建筑設(shè)計(jì)：延森與斯科溫建筑師事務(wù)所

夏屋，斯圖爾峽灣，挪威

建筑設(shè)計(jì)：延森與斯科溫建筑師事務(wù)所

許多年前，這個(gè)偏僻而孤立的地塊就被指定要建造一座避暑別墅。出于種種原因，該地塊直到最近幾年才被售出。由于這里交通不便，沒(méi)有道路直通，建造工作只能通過(guò)輕型機(jī)械來(lái)完成，所以，建造過(guò)程中對(duì)地塊的改造極小，其原始風(fēng)貌被盡量多地保存下來(lái)。建筑的主要樓層是公共空間，屋后的一部分巖壁就裸露在起居室中。臥室被安置在二樓，穿插在松樹(shù)中間。露臺(tái)也置于樹(shù)與樹(shù)間不同的位置，以便人們?cè)谝惶熘械牟煌瑫r(shí)段都可以充分享受日光。在整個(gè)建造過(guò)程中，出于對(duì)設(shè)計(jì)功效性的選擇，我們最終采用了手繪或手繪與CAD相結(jié)合的繪圖方式。建筑的承重基礎(chǔ)是一些直徑25mm的細(xì)鋼條，支撐著鉸接的木構(gòu)柱。采用這種方式，既可以避開(kāi)所有的樹(shù)木根系，又可以建立一個(gè)穩(wěn)固的靜力系統(tǒng)，以滿足結(jié)構(gòu)承重的需要。

現(xiàn)如今，人們對(duì)建筑可持續(xù)性的關(guān)注點(diǎn)幾乎都集中在如何降低生產(chǎn)及運(yùn)營(yíng)能耗等問(wèn)題上，這往往需要指定運(yùn)用某些復(fù)雜、不穩(wěn)定或昂貴的技術(shù)才能得以實(shí)現(xiàn)。我們認(rèn)為，簡(jiǎn)單的策略和對(duì)地形、植被的保護(hù)同樣也是可持續(xù)發(fā)展的一些方面，需要得到人們更多的關(guān)注。標(biāo)準(zhǔn)的建造程序通常需要在建設(shè)開(kāi)始之前對(duì)基地進(jìn)行常規(guī)性破壞，使其滿足地基和基礎(chǔ)設(shè)施搭建的需求。我們想對(duì)這些建筑師乃至整個(gè)社會(huì)的這種常規(guī)作法提出質(zhì)疑，是否應(yīng)該如此隨意地通過(guò)采用大型機(jī)械和爆破的暴力方式來(lái)對(duì)待一塊土地。保護(hù)原有地塊是一種尊重自然優(yōu)先法則的有效方法，并且是最有可能成功的。我們認(rèn)為，人類(lèi)只是地球的客人，客人就該有客人的樣子?！酰ㄍ醣?譯）

The site is a separate plot that was designated for a summer house many years ago. For different reasons it was not sold until a few years ago. ere is no road to the site so only light machinery was used and the site was changed as little as possible. The main level contains the common rooms. A part of the rock wall behind the house is inside the living room. The bedrooms are placed on the second level, between the pine trees. Terraces are placed between the trees at various places, giving sun at different times of the day. During the building process we ended up using hand drawings, or a mix of CAD and hand drawings, because of the unmatched efciency of this type of drawing production. The foundations are thin steel rods (?25mm) that support hinged wooden pillars. In this way we could avoid all roots, but had established a robust static system that would be stif in any confguration we would need.

Today's concern for sustainability in architecture focuses almost only on reduced energy consumption in production and operation, often by prescribing the use of complex, vulnerable and expensive technology. We think that simple strategies and the conservation of topography and vegetation are aspects of sustainability which deserves more attention. Standard building procedure often requires the general destruction of the site to accommodate foundations and infrastructure before building can commence. We would like to question the ease with which architects, and society in general, uses violence to a site, in the form of large machines and explosives. Conserving the site is a way to respect the fact that nature precedes and most probably succeeds man. We think we are guests on earth, and should behave like guests. □

項(xiàng)目信息/Credits and Data

客戶/Client: 未公開(kāi)/Undisclosed

項(xiàng)目團(tuán)隊(duì)/Project Team: jan Olav jensen（項(xiàng)目主管/ project leader）, Sigrid Moldestad, Thomas Knigge, Knut Borgen, ?ystein Skorstad, Dagfinn Sagen, Helge Lunder, Torunn Golberg, johanna Meschke, Torstein Koch

景觀建筑師/Landscape Architects: jensen & Skodvin Architects

室內(nèi)建筑師/Interior Architects: jensen & Skodvin Architects

靜力顧問(wèn)/Static Consultant: Siv. Ing. Finn Erik Nilsen

攝影/Photos: All images courtesy of the architects

1 首層平面/Floor 0 plan

2 外景/Exterior view

3 二層小橋內(nèi)景/Interior view of the bridge on foor 1

評(píng)論

李曉峰：這是在一片獨(dú)立山林間建造的避暑別墅。施工全用輕型機(jī)械，因而基地幾乎沒(méi)被改變。建筑空間與自然完全交織、滲透在一起。屋后山崖的一部分甚至成為客廳的背墻；臥室被架設(shè)在松樹(shù)之間；多處出挑的平臺(tái)穿插于林木中，其上陽(yáng)光與樹(shù)影隨動(dòng)。為避開(kāi)植物根系，底層平臺(tái)以細(xì)鋼條與木柱鉸接支承。設(shè)計(jì)和建造過(guò)程采用手繪或與CAD圖混用，具有難得的效率，也具質(zhì)樸一面。相對(duì)于昂貴的技術(shù)運(yùn)用，樸實(shí)的營(yíng)建策略以及對(duì)地貌和植物的尊重，是本案中更值得關(guān)注的可持續(xù)性方略。

青鋒：以一種擬像的方式，建筑隱入山林之中。“任何建筑都不應(yīng)該就建在山上或其他東西之上。它應(yīng)該就是山。屬于山。”賴特詩(shī)意的憧憬通過(guò)木板瓦貼面、斜向支撐、不規(guī)則形體、復(fù)雜的建構(gòu)體系等元素得到印證。如建筑師所說(shuō)，對(duì)待大地要像客人對(duì)待主人一樣謙虛，這一方面是承認(rèn)自然對(duì)人的超越，另一方面也能通過(guò)融入自然讓人超越自己。

4 露臺(tái)/Terrace5. 6 平面草圖/Sketches, plan

Comments

LI Xiaofeng: This summer villa is located within a mountain forest. The project's construction footprint was kept minimal with the use of light equipment.The building fully interacts with and weaves through the natural environment: a cliff face penetrates the living room, second level bedrooms are placed between pine trees, terraces strategically siddle up alongside other trees and their shadows dance with the sunlight. To avoid damaging plant roots, the foundation is composed of a series of thin steel rods that support hinged wooden columns. Throughout the design and building process hand drawings (or a combination of CAD and hand drawings) were used to capture architectural opportunities in situ. Instead of expensive and sophisticated design and construction technologies, simple methods were combined with a respect for the natural landscape creating a sustainable strategy worth noting.

QING Feng: The architecture disappears in the forest. As Wright said, no architecture should be placed on a mountain, it should be the mountain, belong to the mountain. This poetic vision is realized through the language of the building's wooden surface, oblique supports, irregular shapes and complex structure. The architects stress that we should behave gently towards nature – like guests towards a host. On the one hand this attitude recognizes the transcendence of nature over mankind. On the other hand identifying with nature in this way allows people to transcend their own limits.

Summer House, Storford, Norway, 2013

Architects: jensen & Skodvin Architects