建筑設(shè)計(jì)：百子甲壹建筑工作室

Architects: 100s+1 Studio

向京+瞿廣慈雕塑工作室，北京，中國(guó)

Xiang Jing + Qu Guangci Sculpture Studio， Beijing ， China， 2013

建筑設(shè)計(jì)：百子甲壹建筑工作室

Architects: 100s+1 Studio

向京+瞿廣慈的雕塑工作室，相對(duì)于我們?cè)谒吻f設(shè)計(jì)的其他藝術(shù)家工作室來說，功能綜合而且復(fù)雜。也是到目前為止我們?cè)谒吻f蓋的工作室中密度最高的一棟藝術(shù)家工作室，容積率達(dá)到了2.0。在這樣的密度條件下如何實(shí)現(xiàn)我們一直堅(jiān)持的建筑和環(huán)境的關(guān)系，建筑和建筑之間的關(guān)系，以及生活于其中的人的體驗(yàn)——工作室的工作和院落生活不同而互為補(bǔ)充的體驗(yàn)，諸如工作之余的花木維護(hù)的田園活動(dòng)等等，是我們?cè)谠O(shè)計(jì)時(shí)自然會(huì)考慮的問題?；谶@個(gè)初衷，我們采取了一些辦法，這些辦法是在宋莊建造我們自己的工作室時(shí)所使用辦法的延伸：讓建筑開放，建筑和周圍的關(guān)系是密切融合的。

這次采用的設(shè)計(jì)方法是：設(shè)置室外樓梯、連廊、休息亭以及不同標(biāo)高的屋面庭院等一系列依附在主體建筑上的“主題”路徑，這些路徑區(qū)分和連接公共部分和私人部分，既能通達(dá)，同時(shí)又是被限制的。構(gòu)造上采用了大量的紅磚漏砌，既營(yíng)造庭院獨(dú)特的光影氣氛，也起到了鄰里之間私密與半私密空間之間的過渡作用。

這次特別設(shè)計(jì)之處是：我們讓如“山”的建筑體積逐層向西北方向退讓，以減少建筑體量對(duì)自身庭院的壓迫感，并獲得較好的采光和通風(fēng)格局。依附著“山”形，我們?cè)O(shè)計(jì)了由地塊東南角的地面庭院開始、最后抵達(dá)屋頂大庭院的立體分合路徑。路徑通過各種不同標(biāo)高的廊子、室內(nèi)室外樓梯及水石花木，因借助和采光天窗、休息亭等功能空間的連接，讓通過路徑的人們感受到或虛或?qū)?，或轉(zhuǎn)或折，或藏或露，或疏或密，或參或差。而所有的展廳、工作室等是這個(gè)特殊路徑上的需要停足關(guān)注的空間，反過來，這些空間也被納入路徑之中。此時(shí)，我的眼前出現(xiàn)的是類似“環(huán)秀山莊”中“山”和“洞”之間互借互存的關(guān)系。

另外，我們希望做到的一種展示方式是——把展廳對(duì)環(huán)境開放，把展品融入到自然環(huán)境的背景里去。這回我們需要展示的作品是雕塑，將與環(huán)境融合的展示方式變?yōu)榭赡?。所以模糊建筑?nèi)外的關(guān)系，從而在展廳內(nèi)以自然為背景的雕塑作品得以展示出來；或者在展廳外的自然環(huán)境里展示雕塑作品，同時(shí)又被納入展廳的視線范圍內(nèi)，這是我們?cè)O(shè)計(jì)的另一個(gè)重點(diǎn)。

我們?cè)谠O(shè)計(jì)中一直強(qiáng)調(diào)的諸如室內(nèi)與室外、工作室與院落、建筑與自然環(huán)境之間的關(guān)系，從某種意義上也是對(duì)中國(guó)傳統(tǒng)建筑，尤其園林營(yíng)造中“移步換景”“造景”“借景”等設(shè)計(jì)方式的學(xué)習(xí)和借鑒。（彭樂樂 文）

1　東立面/East facade

2　南立面/South facade

The Xiang Jing + Qu Guangci Sculpture Studio， which was designed by us， is functionally comprehensive and complex when compared with the other studios which we have designed. The studio， whose floor area ratio is almost 2.0， has the greatest density among the studios that we have built in Songzhuang. To achieve the relationship between the building and the environments at such densities， the relationship between architecture and nature as well as the relationship between life experiences in the spaces we design （such as in the studios and landscape maintenance）， was naturally taken into consideration. Based on this intention，we adopted some methods which originated from the establishment of our own studio: making the building open and having a harmonious， close relation with its surroundings.

Our design concept for the studio includes a series of "themed" paths attached to the main building. These include outdoor stairs， corridors，rest pavilions， and roof gardens placed at different elevations. These paths mark the barrier between public and private， as they can be accessible to the public and limited at the same time. With regard to the building's structure， the hollowed-out brick masonry not only creates a unique environment with sunlight and shadow， but also plays a role in transitioning between the public spaces and the private spaces.

Highlights of our design for this studio: We sited the "mountain-like" building to the northwest to reduce constriction in the courtyard and to obtain better lighting and ventilation. By taking advantage of the "mountain-like" form， we designed a threedimensional path which begins in the ground level courtyard in the southeastern corner and terminates at the large roof courtyard. This path，passing through corridors at different elevation levels， indoor and outdoor stairs， pools， rocks，flowers， and trees， allows visitors to experience feelings of both nihilism and existence， and visibility and invisibility. The path is also diversified further

WA: 從百子甲壹以往的設(shè)計(jì)作品可知，您對(duì)磚這種材料似乎有著特別的偏愛。您如何理解磚在當(dāng)代設(shè)計(jì)中的文化性與傳統(tǒng)性？

彭樂樂：磚的傳統(tǒng)性和文化性已經(jīng)有大量古今中外的經(jīng)典實(shí)例得以說明，磚作為傳統(tǒng)材料除了有共性的砌筑方式以外，還會(huì)有不同地域因地理、氣候、風(fēng)俗、信仰等不同而導(dǎo)致的特殊構(gòu)造措施?！耙虻刂埔恕钡貙?duì)待磚材料是我們的設(shè)計(jì)態(tài)度，其實(shí)，在當(dāng)代設(shè)計(jì)中并不需要我們?nèi)?chuàng)造傳統(tǒng)材料的構(gòu)造，而是去發(fā)現(xiàn)所需要的傳統(tǒng)構(gòu)造，并加以巧妙應(yīng)用。另一方面，紅磚房子在建國(guó)后幾十年間的大量建成，給在這期間出生的人留下了很深的生活記憶；同時(shí)在現(xiàn)今建筑工程越來越倚重機(jī)械化的情況下，磚砌體保留了更多人工的成分，會(huì)喚起人們對(duì)手工、對(duì)工匠的親切感，喚起對(duì)過往時(shí)代的記憶。還有一個(gè)事實(shí)： 目前在大多數(shù)的農(nóng)村地區(qū)，紅磚砌房子還在廣泛應(yīng)用，其主要原因是磚具有經(jīng)濟(jì)性、模數(shù)化以及人們熟悉的傳統(tǒng)砌筑方法等優(yōu)點(diǎn)。可見，磚在當(dāng)代設(shè)計(jì)中并不是建筑師的創(chuàng)意，而是建立在對(duì)傳統(tǒng)文化研究和磚砌技藝傳承基礎(chǔ)之上，應(yīng)和每一個(gè)新建筑，選擇適合的構(gòu)造，建造出真實(shí)表達(dá)當(dāng)下的生存體驗(yàn)和感覺的建筑，這樣的作品才具有當(dāng)代性，才是鮮活而有生命力的設(shè)計(jì)。WA: 作為北京三大當(dāng)代藝術(shù)圈之一的宋莊，其文脈特征可以用實(shí)驗(yàn)性、混亂甚至草根來形容。坐落于此的向京+瞿廣慈雕塑工作室，在設(shè)計(jì)上是如何考慮與周邊環(huán)境對(duì)話的？磚在其中起著怎樣的作用？彭樂樂：向京+瞿廣慈雕塑工作室是我們?cè)谒吻f完成的藝術(shù)家工作室設(shè)計(jì)項(xiàng)目之一。宋莊是由老村落和新規(guī)劃的藝術(shù)區(qū)組成，老村落由一家一戶的單層院落組成，老村的建筑材料基本上是紅磚。老村落和藝術(shù)家工作室的共同點(diǎn)是自建，材料經(jīng)濟(jì)、空間好用是最基本的需求。從2006年開始，我們?cè)谒吻f蓋第一個(gè)藝術(shù)家工作室以來，有一個(gè)明顯的趨勢(shì)，宋莊發(fā)展的速度非?？?，地少人多，建筑密度就越來越大，這是到目前為止，我們?cè)谒吻f蓋的工作室中密度最高的一棟藝術(shù)家工作室，容積率達(dá)到了2.0。如何在高容積率的前提下，也能生活、工作在有自然環(huán)境的庭院里，是我們?cè)O(shè)計(jì)必須解決的問題。我們讓建筑與環(huán)境的關(guān)系由平面展開轉(zhuǎn)為立體穿插，設(shè)定空中路徑連接室內(nèi)外空間。成片的紅磚房組成的老村落在先，我們?cè)O(shè)計(jì)時(shí)場(chǎng)地周圍已經(jīng)建好的藝術(shù)家工作室都是紅磚房子，再考慮到紅磚的價(jià)格以及建造和維護(hù)成本較低，小型施工隊(duì)對(duì)磚的砌筑方法也最為熟悉，用紅磚是我們最自然的選擇。在這里，紅磚墻作為承重的同時(shí)，在需要的位置，采用透空砌筑，空砌的部分避免視線的干擾，降低了陽光的直射，創(chuàng)造了不同的空間體驗(yàn)。

WA: 質(zhì)樸是該項(xiàng)目給人的第一印象，質(zhì)樸則來源于構(gòu)造邏輯的真實(shí)和材料的真實(shí)。您如何看待當(dāng)下越來越普遍的飾面磚？

彭樂樂：的確，質(zhì)樸來源于構(gòu)造邏輯的真實(shí)和材料的真實(shí)，返樸歸真，見其本質(zhì)，守其純樸，回歸真實(shí)。就材料選擇而言，我們?cè)陧?xiàng)目設(shè)計(jì)時(shí)，材料的選擇和設(shè)計(jì)起因、目的密不可分。同時(shí)，我們會(huì)在平時(shí)單純討論材料，了解不同材料的具體屬性，掌握不同材料的多種可能性。之后，我們會(huì)把我們對(duì)材料的了解應(yīng)用到實(shí)際工程中，每種材料都有構(gòu)造邏輯上的真實(shí)性，同時(shí)也存在正常構(gòu)造邏輯的特殊應(yīng)用帶來的創(chuàng)造性。在具體的設(shè)計(jì)條件下，選用相應(yīng)的材料和建造方式，在此語境下討論飾面磚才具有真實(shí)意義。現(xiàn)代結(jié)構(gòu)的出現(xiàn)，導(dǎo)致磚的承重功能與圍護(hù)體系呈現(xiàn)出相對(duì)分離的狀態(tài)，磚材料在實(shí)際應(yīng)用上越來越多作為填充墻而非承重系統(tǒng)，逐漸淪為富有裝飾感的新表皮，僅僅從這點(diǎn)上來說，磚和飾面磚是沒有區(qū)別的。當(dāng)下越來越普遍的飾面磚現(xiàn)象和快速建設(shè)的步伐是一致的，它反映的是社會(huì)對(duì)建筑的需求，而不是每個(gè)人的需求，也不是建筑師對(duì)建筑品質(zhì)的要求。

項(xiàng)目信息/Credits and Data

位置/Location: 北京通州宋莊/Songzhuang， Tongzhou，Beijing

功能/Program: 雕塑工作室、展廳、主人居住、助手公寓、倉(cāng)庫(kù)等/Sculpture studio， exhibition hall， owner's residence， assistant's apartment， warehouse and etc.

項(xiàng)目建筑師/Project Architects: 彭樂樂，曾仁臻，楊光，凌琳/PENG Lele， ZENG Renzhen， YANG Guang， LING Lin

項(xiàng)目主要材料/Material: 紅磚/Red brick

場(chǎng)地面積/Site Area: 1721m2

基底面積/Building Area: 1257m2

建筑面積/Floor Area: 3406m2

設(shè)計(jì)時(shí)間/Design Period: 2012.02 – 2012.06

建造時(shí)間/Construction Period: 2012.07 – 2013.07

3 首層平面/Floor 0 plan1-向京雕塑工作室/Xiangjing sculpture studio2-翟廣慈雕塑工作室/Zhaiguangci sculpture studio3-多功能廳/Multi-function hall4-主展廳/Main exhibition hall5-副展廳/Side exhibition hall6-翻制間/Duplication studio7-打磨間/Polish studio8-倉(cāng)庫(kù)/Storage9-衛(wèi)生間/Toilet10-廚房兼餐廳/Kitchen and dining room11-消防車道/Fire lane12-地面庭院/Courtyard on the ground floor13-水池/Pond14-休閑平臺(tái)/Terrace

攝影/Photos: 曾仁臻/ZENG Renzhen

by spacing and unevenness in connection with the skylights， rest pavilions and other functional spaces. Simultaneously， the path includes all exhibition rooms and studios in which visitors may stop to pay attention. At this time， a relation similar to the mutual co-existence between the "hills" and "caves" of "Huanxiu Valley" comes into view.

We hope to realize a configuration that allows exhibition spaces to open onto the outdoors，allowing exhibits to integrate themselves into the natural environment. Typically， the exhibits are sculptures， so this makes possible this exposure to the environment. The fuzzy relationship between buildings and the outdoors was designed to highlight and focus the attention on the sculptures.

During the design process， we always focused on the relationship between indoor space and outdoor space， as well as the relationship between the built and natural environment. To some extent，this sensibility originates from traditional Chinese gardens， including "movement of steps and shift of scenes"， and "creation of scenes". （Text by PENG Lele）

7　二層屋面庭院/Terrace on the 2nd floor

5　東立面/East elevation

6　剖面/Section

4　三層屋面庭院看員工公寓/Staff apartment， view from the terrace on the 3rd floor

8　三層屋面大庭院/Great terrace on the 3rd floor

9　二層屋面庭院/Terrace on the 2nd floor

WA: From past projects by 100s + 1 Studio， it seems that you like bricks as a construction material. What is your understanding of the role they play in carrying culture and tradition in contemporary design？

PENG Lele: Brick as a medium for culture and tradition has been illustrated by a large number of ancient and modern examples. In addition to its more common use in construction， there are unique architectural features displayed in different regions， arising from differences in geographical location， climate， customs， religion， and so on. "Localization" is our design approach to brick. In fact， contemporary design does not need us to create a new structure with traditional materials but rather to find the traditional structure needed and aptly apply it. For instance， red brick houses were built in large numbers in the decades following the founding of our nation and have become a keen memory for people born in that period. On the other hand， as current construction projects are relying more and more on machines， brick structures retain more artisanship and will remind people of handcrafts and craftsmen， as well as the past. Another fact is， at present in most of the rural areas， red brick houses are still widely used. Brick has the advantages of being economical and customizable，and people are familiar with the traditional ways to work with it. It can be said that using brick in contemporary design is not the architect's invention but a heritage from our cultural tradition and art of brickwork. Tailoring each new building， selecting the most suitable structure， and constructing projects that reflect true life experiences concurrent to our time—only then will works echo our era that are vital and vibrant.

WA: Songzhuang art village， as one of the three major contemporary art circles in Beijing， can be described as experimental， variegated， and even grassroots in its contextual characteristics. How did you take into consideration the resonance with the surrounding environment in the design of Xiang Jing + Qu Guangci Sculpture Studio there？ What role does brick play？

PENG Lele: Xiang Jing + Qu Guangci Sculpture Studio is one of the design projects we completed for the art studios in Songzhuang. Songzhuang is composed of both the old village and the newly planned art district. The old village is composed of individual courtyards for single-family residences，which are mainly made from red bricks. The old village and the artists' studios are both built in a self-help way， so affordable material and good space usage are essential. Since the first art studiowe built in Songzhuang in the beginning of 2006，a clear trend in Songzhuang is fast developing. With more people and less land， building density is getting greater. Xiang Jing + Qu Guangci is the studio with the highest building density we have constructed in Songzhuang with the floor area ratio reaching 2.0. The problem that must be solved in the design is how to live and work in a courtyard with huge building volume while still being able to enjoy nature. We shift the interplay between building and environment from a plane layout to threedimensional interspersed， using overhead routes to connect indoor and outdoor spaces. The old village consists of red brick houses， as do finished studios around the site. Considering the price of red brick，its relatively low construction and maintenance costs， and that a small construction team is familiar with its masonry， it is our most natural choice. Here， the red brick wall is not just for support. Hollow bricklaying is also used in needed locations to shield out sight and reduce direct sunlight， which creates a different sense of space.

WA: Purity in form is the first impression conveyed by the project， and this purity comes from the honesty of construction logic and of the material used. How do you look at the increasing use of brick veneer？

PENG Lele: Indeed， purity depends on the honesty of construction logic and of the material used. It is to see and preserve the essence and to recover the originality. Choosing the material is inseparable from the design motivation and purpose. On a dayto-day basis， people talk about materials in general to understand their specific properties and to grasp their varied possibilities. After that， people will apply their understanding to practical engineering situations. Each material has a purpose to serve in design logic and also a creativeness in its special application outside the norm. In a specific project，only after the selection of appropriate materials and construction methods will the discussion of decorative brick be meaningful. The emergence of modern construction has separated brick from its load-bearing function and as an enclosing structure. Brick in practice is used more and more as infill walls and is gradually becoming a new decorative skin. In this sense， brick and veneer are not different. The increasingly widespread application of decorative brick at present is consistent with the rapid pace of construction. It reflects society's needs for buildings – not the individual's needs or the architect's standard on building quality.

10　三層員工公寓北側(cè)內(nèi)走廊/Corridor in the staff apartment

11　副展廳/Side exhibition hall

12　翟廣慈工作室室內(nèi)/Interior view， Zhaiguangci sculpture studio

13　向京工作室室內(nèi)/Interior view， Xiangjing sculpture studio

評(píng)論

范路：向京+瞿廣慈雕塑工作室項(xiàng)目的設(shè)計(jì)亮點(diǎn)是設(shè)置立體園林。在高容積率的前提下，設(shè)計(jì)師將建筑視為“山體”，放置在場(chǎng)地西北側(cè)并逐層退讓，由此形成東南角庭院和多個(gè)屋頂平臺(tái)。立體的路徑時(shí)分時(shí)合，將室內(nèi)房間、庭院和屋頂平臺(tái)串聯(lián)起來。在建造層面，透空砌筑的紅磚墻，或?yàn)槠溜L(fēng)遮擋陽光、視線，或?yàn)楦翊爸圃旃庥?，或?yàn)闄跅U引導(dǎo)游線。而對(duì)建筑形式來說，這些透空紅墻既打破了空間界限，又維持了體量的完整性。此外，它更成為一種符號(hào)，標(biāo)明了立體園林的空間布局。

朵寧：這個(gè)位于宋莊的藝術(shù)家工作室是一個(gè)典型的紅磚園林建筑。內(nèi)向性的建筑造型、復(fù)雜的流線設(shè)計(jì)以及建筑師希冀的“可望、可行、可居、可游”之空間體驗(yàn)，注定了這是一個(gè)圖面和視覺上難以感受，而需要親身體驗(yàn)才能判斷的建筑。中國(guó)園林的空間審美來自于抽象的自然，而當(dāng)代紅磚園林（如果這確實(shí)是一個(gè)流派的話）的審美則在古典園林的基礎(chǔ)上再進(jìn)一步抽象。這種多重抽象對(duì)于體驗(yàn)者是一個(gè)挑戰(zhàn)，需要他們檢驗(yàn)自身的游園經(jīng)歷，究竟是來源于被還原的自然感受，還是被潛意識(shí)接納的社會(huì)稱許性。

Comments

FAN Lu: The highlight of the project of Xiangjing & Qu Guangci Sculpture Studio is the setup of a stereoscopic garden. The studio building block could be regarded as a "mountain" sitting at the northwest of the site. It keeps setting back from each floor，providing a series of roof terraces. And those terraces are connected by constantly changeable paths making a unity of the interior and the exterior， and courtyards and terraces. Regarding tectonics， the use of porous red bricks to build walls is key to obtain the effect of screens or windows or parapets， and keep the building volume integrated. Last but not the least， they function as a kind of notation， signifying the spatial layout of the hanging garden.

DUO Ning: Situated at Songzhuang， Beijing， this artist studio is a typical building in red brick with a garden. With introversive architectural form，complex streamline design and a spatial experience aspired by architects in sight view， motion， livability and entertainment， the building is destined to be difficult to feel in picture and vision sense but to be experienced before judgment.The spatial aesthetics of Chinese gardens stems from the abstract nature， while the aesthetics of contemporary red brick gardens， if it is indeed a genre， is made further abstract on the basis of classical gardens. Such multi-layered abstraction is a challenge to the audience demanding whether his own experience in garden traveling is sourced from the restored natural feelings or out of social desirability accepted by sub-consciousness.