建筑設(shè)計：標準營造

在傳統(tǒng)北京胡同院落的局促空間中，“微胡同”項目以35m2的主體建筑面積，進行了極小尺度的居住實驗。

設(shè)計將庭院回歸到流線組織的重心，通過將活動空間引入到建筑內(nèi)部庭院，來創(chuàng)造與城市文脈的直接聯(lián)系。庭院不僅提升了內(nèi)部空氣與光線的流動，也聯(lián)結(jié)著形式多樣的方形體量及面向城市的門廊。這個靈活的城市居住空間成為位于較私密生活空間與具城市性的街道間的過渡空間，同時也成為可供“微胡同”居民及社區(qū)鄰居共同使用的半公共空間。

“微胡同”建筑主體是由墨汁混凝土現(xiàn)場澆筑而成——墨汁與混凝土按一定比例調(diào)配，使得材料最終呈現(xiàn)一種特有的色調(diào)。提升和改善胡同空間的生活條件是“微胡同”的設(shè)計核心之一?，F(xiàn)代中央空調(diào)系統(tǒng)服務(wù)整個主體建筑的同時，房間中都布置了地暖，這使得即使在寒冷的北京冬季，使用者都可以在舒適的建筑室內(nèi)環(huán)境中，透過整體透明的房間立面，欣賞戶外景致。建筑屋頂設(shè)計了3個可機械控制開啟的天窗，每個房間側(cè)面也設(shè)置了開啟扇，由此保證了建筑室內(nèi)的自然通風。

在提升空間品質(zhì)的同時，“微胡同”在空間形態(tài)上延續(xù)了傳統(tǒng)胡同院落的尺度感，并強化了空間的社會屬性?！?/p>

The goal of this project, a house of 35m2, is to study possibilities of creating social housing on ultra-small scale within the limitations of excessively small traditional hutong spaces of Beijing.

The result is an architectural operation that brings back the courtyard as a generator of the programme, as it activates the building by creating a direct relationship with its urban context. Apart from enhancing the flow of air and light, the courtyard creates a direct relationship between the living space contained in dynamic volumes and an urban vestibule in the front part of the building. This flexible urban living room acts as a transitional zone from the private rooms to the street, while serving as a semipublic space to be used by both the inhabitants of the house and the neighbours of the community.

The main body of the project was on-site cast by the concrete mixed with Chinese ink, including mini living spaces with a shared courtyard, which is a public area with two trees faced by five inward staggered rooms. As part of the design to improve the quality of life in the hutong, the main building is supported by the central air-conditioning system,with radiant floor in each room to provide a comfortable interior situation against the severely cold winter weather in Beijing, when a dramatic view is framed by the entirely transparent facade of every room. Besides the three operable skylights on the roof, all the rooms give possibilities to natural ventilation allowing the fresh air flow to circulate through the whole building.

"Micro Hutong" inherits the intimate scale of the traditional hutong, revitalising its social condensing capabilities with spatial improvements.□

1 總平面/Site plan

2 外景/Exterior view

3 庭院/Courtyard

4-7 內(nèi)景/Interior views

8-10 外景/Exteriorviews

11 首層平面/Ground floor plan

12 二層平面/1st floor plan

13-16 剖面/Sections

1-庭院/Courtyard

2-展室/Exhibition room

3-餐室/Dining room

4-廚房/Kitchen

5-衛(wèi)生間/Toilet

6-走廊/Corridor

7-臥室/Bedroom

8-學習室/Study room

9-茶室/Tea house

10-露臺/Terrace

17 庭院/Courtyard

評論

鮑威：北京胡同界面被人感知最多的有兩個，一是代表群像的街道，二是代表個像的庭院。然而另一個向度的界面卻更能夠反映出胡同的全像，即連續(xù)的屋頂界面。標準營造的作品向來以其建筑單體強烈的形式操作來回應(yīng)一系列的問題，微胡同項目也不例外。然而此案在北京舊城的環(huán)境背景下，是否能在這群像、個像及全像這三個層面上獲得成功？我們不妨從胡同的街道、庭院、屋頂這三個界面對其進行解讀。

微胡同的街道界面是封閉的，除了入戶門，其余立面為舊材料拼成的立面構(gòu)成，這與本來封閉的傳統(tǒng)胡同界面一致，雖然其身處的楊梅竹斜街開放的商業(yè)界面是非典型的胡同界面。微胡同的庭院界面為設(shè)計的建筑主體，C字形的主干加上一系列的懸挑盒子準確地創(chuàng)造出了一個內(nèi)向的、統(tǒng)一的、功能復(fù)雜的、體驗性極強的庭院界面。毫無疑問，微胡同對這兩個界面的應(yīng)答都是相當成功的。而微胡同的屋頂界面，即為平面邏輯的直接呈現(xiàn)：平面邊界直接拉高，超出周圍環(huán)境的高度，所有即所得。這種處理是否與城市的屋頂界面一致？

胡同建筑屋頂?shù)纳衿嬷幵谟谄涑叨鹊纳墸浩矫嫔辖ㄖ兓S富，而屋頂永遠是雙坡統(tǒng)一一切。在這個界面上，大尺度的屋頂將下邊瑣碎的小尺度平面活動全部隱藏，呈現(xiàn)出城市統(tǒng)一的全像。微胡同小尺度的平面邏輯直接侵入到這個大尺度的屋頂景觀中來，不免造成了尺度上的沖突。

并非說這種只在乎自身形式操作的做法有何不妥，而是說以另外兩種方式的處理是否會更具優(yōu)勢：屋頂是否可以在尺度上和周圍建筑形成統(tǒng)一，完成從小尺度的平面邏輯到大尺度的屋頂邏輯的轉(zhuǎn)化？抑或建筑高度不侵入到連續(xù)的屋頂界面中來，如同不遠處的微雜院那樣，謙和地隱退在周圍屋面景觀之下？

Comment

BAO Wei:Two interfaces of Beijing's hutong are most often perceived by people: one is the street standing for group image; the other a courtyard standing for single image. However, an interface of another dimension can reflect the full image of Hutong, that is, the continuous interface of roofs.The works of ZAO have always responded to a series of questions with strong manipulations of form over single buildings, and the Micro-hutong project is no exception. However, in the environmental context of the old city of Beijing, may this case succeed on the three levels of group image, single image, and panoramic image? We may interpret it from the three interfaces of streets, courtyards and roofs of hutong.The street interface of the Micro-hutong is closed. Apart from the entrance door, the other parts of the facades are pieced together with old materials.That is consistent with the original closed interface of traditional hutong, although the open commercial interface of Yangmeizhu Oblique Street where it's located is an atypical Hutong interface. The courtyard interface of the Micro-hutong is the main body of the design. The C-shaped backbone plus a series of suspended boxes accurately create an inward, unified courtyard interface with complex functions and rich experiences. There is no doubt that the Microhutong's responses to these two interfaces are quite successful. The roof interface of the Micro-hutong,however, is a direct representation of the planar logic:the boundary of the floor plan is directly raised above the height of the surrounding environment. What there is what obtained. Is this method consistent with roofscape of the city?

The magic of the roofs of hutong lies in the upgrade of scales: buildings vary widely in plans, but in terms of roofs, the double-pitch always controls everything. On this interface, the large-scale roofs hide all the trivial small-scale planar activities underneath, presenting a unified full image of the city. The small-scale planar logic of the Micro-hutong intrudes directly into the large-scale landscape of roofs, naturally resulting in conflicts of scales.

This is not to say that it's wrong to care only about its own manipulation of form, but whether could two others ways be more optimised or not: Could the roof unify with the surrounding buildings in terms of scale, to complete the transformation from smallscale planar logic to large-scale roof logic? Or could the height of the building not intrude into the continuous roof interface, like micro courtyard not far away, and humbly retreat beneath the landscape of surrounding roofs? (Translated by CHEN Yuxiao)