奧迪宅，上海，中國(guó)

Audi Haus, Shanghai, China, 2011

評(píng)論

王子耕：“奧迪宅”的命名以及對(duì)立面進(jìn)行四坡削切的處理方式，都直接指向一種將展臺(tái)擬物（房子）化的意圖，即建筑師張永和將命題引導(dǎo)向要為一臺(tái)車建立一種恰當(dāng)?shù)膰o(hù)關(guān)系。這種關(guān)系在平面中最簡(jiǎn)化為矩形圍合，卻在立面中借由玻璃材料的特性和排布方式展現(xiàn)出前所未有的戲劇性和模糊狀態(tài)。

關(guān)于材料性的探討在非常建筑的實(shí)踐中是一以貫之的，它常?？梢詫⒊Ｒ?guī)建筑語(yǔ)匯在不改變?cè)偷幕A(chǔ)上陌生化，進(jìn)而帶來(lái)空間和概念上的顛覆，特別是玻璃這種同時(shí)具備“隔離”和“消失”屬性的材料。無(wú)論是垂直玻璃宅中對(duì)于建筑垂直向度上的透明性的戲劇化呈現(xiàn)，還是康明斯亞洲總部項(xiàng)目中通過(guò)玻璃隔斷透明性的顛倒，進(jìn)行的垂直密度實(shí)驗(yàn)，都是針對(duì)玻璃二元性屬性的應(yīng)用。而在奧迪宅中，關(guān)于玻璃的實(shí)驗(yàn)更進(jìn)一步，玻璃的屬性不再只具備透明性，不再非此即彼。透明玻璃不再意味著“消失”，玻璃對(duì)主體的二維投射和主體并置在一起。建筑師借助玻璃的反射和折射屬性極具表現(xiàn)性地展現(xiàn)出靜止物（汽車）的動(dòng)態(tài)。有意思的是，與表現(xiàn)運(yùn)動(dòng)的多重曝光攝影或是杜尚在《下樓的裸女》中的動(dòng)態(tài)主體（人物）不同形態(tài)的瞬間疊加的呈現(xiàn)方式所不同，汽車的運(yùn)動(dòng)方式實(shí)際上不存在瞬間與瞬間之間的差別，也就是說(shuō)，靜態(tài)主體（汽車）與其自身借助層層玻璃形成的像，共同在人的認(rèn)知經(jīng)驗(yàn)中產(chǎn)生出了時(shí)間體驗(yàn)上的欺騙性和類似電影似動(dòng)（apparent movement）現(xiàn)象的運(yùn)動(dòng)錯(cuò)覺(jué)。

這種視覺(jué)錯(cuò)覺(jué)的形成在于“層”的概念的應(yīng)用，這也是除了材料性之外，我們可以觀察到的非常建筑實(shí)踐中另一項(xiàng)重要的概念和方法上的延續(xù)。早在2008年意大利都靈的裝置作品“YOU prison”中，張永和使用平行的陽(yáng)光板將人的身體“囚禁”在一個(gè)建筑界限內(nèi)，而奧迪宅同樣可以理解為將展覽主體（汽車）“囚禁”在層切的玻璃切片中的視覺(jué)裝置。非常建筑在玻璃的平面布局上突破了以往對(duì)“層”的平行排列，選擇了以矩形端點(diǎn)進(jìn)行發(fā)散的布局方式。在其公開(kāi)的5種平面可能性中，這種布局方式既能使反射和折射產(chǎn)生圖像衰減和形變，強(qiáng)化運(yùn)動(dòng)錯(cuò)覺(jué)，同時(shí)也能顧及到不同視點(diǎn)下的視覺(jué)體驗(yàn)差別，并保證觀賞不被聚集的玻璃截面所遮擋。與垂直玻璃宅中設(shè)備管道的內(nèi)向露明相反，為了強(qiáng)化玻璃作為視幻裝置的純粹性，構(gòu)造節(jié)點(diǎn)被隱藏在基座中，三角門的做法同樣避免了連接件的使用?；鎸隅R面鋼板的光反射和預(yù)埋照明亦在夜晚營(yíng)造出亦真亦幻的視覺(jué)氛圍。

奧迪宅提供了一種具備方法的設(shè)計(jì)過(guò)程，并在很多層面繼承了張永和對(duì)物質(zhì)性和形式操作的思考，更少有地拓展了玻璃在建筑概念中的二元性，恰如其分地將材料的反射性和折射屬性應(yīng)用在針對(duì)運(yùn)動(dòng)的表達(dá)中。

Comment

WANG Zigeng:The name "Audi Haus" and its way of dealing with hip edges in elevation are an explicit attempt to analogize the display platform with an object (a house). In fact, the very proposition,chosen by the architect Yung Ho Chang, hints at an appropriate relationship encompassing the car on display. If this relationship, in terms of the plan,can be reduced to a simple rectangular enclosure,in elevation, however, it exploits properties and distribution of glass in space in order to convey a sense of theatricality and indefiniteness as never seen before.

Among FCJZ practices, re-discussion and investigation of materiality is a constant approach,FCJZ usually makes the conventional architectural language unrecognizable while leaving their original shape untouched, completely reversing the relationship between concept and space. This is especially true when working with glass, a material that shows both "dividing"and "disappearing" properties. Theatrical realizations of transparency in architectural vertical direction, or of experimentations with vertical density subverting glass partitions' transparency as seen in Cummins Inc.Asian division's projects, you will see that these are all applications of glass's bi-dimensional properties.

However, in Audi Haus, experimentation with glass is taken a step further: glass properties are not limited to its transparency, and no longer irreconcilable. Transparent glass does no longer mean disappearance: on the contrary, glass exists together with the subject's bi-dimensional ref l ection,symbiotically juxtaposed to it. The architect makes use of glass' reflecting and refracting properties to convey, in an expressive way, the dynamic state of a static object (the car). Compared to movement representation as seen in multi-exposure cameras'outtakes, or in Duchamp's Nude Descending a Staircase, where movement is conveyed through juxtaposition of single moments showing the dynamic body (the figure) in different positions, it is interesting to see that, in Audi Haus, the car is actually still, there is no difference in movement over time: the movement effect is created exploiting the array of glasses around the car, which, in the cognitive experience of the spectator, distorts the perception of time and creates an illusion which closely resembles apparent movement phenomena.

This optical illusion is conveyed through the application of the idea of "layers", and, besides the materiality, it also possible to observe certain continuity in concepts and methods in FCJZ practices. As early as 2008 in Turin, Italy, in the installation YOU prison,Yung Ho Chang's parallel solar panel imprisoned the human body inside an architectural space: similarly,Audi Haus can be understood as a visual installation of layered glass panels, where the body on display (the car)is imprisoned within. In distributing the glass surface,FCJZ moves beyond the past concept of layers as a parallel-ordered series of elements, choosing a structure distribution where dispersion takes place along the extremities of the rectangular shape. Among its 5 possible open surface types, this distribution not only allows reflection and refraction to de-amplify and distort the image, strengthening the sense of movement,but, at the same time, it also creates different visual effects from different viewpoints, while guaranteeing an enjoyable visual experience, not burden by an overcondensation of glass sections. If in Vertical Glass House pipelines are completely exposed, in Audi Haus, in order to strengthen the purity of glass as optic installation,structural joints are hidden inside the pavilion base,and a triangular door is used as to avoid the usage of connectors. At night, the laminated steel base surface,with its ref l ectors and built-in lighting, also contributes in creating this optic atmosphere where reality blurred into illusion and illusion blends into reality.

Audi Haus is an example of design process inherent of methodology, and in using multi-layered surfaces it bequeaths Yung Ho Chang's ideas on materialistic and formal interventions, expanding the limits of glass bi-dimensionality in architecture as rarely seen elsewhere, recreating movement by properly exploiting glass's reflective and refracting properties. (Translated by Milena Lazzaretti)

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設(shè)計(jì)要求

展示一輛汽車。

材料+體驗(yàn)

在汽車展覽會(huì)上人和汽車的角色會(huì)發(fā)生互換： 通常車動(dòng)人靜； 而在展覽中，車靜人動(dòng)。奧迪展臺(tái)的概念由此而生：運(yùn)用玻璃折射與反射， 折射使汽車在每一片玻璃上呈現(xiàn)出不同的影像，靜止的人可以在汽車連續(xù)影像的變化中體驗(yàn)動(dòng)感；反射使每一片玻璃上都有多個(gè)非連續(xù)汽車影像疊加。與此同時(shí)，反射與折射又在相互疊加，當(dāng)人開(kāi)始移動(dòng)，汽車便仿佛在無(wú)數(shù)的維度上行駛。在玻璃布局的探索過(guò)程中，我們最終選擇了一個(gè)擁有兩個(gè)反射立面與兩個(gè)折射立面的設(shè)計(jì)，反射立面和折射立面可以提供兩種截然不同的體驗(yàn)，而傾斜坡道可以引領(lǐng)觀者進(jìn)入展臺(tái)內(nèi)部，從而提供第三種觀車的體驗(yàn)?！?/p>

Design Brief

To exhibit a car.

Materials + Experience

In auto shows, the roles humans and cars play are reversed; generally, cars move, and people remain still, but in auto shows, the car is still, and people move. The concept for Audi's exhibition pavilion is based on this idea. The pavilion uses glass to achieve refraction and reflection of light; refraction causes a different image of the car to appear on each panel of glass, hence a stationary audience would be able to experience a sense of motion from the changes in the continuous image of the vehicle. Reflection allows each glass panel to overlay multiple non-continuous images of the vehicle. At the same time, reflection and refraction are superimposed on one another;when a viewer begins to move, the car appears to be travelling in countless dimensions. In the process of exploring various glass layouts, we finally decided upon a design with two reflection surfaces and two refraction surfaces; the reflection surfaces and refraction surfaces provide two different experiences,and the ramp up to the platform guides viewers towards its interior, where they are provided with a third viewing experiences.□

項(xiàng)目信息/Credits and Data

客戶/Client: 一汽大眾汽車有限公司/FAW Volkswagen Automotive Co., Ltd.

基地位置/Location: 上海嘉定F1賽車場(chǎng)/Shanghai F1 Racing Circuit

建筑設(shè)計(jì)/Architets: 非常建筑/Atelier FCJZ

主持建筑師/Principal Architect: 張永和/Yung Ho Chang

設(shè)計(jì)團(tuán)隊(duì)/Design Team: 林方杰，劉靖，吳瑕/Kelvin Lim,LIU Jing, WU Xia

展臺(tái)面積/Site Area: 80m2

建筑面積/Floor Area: 80m2

結(jié)構(gòu)和材料/Structure and Material: 玻璃結(jié)構(gòu)；玻璃，鍍鋅鋼/Glass and galvanized steel

設(shè)計(jì)周期/Design Period: 2010.11-2011.10

建成時(shí)間/Completion Time: 2011.10

攝影/Photos: 舒赫/SHU He

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