(wú)特別值得欣賞的景觀，我們把建筑四坡屋頂下的空間一直向外延伸至地段邊緣，并在場(chǎng)地內(nèi)部設(shè)計(jì)了一處庭院，以加強(qiáng)室內(nèi)外空間的聯(lián)系。相比起在矩形的建筑內(nèi)部再放入一個(gè)矩形庭院、并由此在建筑側(cè)邊形成4個(gè)獨(dú)立室內(nèi)空間的方案，我們選擇了相反的設(shè)計(jì)，在建筑內(nèi)部引入一個(gè)橢圓形的中庭，以營(yíng)造連續(xù)的流動(dòng)空間。此外，通過略微旋轉(zhuǎn)橢圓平面的角度，也在中庭與矩形的建筑之間形成了若干品質(zhì)獨(dú)特而形態(tài)多樣的空間。（徐知蘭 譯）

The site for the house is on typical developed land, with a winding alleyway to the south and an expressway to the north, in an ordinary rectangular plot of land. With no particularly special views, the volume of the hipped roof is extended to the perimeter of the site, and an interior courtyard is created to enhance the connectivity between the interior and exterior. Rather than placing a rectangular courtyard within the rectangular volume and creating four distinct interior zones along each face, an elliptical courtyard is introduced to achieve a fluid continuity of interior space. Furthermore, by slightly rotating the elliptical courtyard, diversified spaces of unique quality emerge between the atrium and the rectangular architecture.

項(xiàng)目信息/Credits and Data

項(xiàng)目團(tuán)隊(duì)/Project Team: Shigeru Ban, Nobutaka Hiraga, Jun Matsumori, Kensuke Kato, Kuwahara Yukiko

結(jié)構(gòu)設(shè)計(jì)/Structural Engineers: Hoshino Architect & Engineer

設(shè)備設(shè)計(jì)/Mechanical Engineers: Chiku Engineering Consulting

總承建方/General Contractor: Kajima Corporation

建成時(shí)間/Construction Period: 2009.06

攝影/Photos: Hiroyuki Hirai

2 內(nèi)景/Interior view

3 外景/Exterior view

4 內(nèi)景/Interior view

評(píng)論

董功：水院為虛，體量為實(shí)。中央虛，四周實(shí)，虛實(shí)相生?？臻g樸素而清澈，不多余，不過分，建筑釋放出一種閑適安靜的場(chǎng)。坂茂的設(shè)計(jì)總是這樣，很少看到任何夸張的個(gè)性表達(dá)和對(duì)于“激動(dòng)人心”的刻意追求。這種克制的、近乎平淡的敘述，承載著一種骨子里的東方的自然觀。

李翔寧：這個(gè)典型的坂茂作品展現(xiàn)了他一貫的樸拙風(fēng)格——在最平庸的矩形地塊中插入一個(gè)微微旋轉(zhuǎn)的橢圓內(nèi)院，使得建筑室內(nèi)產(chǎn)生了令人驚奇的多樣性。面向城市的立面質(zhì)樸抽象，幾乎成為日本式住宅的原型，室內(nèi)白墻木結(jié)構(gòu)的簡(jiǎn)潔清新和室外的材質(zhì)形成對(duì)比，室外金屬屋面的細(xì)膩反光和磨砂玻璃的半透明材質(zhì)又傳達(dá)出日本建筑特有的曖昧性。

Comments

DONG Gong: The water garden is void while the volume is solid. The void is surrounded by the solid, which expresses the balance of nihility and reality. The space is austere and clear, with no excess or exaggeration, revealing a tranquil and comfortable ambience. In Shigeru Ban's architecture, we seldom see any intentional desire for "breath-taking" moment, or exaggerated characterized expression. This plain and restrained narration conveys the oriental conception of the relationship between human and nature.

LI Xiangning: This Shigeru Ban's work reveals his usual austere style: a slightly rotated elliptical inner courtyard, although placed within a very banal rectangular plot, brings surprising diversity to the interior. The facade towards the city, plain and abstract, has almost become the prototype of Japanese houses. The interior white walls is of a simple and fresh wooden structure, in sharp contrast with the exterior materials, while the delicate and reflective metal roof and the translucent frosted-glass convey the unique ambiguity of Japanese architecture.

Ovaless House, Fukushima, Japan, 2009

Architects: Shigeru Ban Architects

6 夜景/Night view

7 屋頂/Roof

5 軸測(cè)示意/Axonometric diagram

8 首層平面/Floor 0 plan