建筑設(shè)計：STARH建筑事務(wù)所

1 夜景/Night view

2.3 外景細部/Exterior details

這座最初建于1927 年的家庭住宅，出自新羅馬尼亞風(fēng)格的倡導(dǎo)者之一——建筑師弗洛雷亞·斯滕庫列斯庫。項目的主要挑戰(zhàn)是利用最少的資源實現(xiàn)公共功能的新狀態(tài)，并代表羅馬尼亞建筑師協(xié)會（OAR）布加勒斯特分會。

該項目地方設(shè)計競賽的主要內(nèi)容是將這座住宅改造為OAR 布加勒斯特分會總部，并提供辦公室、圖書室、會議空間和工作室。其場地屬于布加勒斯特的一處歷史地區(qū)，位于一個不規(guī)則的城市廣場中。在這個非正交的環(huán)境中，建筑特立獨行地呈現(xiàn)出不對位關(guān)系，反而賦予了它一種雅致的外觀，成為兩次大戰(zhàn)期間城市留存至今的一塊碎片。我們試圖不做明顯的干預(yù)，所以項目的要點就是找到讓干預(yù)措施不易察覺的限度。于是項目構(gòu)建了這個在教育和居住功能之間的“中樞”，并從地下室到公共街道建立了與塞萬提斯高中的直接通道。

概念/環(huán)境和策略

對環(huán)境的理解幫助形成了與公眾的融合，同時與街區(qū)建立了聯(lián)系?；酌娣e118m2的小房子具有被稱為城市“馬車庫”的典型分隔方式，有帶玻璃門的連通間，二層有臥室，地下室和閣樓僅作附屬用房。我們盡可能將空間加以利用，在這方面，我們并不希望破壞這種建筑類型的完整性。

這座建筑已多年無人居住，由于滲水，已處在中度退化狀態(tài)。干預(yù)工作包括對主要室內(nèi)空間的各處擴建，并在各層之間形成新的空間和視覺聯(lián)系，從而使室內(nèi)各部分具有整體性。因此，樓板上打通了“玻璃眼”；圖書區(qū)跨越兩層，將老木構(gòu)露明。同理，我們希望創(chuàng)造朝向外部環(huán)境、街道和街區(qū)的相似的開口。這些開口雖然明顯，但很分散，意在通過纖細卻富有表現(xiàn)力的由加強型鋼構(gòu)成的金屬結(jié)構(gòu)，將花園最終“呈現(xiàn)”出來。

施工、材料和結(jié)構(gòu)

原建筑的結(jié)構(gòu)由承重磚墻和木樓面梁組成。擴建工作包括：（1）降低地下層，并將大廳的壁龕進行側(cè)向擴建；（2）為主入口增設(shè)一道大門；（3）對法式屋頂稍加擴大，以容納一間會議室；（4）將屋頂延伸至圖書室上方。對這些部位進行加固的干預(yù)措施使用一種混凝土板令地下室和閣樓層實現(xiàn)了統(tǒng)一。其次，首層和二層，我們只對木梁進行了加固。我們希望將原建筑作為文物保留下來，并將幾乎所有必須拆卸的構(gòu)件用到新的部位上：碎磚和玻璃混合到馬賽克鋪地中，爐磚作為熱水的散熱體，爐門作為自然通風(fēng)的蓋口，用帶裝飾的桁條支撐圖書室的書架，將木梁用于重新鋪地。我們將房子的常見材料（如松木）用到了不尋常的地方（如儲物墻的“幕門”），以突顯新物。穿孔位于鋼板上，表達出混凝土板的穿透效果?！?/p>

（尚晉 譯）

The construction, originally built in 1927 and signed by one of the exponents of the Neo-Romanian style, arch. Florea St?nculescu, was used as a family house. The main challenge of the project was to achieve, by engaging minimal resources, a new status of public building and representation for the Bucharest Branch of the Order of Architects of Romania.

The theme of the project was subject of a local competition for the conversion of the house into the Headquarters of the Bucharest Branch of OAR,with offices, library, meeting spaces and workshops as well. The plot is part of a historical area of Bucharest, yet in a de-structured urban square.In this unequal context, the building appeared unaligned, in its unicity, which, paradoxically,give it a delicate appearance, as a fragment of the interwar city brought nowadays. We tried not to visibly intervene in the project so that intervention may remain unobservable. The project speculated this "hinge" location in between educational and residential functions to create a link with Cervantes High School to facilitate circulation from the basement to the public street.create similar openings to the outside environment,including streets and neighbourhoods. These openings,noticeably but discretely, are to be "captured" in time in the garden, through the fragile but expressive metallic structures of reinforced profiles.

Construction, materials and structure

The structure of the existing building is made of load-bearing masonry with wooden floor beams. The extension involved: (1) lowering the underground level and the lateral extension with niches from the hall; (2) creating a door for the main entrance; (3) the slight extension of the French roof in order to host a meeting room; (4) continuation of the roof over the library. The interventions of abovementioned consolidation used a concrete slab for the basement floor and attic of minor importance at the ground and first floors, and we only made the wooden beams reinforced. We wanted to keep the existing as artefacts and use almost everything we had to dismantle in a new implant:the broken bricks and glass mixed in the mosaic pavement, or the stove tiles as heat diffusers for hot water, or stove doors for natural ventilations hatches, or decorated rafters to support the shelfs of the library, or wooden beams for repaving. We used the common materials of the house (e.g.the pinewood) in uncommon situations (ref. the"curtain" doors of the wall storage) to underline the new. The penetrations are placed by steel tubs as they express the perforation of the concrete slabs.□

4 通道細部/Access details

5 進入地下層的室外通道/Exterior access underground

6 總平面/Site plan

Concept/context and design strategies

Understanding the context helped to generate a public infusion and a connection with the neighbourhood at the same time. The small house, with a footprint of 118m2, has the typical subdivision for the so called "wagon-houses" of the city, with communicating rooms by glass-doors, the first floor with bedrooms, underground and attic used just for annexes. We worked for densification but in respect of this, as we did not want to touch the integrity of the typology.

The building, not inhabited for many years,was in a medium state of degradation due to water infiltrations. The intervention involved a discrete extension on the main interior spaces, making new spatial and visibility connections between the levels as to indicate the wholeness in each part of its interior. So,the slabs were punctured by "glass eyes", and the library area was developed on two levels that leave apparent the old wooden structure. Likewise, we aspired to

7 地下層平面/Basement plan

8 首層平面/Ground floor plan

9 二層平面/First floor plan

10 閣樓層平面/Attic floor plan

11 地下內(nèi)景/Interior view of the basement

12 首層接待/Reception ground floor

13 閣樓層內(nèi)景/Interior view of attic floor

14 西立面/West elevation

15 南立面/South elevation

16 縱剖面/Longitudinal section

17 橫剖面/Cross section

項目信息/Credits and Data

設(shè)計團隊/Design Team: Iulia Stanciu, Florian Stanciu, Cosmin O. G?l??ianu, Cosmin Valentin Georgescu, Cristian Alexandru Be?liu, Horia Constantin Munteanu, Octavian B?rsan

設(shè)計時間/Design Time: 2015

竣工時間/Completion Time: 2017

攝影/Photos: Radu Malasincu

18 圖書室/Library

評論

斯蒂芬·菲里米塔：我還沒有問過弗洛瑞恩·斯坦丘教授和他的夫人設(shè)計是否想要延續(xù)法國建筑鼎盛時期的風(fēng)格，就像羅馬尼亞建筑師自1860年以來一直所做的那樣。如果我們先看看巴黎大區(qū)建筑師協(xié)會大樓，再回到布加勒斯特看看STARH建筑事務(wù)所在這個項目中所做的，那么你可能會說，這又一次證明了布加勒斯特的建筑和法國建筑（這次是法國當(dāng)代建筑）有緊密的聯(lián)系。下次見到建筑師時，我會問他們是否就是這樣想的，目前只是我自己推測他們想要取得這樣的聯(lián)系。在我看來，這座建筑的外觀非常引人注目，有一種熟悉的美感。我認為模仿當(dāng)代法國建筑是很好的，畢竟羅馬尼亞的城市法規(guī)就是以奧斯曼所建立的法規(guī)和美學(xué)為基礎(chǔ)的。（母卓爾 譯）

王逸凡：建筑師將多種尋常的材料用到了不尋常的地方。由此，關(guān)于建筑的物質(zhì)性，可以達成一種全然不同的理解。與其討論混凝土、木材、瓷磚、石膏或是金屬在細節(jié)上的精湛技藝，無妨首先將整座建筑視作同一的物質(zhì)材料，只不過它們具有不同程度、不同性質(zhì)的多孔性。在多孔性上的差異使這些材料不同的屬性可以互補。干預(yù)措施的限度使這座建筑仍然保留了“家”的特質(zhì)。這座原本作為住宅的建筑，其布局是在小尺度上展開的，在與身體非常近的距離上會產(chǎn)生出很大的“摩擦”表面。墻體、地板、天花板以及空間中的物體的觸覺質(zhì)感因此變得更加顯要。

Comments

Stefan Firimita:I did not ask Prof. Florian Stanciu and his wife if they wanted to follow French architecture at its best, like Romanian architects did in the past since 1860. If we are just looking at the building of the Connseile Regional des Architects, Ille de France and we jump in the middle of Bucharest City and look at what STARH achieved in this project, you need a moment to say, well, this proves again and again a strong relationship to French architecture(this time, French contemporary architecture). I would ask Prof. Florian Stanciu next time I will meet him if they really wanted this, it is my supposition that they intended for this to happen.For the moment for me it is a striking and familiar good resemblance. I think it is great to emulate contemporary French architecture, at the end of the day Romanian urban regulations are based on Hausmanian law and aesthetics.

WANG Yifan:The architects use various common materials of the house in uncommon situations. In this sense, one might reach a different understanding of the materiality of architecture. Rather than talking about a particular type of concrete, wood, ceramic, plastic,or metal, one might first understand the entire building as a material that possesses different degrees and qualities of porosity. A range of porosities can yield greater or lesser permeability,whose various qualities complement one another. The intervention is to the extent that the spatial qualities of being thoroughly inhabited is well kept. The building's architectural layout is composed on a small scale, as is often the case with residential buildings. It creates a large surface that comes very close to the body and generates great "friction". The tactile qualities of the walls, floors, ceilings, and objects in the space become even more important.

19 進入地下室的室內(nèi)通道/Interior access to basement

20-22 樓梯細部/Stair details