建筑設(shè)計(jì)：Paleko建筑工作室，Plazma建筑工作室

Architects: Paleko ARCH studio, Plazma Architecture studio

1 外景/Exterior view

在全球化背景下，人們可以輕易獲得關(guān)于最新趨勢、設(shè)計(jì)方法和技術(shù)的信息，由此導(dǎo)致了全球建筑風(fēng)格的趨同，這也使得何為本土建筑的問題變得越發(fā)緊迫。立陶宛的建筑師們拒絕直接模仿歷史或傳統(tǒng)建筑風(fēng)格，試圖尋求一套當(dāng)代而本土化的建筑形式規(guī)則?！袄K納邁”住宅區(qū)位于維爾紐斯市中心一片珍貴的森林中，就是這樣一個典型案例。

城市布局、建筑形象和精致的細(xì)節(jié)都是建筑師對地段文脈全面細(xì)致分析的結(jié)果，目的是創(chuàng)造一座當(dāng)代而又本土、和諧融入周邊自然環(huán)境的建筑。兩排沿道路分布的住宅，順著帕維尼亞地區(qū)公園的緩坡拾級而下。上排住宅采用底層架空設(shè)計(jì)，巧妙融入混凝土戰(zhàn)壕（兩次世界大戰(zhàn)期間的遺物），將其保護(hù)并展現(xiàn)出來。下排住宅設(shè)計(jì)則利用緊鄰的柯烏基薩溪：住宅建筑皆開啟大窗和私人陽臺，面朝溪流景觀。

這些住宅顯而易見的當(dāng)代建筑形象，暗含了很多對拉索斯地區(qū)歷史城市和建筑文脈的借鑒和隱喻。住宅建筑的體量和抽象形式回應(yīng)了當(dāng)?shù)乩献≌?。立面木板的拼貼肌理亦呼應(yīng)著拉索斯地區(qū)歷史住宅的傳統(tǒng)裝飾。

結(jié)構(gòu)

8棟“高宅”沿著地段南部道路排布。這些建筑位于一座老彈藥庫殘存的擋土墻之間，或立于其檐部之上。建筑圍繞外部臺階成對組合。建筑師提升了住宅高度，是為確保能平層接入彈藥庫遺址，并在街道上呈現(xiàn)主體形象。成對的住宅呼應(yīng)了彈藥庫的對稱入口。住宅采用規(guī)則平面、傳統(tǒng)坡屋頂，并隨著彈藥庫立面朝向而扭轉(zhuǎn)一定角度。

街道北側(cè)則由“低宅”斷斷續(xù)續(xù)的邊緣所界定。10棟規(guī)則平面的坡屋頂住宅連接了兩個平臺：溪流河岸與街道。由于平臺高差的原因，住宅從街道上看是一層高，而從下層平臺看則是兩層高。住宅間的擋土墻隔離了街道車行空間和下方的私密平臺。

建筑的和諧

建筑傳統(tǒng)的原型體量上融入了適度的當(dāng)代建筑細(xì)節(jié)和元素。極簡的形式上點(diǎn)綴著抽象的凸窗和天窗。住宅的復(fù)雜性皆因統(tǒng)一的材料而融于和諧：建筑外表面覆蓋著幾種不同材質(zhì)的木條板，這也受到了地方傳統(tǒng)的影響。均質(zhì)化的建筑細(xì)節(jié)、尺度和顏色，進(jìn)一步提升了整體的統(tǒng)一性。

街道的視野并未受到建筑遮擋，而可延伸至里彼斯基斯山谷的自然景觀之中?！酰S華青 譯）

In the context of globalization, easy accesses to the most recent information about trends, design solutions and technologies, and, consequently,unification of architecture worldwide, and a question on what indigenous architecture is, have become more and more relevant. Rejecting the direct imitation of historic or traditional architecture,Lithuanian architects strive to find a formula of contemporary, yet vernacular image of architecture.The residential quarter "Rasu houses", built close to the Vilnius city centre, precious preserved green area, is one of those examples.

The urban layout, architectural image and meticulously thought out detailing are the result of thorough analysis of the context and an attempt to create a contemporary yet vernacular architecture that would merge harmoniously with the surrounding nature. Two long rows of the houses, distributed along the road, terrace down the hilly relieve of the slope in Pavilniai Regional Park. The design of the upper row houses, elevated on pillars, ingeniously integrates the concrete bunkers (legacy from the Interwar period),preserving and exposing them. The design of the lower row houses celebrates the adjacency of Kaukysa stream: the houses open up with big windows and private terraces towards the water.

Evidently contemporary architecture of the houses hints a lot of indirect references to the historic urban and architectural context of Rasos district. The scale and the abstract shape of the volumes correspond to those of the old houses in the area. The patterns of the timber boards of the facades hint at traditional decoration of historic houses in Rasos district. □(Text by Rūta Leitanait?)

Structure

8 Elevated houses are designed along the street in the southern part of the plot. These buildings are set between the retaining walls of the ammunition vaults or placed above their cornices. These buildings are paired around outside staircases. The houses are elevated to ensure the free access to the historical vaults and their visibility from the street. The pairs of houses correspond to the pairs of entrances to the vaults. These houses have regular plans, traditional pitched roofs and are rotated according to the orientation of the vaults' facades.

The northern side of the street is shaped by the intermittent perimeter of Lowered houses. 10 separate buildings with regular plans and pitched roofs connect two terraces: the bank of the creek and the street. Due to the difference of terrain they seem to be 2-storey high from the street and three storey high when observed from the lower terrace.Retaining walls between the houses separate the places for cars on the street level and private terraces below.

Architectural harmony

Traditional archetypical silhouette of the buildings is supplemented by moderate contemporary details and elements. Shapes are lightened by abstract volumes of bay windows and skylights. The complex of houses is harmonised by uniform materialization:buildings are clad in wood planks of several different textures, influenced by local traditions. Homogenous architectural details, scale and colour of the buildings enhance the idea of unity even further.

The perspective of the street is not obstructed,but rather extending into the valley of Ribiskes landscape reserve. □ (Provided by Paleko ARCH studio )

項(xiàng)目信息/Credits and Data

建筑設(shè)計(jì)/Architects: 方案/Concept: Paleko ARCH Studio

Architecture: Paleko ARCH Studio: Rolandas Palekas(Chief Architect), Bartas Puzonas (Architect), Petras Isora(Architect). Plazma: Rytis Mikulionis (Chief Architect),Gytis Vaitkevi?ius (Architect), Povilas Daugis (Architect)

目標(biāo)/Object: Housing development

施工/Contractor: UAB Contestus

結(jié)構(gòu)工程/Structural Engineer: A. Sabaliauskas

總面積/Total Area: 2890m2

建筑面積/Plot Area: 7219m2

施工周期/Construction Period: 2013-2015

攝影/Photos: Norbert Tukaj

2 總平面/Site plan

3 外景/Exterior view

4 戶型A首層平面/Plan of type A, ground floor plan

5 戶型A二層平面/Plan of type A, floor 1 plan

6 戶型A地下一層平面/Plan of type A, floor B1 plan

7 示意圖/Diagram

8 模型/Model

9 外景/Exterior view

評論

呂富珣：山林、溪流，跳躍著自然的靈動——彈藥庫、戰(zhàn)壕，標(biāo)識著歷史的滄桑。在這個刻有舊日印記的世外桃源，18幢精巧挺拔的小住宅隱約而立于林間溪畔。

不同質(zhì)地的木條覆蓋著所有建筑的外墻，其色調(diào)與周圍林木絕然一致，宛如從山地中生長出來的百年老樹的樣子；每棟住宅的布局和朝向也依地形而做細(xì)微的調(diào)整，就像正在排布隊(duì)列的士兵，身著迷彩服屹立在山地之上，規(guī)整、和諧、統(tǒng)一。

南側(cè)高地之上的8幢住宅兩兩成組、像攜手而擁的情侶，期間的樓梯和平臺的上方覆蓋著點(diǎn)式玻璃屋頂，輕盈而透徹。外凸陽臺的點(diǎn)式玻璃欄板，再一次消融了人與自然間的隔閡，彼此間可以親密接觸。點(diǎn)式玻璃等細(xì)微之處的精致處理，在木板裝飾的外墻所透露出的傳統(tǒng)年輪上面，刻畫出了時代的烙印。Comments

LYU Fuxun: The mountain forests and brooks give natural inspiration, while the ammunition depots and trenches add a sense of history. In this Shangri-la style historical land, there are eighteen sophisticated houses hiding in the woodland,alongside brooks.

Each building's facade is covered in a different kind of wood. The colours blend well with the surrounding forest, so the villas almost appear to be centuryold trees growing from the land. Each house's layout and orientation has minor adjustments based on the topography. They are like lined-up soldiers in battle fatigues standing on the mountain – structured, harmonious and unified.

Eight paired houses on the southern highland resemble lovers hand in hand. The stairs and decks between each villa are covered by point supported glass roofs, light and transparent; whilst the point supported glass fences on the projecting balconies end the estrangement between human beings and nature, creating an intimate connection. The delicate point-supported glass design leaves a footprint of an era in the natural growth rings of the wooden exterior of the villa. (Translated by Dandan Wang)

10 外景/Exterior view

11 戶型B二層平面/Plan of type B, floor 1 plan

12 戶型B首層平面/Plan of type B, ground floor plan

13 戶型B地下一層平面/Plan of type B, floor B1 plan

14 剖面/Section

15 外景/Exterior view

安娜瑪麗亞·安德里佐尤：該項(xiàng)目以對精美細(xì)部的高度關(guān)注在建筑特質(zhì)上顯示了極少主義的干凈簡潔。諸如木條板的紋理與各座住宅之間的微妙體量差異，避免了在聯(lián)排住宅類型項(xiàng)目中很容易出現(xiàn)的單調(diào)形象。

上排住宅抬升的金屬結(jié)構(gòu)、室外的金屬樓梯、木板覆面與反射出周圍樹影的大面拋光玻璃，令這些住宅獲得了一種接近透空的質(zhì)感，將自身隱藏于環(huán)境之中。這削弱了對于住宅組群的明顯感知，而提供了一種私密、愜意的通常屬于私人住宅的氛圍感受。這種感受在與更加實(shí)體和穩(wěn)固的下排住宅的對比當(dāng)中進(jìn)一步凸顯。（陳茜 譯）Anamaria Andritoiu: The architectural choice for this project is minimalistic and clean with a great attention to fine detail, such as the texture of the wood cladding and a subtly different volume for each house, thus avoiding a monotonous general image so often associated with a row house type project.

An elevated metal structure of the upper row, along with the metal exterior staircase, wood cladding and generous glazing that reflects the surrounding vegetation gives the houses an almost see-through quality,effacing and simultaneously blending into the environment. This dilutes the sensation of residential complex and affords a private, cozy feeling usually generated by single-family dwellings, further supported by the slight contrast with the more solid and anchored lower row of hoses.