建筑設(shè)計：河內(nèi)一泰/河內(nèi)建筑設(shè)計事務(wù)所

公寓·屋，千葉，日本

建筑設(shè)計：河內(nèi)一泰/河內(nèi)建筑設(shè)計事務(wù)所

1 內(nèi)景/Interior view

這是對一座獨(dú)棟別墅的改造工程。別墅位于東京的郊區(qū)，原來是一個典型的二層公寓，內(nèi)部有8個用來出租的小房間。因?yàn)槌^一半的公寓只能空置，所以業(yè)主最初決定要拆除它，然后新建一座獨(dú)棟別墅（供父母及兩個女兒居住）。不過，我的建議是對獨(dú)棟別墅進(jìn)行改造而不是拆除它。因?yàn)闃I(yè)主的預(yù)算有限，如果推倒重建的話建筑面積只能達(dá)到原來的一半，這對業(yè)主來說是非常不利的。

日本人口從10年前開始呈下降趨勢，家庭的數(shù)量也隨之減少。所以，我認(rèn)為，理論上來說人們應(yīng)該可以擁有更多的居住空間。時代已經(jīng)發(fā)生了變化，日本人不再需要生活在狹小的房子中。之前由于人口眾多而空間有限，人們需要把有限的空間劃分成更多房間。而如今人口下降，人們對房間數(shù)量的需求減少，所以需要合并原來已經(jīng)劃分好的一些空間。不過一般來說，客戶還是傾向于把一個房子變成更多的房間。在設(shè)計這座房子時，我自己的愿景是在劃分空間和合并空間兩者之間尋求一種平衡，最終可以形成一個充滿活力而又豐富多彩的室內(nèi)空間，這樣可以為使用者提供多種空間感受而不至于單調(diào)乏味。這個項(xiàng)目被稱為“公寓樓”，而我則希望這個小建筑能夠帶來利用率更高的居住空間和多姿多彩的視覺效果。

首先，我在公寓內(nèi)切出一個洞來連接8個房間。在現(xiàn)有建筑中，墻壁和地板組成了嚴(yán)格的三維網(wǎng)格系統(tǒng)，這個系統(tǒng)將室內(nèi)空間分成了8個部分。我在這個三維網(wǎng)格系統(tǒng)之外加入了一些二維圖形（三角形或四邊形，沒有五邊形）。同時，我認(rèn)為這些二維的形狀不應(yīng)該遵循已有的三維網(wǎng)格。比方說，其中一個三角形就跨越了首層和第二層之間的網(wǎng)格，這樣也就超出了X軸和Y軸組成的平面。8個房間都處在三維網(wǎng)格而非二維的平面形狀之中。根據(jù)四色原理，我將二維形狀用不同的鮮艷色彩標(biāo)示出來，從而凸顯這些形狀的存在。當(dāng)人們置身于房間里，就能在同一個空間中感受到兩種不同類型的深度。

設(shè)計成果能夠展示很多不同深度的空間，這也讓我想起了立體主義在二維和三維之間采取的這種交錯的視角。我們可以看到三角形和四邊形聚集的視覺效果。這些形狀相互重疊并交叉，從而創(chuàng)造出形態(tài)各異的空間。

建筑不能擺脫三維系統(tǒng)的束縛，而另一方面繪畫也無法離開二維的約束。藝術(shù)史上，立體派從二維繪畫中發(fā)掘了一個新興的深度。那么同理來說，建筑是否也能從三維空間中找到自己的另一種深度呢？□（河內(nèi)一泰 文，張弦 譯）

2 外景（改造前）/Exterior view （before）3 外景（改造后）/Exterior view （after）4 建造模型/Construction model 5-10 草圖/Process drawings

This is a renovation project of a single-family house， originally used as a typical two-story apartment-house with eight small rental units in the suburban area of Tokyo， Japan. More than half of the units of this old wooden apartment were empty，therefore the owner wanted to demolish it and then build a new single-family house （parents and two girls） at the beginning. However， I proposed to renovate this existing building into a single-family house instead of demolishing it， because with their budget I thought the clients could only gain half of the existing foor area if they built a new one， which does not beneft them.

Depopulation in Japan started 10 years ago. The number of households decreased， too. I would say theoretically people can have more space in their residences. Te time of Japanese people living in tiny houses has changed. There is a shift from dividing limited space for many people into uniting existing divided space for fewer people， I think. However， clients generally still tend to divide a house into many rooms. I picture the image of a new house， which is well-balanced between dividing and uniting space inside. The act of dividing coexists with the act of uniting here. The result will be dynamic and complex internal space， which provides the experience of being all the spaces without losing the sense of retreating into the one. In this project called "Apartment-House"， my ambition is to create high density and richness of diverse sceneries in this small architecture.

I started with cutting a hole inside the apartment to connect eight rooms. The existing building has a rigid 3D grid， consisting of the walls and foors， which systematically divide the internal space into eight rooms. I cut 2D shapes （triangle or quadrangle， not pentagon） out from this grid system. As a rule， I decided these 2D shapes should not follow the 3D grid. For example， one triangle shape was cut out crossing the grid between the frst foor and the second， and placed beyond the X and Y coordinate plane. Each of the eight rooms is on the 3D grid， but 2D shapes are not. I used diferent vivid colours as "Four colour theorem" for each 2D shape， which is not following the grid， to emphasizethe presence. As we stand inside， we can find two different types of depth （=perspective view） in the same space.

Te result of this process showed some diferent depth of space. This reminded me of a picture of Cubism， which has distortion of perspective between 2D and 3D. We can see scenery， in which triangles and quadrangles gathered， overlapped and intersecting each other， creating diversity of spaces into one place.

Architecture cannot escape from 3D grid system， and paintings also cannot escape from 2D on the other hand. In the history of art， cubist found an emerging depth of space in their 2D paintings. Similarly， may architecture discover its emerging depth in the 3D space？ □ （Text: Kazuyasu Kochi）

11 首層平面/Floor 0 plan12 二層平面/Floor 1 plan13 內(nèi)景/Interior view

14 剖面/Section15 內(nèi)景/Interior view

項(xiàng)目信息/Credits and Data

結(jié)構(gòu)工程設(shè)計/Structural Engineering: Yukihiro Kato/ MI+D architectural laboratory

施工單位/Construction: Sugimoto Group

規(guī)模/Scale: 二層木結(jié)構(gòu)房屋/Wooden house 2F

基地面積/Site Area: 198.35m2

基底面積/Building Area: 99.37m2

建筑面積/Floor Area: 177.31m2

竣工時間/Completion: 2014.03

造價/Cost: $190，000

攝影/Photos: Daichi Ano （fig.3，13，15-17）， 河內(nèi)一泰/ Kazuyasu Kochi （fg.1，2，4）

16-17 內(nèi)景/Interior views

WA：色彩在這個項(xiàng)目中的作用是什么？

河內(nèi)一泰：我希望在室內(nèi)形成一種拼湊的視覺效果，所以采用了4種顏色去強(qiáng)化設(shè)計中的幾何元素。

WA：本項(xiàng)目中最具創(chuàng)造性和吸引力的設(shè)計是什么？

河內(nèi)一泰：原有建筑中有許多房間，所以我用一個洞來連接所有的房間。本項(xiàng)目中最大的亮點(diǎn)就是在分割的同時也進(jìn)行了連接。

WA：在設(shè)計過程中最困難的部分是什么？

河內(nèi)一泰：最難的部分就是洞的形狀?，F(xiàn)在建筑采用的是木結(jié)構(gòu)的網(wǎng)格。而我所做的則是在這個現(xiàn)有的三維網(wǎng)格系統(tǒng)之外切出各種二維的三角形和四邊形。我的基本原則就是二維形狀不應(yīng)遵循三維的網(wǎng)格系統(tǒng)。比方說，其中一個三角形就跨越了首層和第二層之間的網(wǎng)格，這樣也就超出了X軸和Y軸組成的平面。通過這種手法，一種超越了三維網(wǎng)格系統(tǒng)的新穎視覺效果也就應(yīng)運(yùn)而生。

WA：使用者和社群的反饋如何？

河內(nèi)一泰：洞口的尺寸都是根據(jù)房間的私密程度來進(jìn)行調(diào)整的。使用者可以根據(jù)活動類型來選擇所需要的空間。業(yè)主反映他們都很高興能夠感受彼此在居所內(nèi)的存在。

WA：本項(xiàng)目是如何提升公共空間品質(zhì)的呢？

河內(nèi)一泰：原有建筑位于丁字路口的盡端，因此設(shè)計時我特意增加了一個面向街道的大窗?！酰◤埾?譯）

WA: What is the role of the colour in this project？

Kazuyasu Kochi （KK）: I wanted to see a kind of patchwork scenery inside the house. So I used 4 colours to emphasize the geometrical elements.

WA: What is the most creative and attractive solution？

KK: Existing building has many rooms， so I put a hole to connect each room.

The most attractive solution is "dividing and connecting at the same time".

WA: What was the most difcult part in the process of design？

KK: The most difficult part was the shape of the hole. The existing building already had the grid of the wooden structure. What I did was cutting out diferent two-dimensional fgures from this grid in the shape of triangles and quadrangles. My rule was that the 2D figure should not follow the 3D grid. For example， I cut a triangle across the first and second floor， in other words， between the X and Y coordinate plane. Te efect is a new kind of scenery，one that goes beyond the original 3D grid.

WA: What is the feedback from the users and the community？

KK: The size of holes is adjusted by privacy for rooms. Users can choose their place depending on activity. Client said that they are happy to feel each other's existence in the house.

WA: How did this project improve the quality of the public space？

KK: Existing building located at the end of a T-intersection. So， I put a new large window facing to street.

評論

方曉風(fēng)：這個改造項(xiàng)目內(nèi)外反差很大，建筑師的平面造型能力與空間塑造能力都是一流的，最終效果可以稱為反立體主義——奇特的立體感來自平面的色塊而非體積塑造。盡管內(nèi)部切割空間的手法顯然是受立體派的影響，這仍然是個富有東方味道的設(shè)計，整體觀感是輕快的，空間效果也十分豐富。評論這個項(xiàng)目的困難之處在于，照片可能來自特定的視角，更隨意、平常的室內(nèi)觀感如何呢？局部是否有點(diǎn)凌亂呢？視覺穿透帶來的拼貼感經(jīng)得起時間的考驗(yàn)嗎？無論如何，從這個項(xiàng)目可以感受到來自視覺藝術(shù)其他門類的影響，建筑的可能性在大大拓展。

莊子玉：設(shè)計師在整體平面格局和結(jié)構(gòu)體系框架依然基于傳統(tǒng)的正交體系的基礎(chǔ)上，巧妙地通過三角形開洞的介入方式改變了原有的正交體系格局，并通過洞口的錯位將新的視線與領(lǐng)域感的交疊關(guān)系代入到每一個細(xì)分空間之中。色彩在其中將這種新的介入所帶來的邊界屬性及視線層次進(jìn)一步明確。結(jié)果一方面帶來了室內(nèi)視覺空間的豐富度和層次感，另一方面也帶來了大量的不確定性和不穩(wěn)定感。建筑外表皮的平實(shí)和內(nèi)里激進(jìn)狀態(tài)形成了鮮明對比，加之窗口所透出的些許跳色亦暗示了其內(nèi)部的巨大“能量”。

Comments

FANG Xiaofeng: The renovation project brings contrast from inside and outside of the apartment. Te graphic modeling and space creating abilities of the architect are the best of its type. And the fnal efect can be regarded as anti-cubism: the unique 3D sense comes from graphic coloured grids instead of volume. Tough the method of internal spatial segmentation is obviously infuenced by cubism， it is still full of unique eastern characters， with brisk overall impressions and spatial effect. One thing is that， the pictures might be taken through specific angles of view， how about the more casually and ordinarily indoor impressions？Will any part be in a mess？ Can the sense of splice brought by visual penetration stand the test of time？Anyway， we can feel the influence of visual arts and other categories， which provide more possibilities for architecture.

ZHUANG Ziyu: Tis Japanese refurbishment project seemingly aims to break the perception of orthogonal system. In an effort to achieve that， the architect cuts diagonal openings into the walls of the rooms，opening corners and visual connections， where none existed before. At the same time the actual layout of the floors remains unchanged， in an effort to marry the advantages of the 90°angle with the freedom of a loose shape. The function of the colour is here clearly to strengthen this effect: the lines between diferent coloured patches follow more the visual axes，which are newly created， and counterpoint the rooms. This tendency is sometimes leading to the point of the eclectic. The fa?ade is purposefully reduced in its appearance， the light green colour from before is replaced with a clean white， and balconies and other fa?ade elements are reduced to a minimum. Tis leads to an emphasis in the multicoloured rooms that show themselves through the large windows， like paint blots on a white canvas. Te question remains that if this highly interesting approach creates a long-term suitable place for living， or if the residents will later start missing the calmness of conventional layouts.

Apartment - House， Chiba， Japan， 2014

Architects: Kazuyasu Kochi/Kochi Architect's Studio