建筑設(shè)計(jì)：無樣建筑工作室

Architects: Wuyang Architecture

松間長屋，黃山，中國
Longhouse Among Pine Trees, Huangshan, China, 2016

建筑設(shè)計(jì)：無樣建筑工作室

Architects: Wuyang Architecture

1 鳥瞰/Aerial view

2 總平面/Site plan

松間長屋位于安徽黃山市休寧縣齊云山風(fēng)景區(qū)內(nèi)，是自由家樹屋營地中的一個(gè)單間旅館客房?；卦阪?zhèn)外的小山上，長滿了松樹。為了盡量少破壞地形，建筑采用鋼結(jié)構(gòu)架空的形式。架在半空的建筑像在松樹間穿行，而建筑包括前廊長達(dá)33m，因此取名叫松間長屋。此外，“松間”也是王安石一首七言絕句的題名，在古代的詩文里常有隱居的意思。建筑半隱在山林之間，讓山中度假的客人暫時(shí)遠(yuǎn)離日常喧囂，享受安靜的自然風(fēng)景，確也符合詩文的意境。

如何從山林入室，這是設(shè)計(jì)首先考慮的問題。與直接進(jìn)入不同，客人要先走過一條長廊之后才能進(jìn)入客房。長廊設(shè)置在與建筑一體的空框之內(nèi)，它因此并不是一條室外的走道，而是介于建筑與自然之間的屋廊。長屋室內(nèi)面積不大，僅50m2，就是一間獨(dú)立的客房。為了進(jìn)一步模糊建筑與環(huán)境之間的關(guān)系，室內(nèi)設(shè)計(jì)了幾個(gè)樹井，再用木格柵做建筑外圍合，使空間深長曲折，內(nèi)外錯(cuò)綜。客房的盡端是半室外的平臺(tái)，推門出去，可以看到遠(yuǎn)山。□

3 圖解/Diagram

4 夜景鳥瞰/Aerial night view

5 俯視/Top view

This longhouse is an independent guest room of ZYJ Treehouse Land, which is a boutique resort in the tourist area of Qiyun Mountain in Anhui Province of China. The site is full of pine trees. To avoid destructing the topography and the features of the mountain, the building is designed as a treehouse overhead, raised by four pairs of steel columns. The whole building, the guest room with its long corridor, has a length of 33 metres. When guests walk in the corridor, they could feel like going through in-between dense pine trees. For intellectuals in Chinese traditional culture, "inbetween pine trees" implies the poetry of living in seclusion. It is the concept of the design, that helps guests enjoy the still nature and escape from contemporary chaotic urban life.

It is the fi rst design question that how the guests experience the change of space from the outside of nature to the interior. Before guests get into the house, they will go through the long corridor which is not simply a pathway but a porch constituted by frames between nature and construction. The interior is opened by several holes enclosed by glass walls, from which pine trees grow out. Furthermore,wooden bars are used as a translucent surface of the building. Once getting in the room, guests will find themselves within a mixture space between inside and outside, between house and nature. A terrace is placed at the end of the longhouse. If the guests go through the room, open the door, a view of distant mountain will be the end of a long trip.□

6. 軸測圖/Axonometric

7 軸測圖/Axonometric

8 入口外景/Exterior view of the entrance

9 入口樓梯/Stairway of the entrance

12 客房平面/Guest room plan

13 屋頂平面/Roof plan

10 長廊/Long corridor

14 剖面/Section

15外景/Exterior views

16 外景/Exterior views

項(xiàng)目信息/Credits and Data

客戶/Client: 自由家/ZYJ

地點(diǎn)/Location: 安徽黃山市休寧縣齊云山鎮(zhèn)自由家樹屋營地/ZYJ Treehouse Land, Qiyun Mountain, Anhui, China

主持建筑師/Principal Architect: 馮路/FENG Lu

施工圖合作設(shè)計(jì)/Construction Drawing in Collaboration:上海臻源木結(jié)構(gòu)設(shè)計(jì)工程有限公司/ZYTIMBER

設(shè)計(jì)團(tuán)隊(duì)/Design Team: 董木子/DONG Muzi

結(jié)構(gòu)形式/Structure: 鋼結(jié)構(gòu)/Steel Structure

主要材料/Main Materials: 鋼、紅雪松木/Steel, Red Cedar

基地面積/Site Area: 180m2

建筑面積/Floor Area: 50m2

設(shè)計(jì)時(shí)間/Design Period: 2015

攝影/Photos: 艾清（清筑影像）/AI Qing (Creat AR Images)

17 內(nèi)景/Interior views

評(píng)論

何可人：相信許多人對(duì)于這個(gè)林中小屋都會(huì)充滿憧憬，也都會(huì)忍不住地去想，居住在這如此通透的地方，私密性如何處理。但是為了免“俗”，就不過多探討這個(gè)問題。不得不贊嘆在一定程度上，文人的意境和理想都在這里體現(xiàn)，身處自然之中，回歸自然，與自然融為一體的體驗(yàn)一定非常獨(dú)特。長長的入口通道是最贊之處，一種經(jīng)典的敘事性表述，延長了對(duì)深入樹林之中的期盼，造成了從“世俗”到澄明的通透境界的轉(zhuǎn)換。從建筑體量來說，虛實(shí)的結(jié)合轉(zhuǎn)承也很平衡與令人愉悅。

胡恒：仿佛某個(gè)屈米的“瘋狂物”跑錯(cuò)片場，一頭扎進(jìn)大山里。看來解構(gòu)主義的適應(yīng)性還挺強(qiáng)。大自然并沒有排斥這種革命激情，讓設(shè)計(jì)者暢快地“發(fā)泄”了一回，寬容地看著那些紅色的小鋼條小鋼板（居然把木條木板也涂成紅色）把風(fēng)景切割得七零八落。不過到了大雪紛飛的冬天，這把激情燒的就很有先見之明了。來此度假的小情侶們聽著屋外的凜冽風(fēng)聲，看著窗外的白雪皚皚的山林，擁被而臥之時(shí)，（說不定）會(huì)迅速愛上這滿眼鬧騰的紅色，隨即思考人生的意義。

18 內(nèi)景/Interior views

19 內(nèi)景/Interior views

Comments

HE Keren: It is almost certain after visiting this house in the woods, many people is kind of yearning for, or cannot stop wondering about how to solve the privacy issue in such transparent spaces. We have to stop that thinking to avoid tackiness, instead, we should praise that in certain way the house represents the ultimate ideal of most of the Chinese literati –returning to integrate with nature. This must be a spectacular experience. The most celebrated part is the very long entrance, which represents a classic narrative. It prolongs the viewer's aspiration into the woods, as well as the transformation from the secular world into the realm of serenity. As for the architectural composition, the interplays between the solid and the void are also quite pleasing and balanced.

HU Heng: It looks like one of Tschumi's "folie"ran into the wrong settings and plunged into the mountains. It seems the adaptability of Deconstructionism is quite strong. Nature didn't repel this revolutionary passion, allowing the designer to freely "vent" for a moment to tolerate and look at those small red steel plates (actually the wooden plates are also painted red) cutting the scenery into pieces. But in the snowy winter, this burning passion will show its foresight. When young lovers who come here for holidays are listening to the howling of the wind, looking at the white and snowy mountain forest outside the window, and lying together under cover, it is likely they will quickly fall in love with this vibrancy of red colour, and begin thinking about the meaning of life. (Translated by CHEN Yuxiao)