建筑設(shè)計(jì)：胡安·赫爾曼·瓜爾達(dá)蒂建筑事務(wù)所Architects: Juan Germán Guardati Arquitecto

M住宅，羅薩里奧，阿根廷Casa M, Rosario, Argentina, 2013

建筑設(shè)計(jì)：胡安·赫爾曼·瓜爾達(dá)蒂建筑事務(wù)所Architects: Juan Germán Guardati Arquitecto

1 外景/Exterior view

2 草圖/Sketches

3 草圖/Sketches

4 圖解/Diagram

形式操作的空間反應(yīng)是這個(gè)作品最有力的表達(dá)。一個(gè)簡(jiǎn)單的矩形基礎(chǔ)體量受到切割和水平位移。因此，空間更復(fù)雜，但仍然受控于形態(tài)學(xué)。兩個(gè)尺寸控制著房子的高度，從0～2.2m定義了墻壁和開口，從這里再到4.4m生成了屋頂?shù)目臻g。因此，它看起來(lái)像是居住者頭上的一片錯(cuò)綜復(fù)雜的地形，與潘帕斯平坦的土地形成對(duì)比。這一切都由于對(duì)自然光透過(guò)天窗的操控而變得更加戲劇性。從街上看，房子變得很緊湊，但從內(nèi)部感覺就是一種對(duì)位。

該項(xiàng)目在較低的體塊中布置私密的活動(dòng)，臥室和浴室被組合在較大的體量中，而廚房、洗衣房和儲(chǔ)藏間在兩個(gè)較小的體量中。公共的居家活動(dòng)是由產(chǎn)生了天花板和有著不同透明度的大玻璃墻的偏移所限定的，其中大玻璃墻向后越來(lái)越透明而側(cè)面是半透明的。

清水混凝土的使用結(jié)合了支撐結(jié)構(gòu)、空間結(jié)構(gòu)和建筑的表達(dá)。這種主要用在外面的材料成了公共區(qū)域的內(nèi)部邊界?？臻g體驗(yàn)是由有著強(qiáng)烈的對(duì)比且非常綜合的材料運(yùn)用表現(xiàn)出來(lái)的。

這個(gè)項(xiàng)目的基地位于城市外一個(gè)有門控的社區(qū)，人們一般開車到這里。這也是為什么我們要?jiǎng)?chuàng)造一個(gè)入口空間作為道路的延伸。入口空間形成混凝土中的一條裂縫，也許可以用來(lái)解釋建筑的結(jié)構(gòu)策略。□（陳雨瀟 譯）

The spatial reaction of formal operations makes the strongest argument of this work. A simple rectangular base volume suffers a cut and a horizontal displacement. Thereby, space is more complex and is still controlled by morphology. Two measures control the heights of the house, from 0 to 2.2m the walls and openings are de fi ned and from there to the 4.40 metre the roof space is generated. Consequently it appears as a sinuous topography on the head of the occupants and contrasting to the plain land of the Pampas. All this becomes more dramatic thanks to the manipulation of natural light that fi lters through the skylights. From the street the house becomes tight but from the inner perception is a counterpoint.

The programme develops private activities within the lower boxes, and bedrooms and bathrooms are grouped in the greater volume and kitchen, laundry and storage in two smaller ones. Public house activities are bounded by the offset that produces the ceiling and a large glass wall of different opacities (transparent towards the back of the lot and translucent sideways).

The use of exposed concrete combines supports structure spatial structure and expression of the house. This material used primarily in the outside became the inner boundary of the common area. The space experience is generated by a very synthetic material performance of strong contrasts.

The site is located in a gated community outside the city. The main arrival is by car and this is the reason to create an entrance space as an extension of the road. It is developed as a gap in the concrete where it is possible to understand the strategy for the structure.□

5 入口外景/Exterior view of the entrance

6 首層平面/Ground fl oor plan

7 屋頂平面/Roof plan

8 模型/Models

9 模型/Models

項(xiàng)目信息/Credits and Data

主持建筑師/Principal Architects: Juan Germán Guardati,Román Renzi

合作者/Collaborators: Gustavo Sattler, Virginia Kahanoff,Damian Plouganou, Valeria Del Vecchio

顧問(wèn)/Advisors: Ing. Marcelo Soboleosky, Mariano Pellita

施工時(shí)間/Construction Period: 2009-2013

面積/Size: 320m2

攝影/Photos: Walter Salcedo

10 外景/Exterior view

11 縱剖面/Longitudinal section

12 橫剖面/Cross section

13 入口/Entrance

評(píng)論

王昀：依靠?jī)蓚€(gè)正交幾何框體的錯(cuò)動(dòng)位移，形成了如同集合論中的集合A與集合B以及它們之間所形成的交集的空間現(xiàn)象。又由于兩個(gè)集合是在不同空間層面上的位移，造成了集合在兩個(gè)層面上的虛與實(shí)的錯(cuò)落與對(duì)比，使建筑本體具有了數(shù)論層面含義的同時(shí)，虛空的部分形成了理所當(dāng)然的入口。

何可人：設(shè)計(jì)師依然采用柯布式的極簡(jiǎn)現(xiàn)代主義作為依據(jù)，并且堅(jiān)持地運(yùn)用基本模數(shù)，理性地進(jìn)行體量的游戲。入口處初看相對(duì)沉重，然而開口上方對(duì)應(yīng)的狹長(zhǎng)縫隙巧妙地解決了問(wèn)題，顯得靈動(dòng)異常。內(nèi)部復(fù)雜但是控制嚴(yán)密的空間和外部單純的體量和材料形成對(duì)比；為了避免沉重，同時(shí)也對(duì)應(yīng)于室內(nèi)空間，屋頂被塑造成復(fù)雜的迷宮式組合，同樣是勒·柯布西耶式的手段，也是對(duì)于古典主義建筑的回應(yīng)。房間完美的模數(shù)必須同時(shí)在長(zhǎng)度、寬度和高度三維上體現(xiàn)，而天花之上的空間，傳統(tǒng)上“被掩藏”的poché則暴露出來(lái)，形成屋面起伏的外形。

14 外景/Exterior view

15 內(nèi)景/Interior view

Comments

WANG Yun: The displacement between the two orthogonal geometric frameworks forms Set A and Set B, and the intersection space between the two sets, as described in the Set Theory. At the same time, since the displacement of the two sets happens at different spatial levels, the visionary and the real contrast between the two sets is thus formed at two levels,which not only endows the construction an implication at the level of mathematical theory, but also shapes a

natural entrance with the virtual part.

HE Keren: The architects adopted Corbusian minimalism as the principle for the design, at the same time being consistent of using the module system and the formalist rationale. The entrance looks quite heavy at the first sight, while the long and narrow opening above the main door provides the solution, which appears quite dynamic.It is a big contrast between the intricate, but controlled interior spaces and the simply, monolithic mass and material at the exterior. To avoid the sense of heaviness in accordance with the interior spaces, the roof composition is created as the labyrinth format. It uses the Corbusian method, as well responding to the classical architecture.The ideal measurement of a room represents in its length,width and heights. そus the traditionally hidden poché spaces above the ceiling are exposed to form the irregular roof shape.