建筑設(shè)計(jì)：斯蒂文·霍爾建筑事務(wù)所Architects: Steven Holl Architects

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大洋畫廊住宅，首爾，韓國(guó)

建筑設(shè)計(jì)：斯蒂文·霍爾建筑事務(wù)所
Architects: Steven Holl Architects

Daeyang Gallery and House, Seoul, Korea, 2012

這座私人畫廊住宅位于韓國(guó)首爾江北區(qū)的山中。建筑的基本體形源自1967年作曲家伊斯特萬·翁豪爾特的樂譜稿《模數(shù)交響曲》，曾于約翰·卡熱的《記法》一書中發(fā)現(xiàn)。

3座明軒——一座給入口，一座給住宅，一座給活動(dòng)空間——仿佛從下層連通的畫廊上拔起。一鏡水面，上下天光。

穿過門庭花園的竹屏，入口的臺(tái)階引導(dǎo)人們步入水鏡之中。站在中央，水天一色的心境折射出秀綠的植物與褐紅的銅墻。

軒中紅色和炭色相間的室內(nèi)木板被屋頂上條狀的玻璃天窗賦予了一種靈氣。陽光在室內(nèi)空間中回轉(zhuǎn)曲折，隨四季與白晝千變?nèi)f化。就像音節(jié)的停頓一般，光線透過池底的條狀玻璃透鏡，在下層畫廊的白色石膏墻和白色花崗巖地板上泛起粼粼波光。

外表特制的銹銅雨屏將隨歲月成畫入景?！?/p>

（尚晉 譯）

1 來自伊斯特萬·翁豪爾特《模數(shù)交響曲》的草圖/Sketch from Symphony of Modules by Istvan Anhalt

2 概念水彩畫/Concept watercolor

3 總平面/Site plan

4 內(nèi)景/Interior view

5 外景/Exterior view

項(xiàng)目信息/Credits and Data

主持建筑師/Principal Architects: Steven Holl Architects

主創(chuàng)建筑設(shè)計(jì)/Design Architect: Steven Holl

聯(lián)合建筑設(shè)計(jì)/Associate Architect: Jongseo Lee

項(xiàng)目顧問/Project Advisors: Annette Goderbauer, Chris McVoy

項(xiàng)目團(tuán)隊(duì)/Project Team: Francesco Bartolozzi, Marcus Carter, Nick Gelpi, Jackie Luk, Fiorenza Matteoni, Rashid Satti, Dimitra Tsachrelia

當(dāng)?shù)亟ㄖ?Local Architects: Inho Lee, Minhee Chung, Hyoungil Kim （E.rae Architects）

結(jié)構(gòu)工程師/Structural Engineer: SQ Engineering

機(jī)械工程/Mechanical Engineer: Buksung HVAC＋R Engineering

照明顧問/Lighting Consultant: L'Observatoire International總承建方/General Contractor: Jehyo

結(jié)構(gòu)系統(tǒng)/Structural System: RC structural wall and steel

材料/Materials: 清水混凝土，銅板/Exposed concrete, copper panel

建筑面積/Floor Area: 995m2

攝影/Photos: Iwan Baan （ fi g. 4,5,8,11）; Inho Lee, Erae （ fi g. 9,10）

The private gallery and house is sited in the hills of the Kangbuk section of Seoul, Korea. The basic geometry of the building is inspired by a 1967 sketch for a music score by the composer Istvan Anhalt, Symphony of Modules, which was discovered in a book by John Cage titled Notations.

Three pavilions - one for entry, one residence, and one event space - appear to push upward from a continuous gallery level below. A sheet of water establishes the plane of reference from above and below.

After passing through the screen wall formed by bamboo at the entry courtyard, ascending steps into the entry pavilion bring the viewer at elbow height with the unifying sheet of water. At the center of this place, it invokes the feeling with sky, water, vegetation and the reddened patina of copper walls.

The red and charcoal stained wood interiors of the pavilions are activated by skylight strips of transparent glass cut into the roof. Sunlight turns and bends around the inner spaces, animating them with the changing light of each season and throughout the day. Like a cesura in music, strips of glass lenses in the base of the pool break through the surface, bringing dappled light to white plaster walls and white granite fl oor of the gallery below.

Exteriors are a rain screen of custom patinated copper, which ages naturally within the landscape.□

6 畫廊層平面/Gallery level plan

7 明軒層平面/Pavilion level plan

8-10 內(nèi)景/Interior views

11 內(nèi)景/Interior view

12-14 剖面/Section

評(píng)論

董功：在斯蒂文·霍爾的大洋畫廊住宅的反射天花平面草圖中，窄長(zhǎng)天窗呈現(xiàn)出的節(jié)奏，顯然是他在設(shè)計(jì)中有意識(shí)地探索空間的光線明暗韻律和樂譜之間關(guān)系的要點(diǎn)。而這個(gè)建筑的格局以一層薄薄的水面將房子分為上下兩個(gè)部分——混凝土澆筑的“重”的基座和輕鋼幕墻結(jié)構(gòu)建造的“輕”的頂，倒讓我聯(lián)想起他在1991年設(shè)計(jì)的另一個(gè)與音樂有關(guān)的房子——斯特萊托住宅，同樣具備“重”的基座和“輕”的頂?shù)囊庀蟆Ｔ谒沟傥摹せ魻柕摹兑暡睢芬粫?，?dāng)他提到斯特萊托住宅時(shí)說道：“音樂的物質(zhì)性是通過樂器在耳顳中引起共鳴來傳達(dá)的。一種輕重交加的物質(zhì)性同樣也通過建筑中的結(jié)構(gòu)、材料和空間體驗(yàn)來傳達(dá)?！被蛟S，這“重”和“輕”之間的關(guān)系，是斯蒂文·霍爾的潛意識(shí)中在大洋畫廊住宅里對(duì)音樂性的另一種詮釋。

楊鵬：這件作品給我印象最深之處，不是典雅的金屬、石材組合，也不是斜切體塊的造型手法，而是建筑空間的布局。3個(gè)主要的體塊，以及它們圍合成的庭院空間，顯著地區(qū)別于當(dāng)代許多明星建筑師慣用的整體化造型。音樂與建筑的共同點(diǎn)之一，是清晰劃分的段落。各個(gè)樂章的時(shí)長(zhǎng)、速度、節(jié)奏不同，正如各部分空間的體量和形狀不同。權(quán)且不論總平面借鑒某位匈牙利作曲家的草稿是否牽強(qiáng)，從落成效果看，這件作品的確具有鮮明的音樂感。此外，它很自然地契合遠(yuǎn)東地區(qū)的傳統(tǒng)庭院，與它所處的首爾城市環(huán)境有一種含蓄的和諧。

15 內(nèi)景/Interior view（圖片版權(quán)：? Steven Holl Architects）

Comments

DONG Gong: In the sketch for the re fl ective ceiling plan of the Daeyang Gallery and House by Steven Holl, the rhythm that the narrow-long skylight presents is clearly the key point , and he consciously explores the relationship between the light and darkness of a space and the music score in the design. The layout of this project - with a sheet of water to divide the house into two parts: the "heavy" concrete base and the "light" roof constructed with the light steel wall structure, reminds me of Stretto House, his another musicrelated project designed in 1991 that also aimed at the "heavy" base and "light" roof. In Steven Holl's book entitled Parallax when mentioning the Stretto House, he said: "The materiality of music is resonantly conveyed via the instruments to aural temporal experience. A heavy and light materiality is likewise conveyed via the structure, material, and spatial experience of architecture." Perhaps, the relationship between "heavy" and "light" indicated in the Daeyang Gallery and House is another interpretation for musicality in Steven's subconscious.

YANG Peng: The most impressive aspect of this house is not the elegant combination of metal and stone or the multifaceted forms, but the overall spatial layout comprising three main structures and the courtyards they enclose, which differs distinctly from the holistic form commonly adopted by starchitects. One of the common features shared by music and architecture is the clear division of the components, the variations of duration and tempo in music paralleling those of volume and form in an architectural space. The derivation of the plan from the manuscript of a Hungarian composer might be farfetched, yet the finished work does convey a clear sense of musical quality. Besides, it naturally integrates with the traditional courtyards of the Far Eastern regions and implicitly harmonizes with the urban setting of Seoul.