項(xiàng)目地點(diǎn)：泰國(guó)巴吞他尼府

建設(shè)單位：蘭實(shí)大學(xué)

用地面積：3 100平方米

總建筑面積：2 000平方米

建筑/室內(nèi) /景觀設(shè)計(jì)：Studiomake

首席建筑師：David Schafer, Im Sarasalin Schafer

設(shè)計(jì)團(tuán)隊(duì)：Supasit Muangsrikul

結(jié)構(gòu)工程師：Borvornbhun Vonganan

設(shè)計(jì)時(shí)間：2011年

竣工時(shí)間：2015年

攝影：Spaceshift Studio

Location: Pathumthani, Thailand

Client: Rangsit University

Site Area: 3 100 m2,Gross Built Area:2 000 m2

Architects / Interior / Landscape: Studiomake

Chief Architect: David Schafer, Im Sarasalin Schafer

Design Team: Supasit Muangsrikul

Structural Engineer: Borvornbhun Vonganan

Design Year: 2011

Completion Year: 2015

Photography: Spaceshift Studio

我們很少?gòu)膱D像學(xué)或象征主義角度開(kāi)始一個(gè)項(xiàng)目——對(duì)我們來(lái)說(shuō)，形式總是其他決定和關(guān)系的雙重產(chǎn)物，但建筑本身對(duì)我們的客戶來(lái)說(shuō)是一個(gè)重要的姿態(tài)體現(xiàn)，一個(gè)標(biāo)志著大學(xué)致力于泰國(guó)和中國(guó)之間的學(xué)術(shù)和文化合作交流的象征。因此，我們?cè)噲D將一系列相關(guān)的概念編織在一起，這些概念既宏大又細(xì)致。理想情況下，從建筑中的某些元素和態(tài)度會(huì)產(chǎn)生這樣的問(wèn)題：“什么是中式風(fēng)格？什么是泰式風(fēng)格？”

Rarely do we start a project from iconography or symbolism— for us, form is always a bi-product of other decisions and relationships, but the building itself was an important gesture for our client,a symbol to mark the University’s commitment to a collaborative academic and cultural exchange between Thailand and China. So we sought to weave together a tapestry of relatable notions both grand in scale and intimate in detail. Ideally certain elements and attitudes within the architecture ask the questions “What is Chinese? What is Thai?”.

我們總是從材料和制作開(kāi)始談起，開(kāi)始思考兩種文化之間共享的基本和相關(guān)的建筑方法。磚塊是一個(gè)聚合的過(guò)程，許多簡(jiǎn)陋的個(gè)體聚集在一起，形成一個(gè)潛在豐富而復(fù)雜的整體。泰國(guó)磚為紅色，而中國(guó)磚為灰色——這與土壤的性質(zhì)有關(guān)。我們對(duì)灰磚的中性方面感興趣（紅磚是西方學(xué)術(shù)建筑的象征），但自然對(duì)在中國(guó)生產(chǎn)磚并將其運(yùn)往泰國(guó)所帶來(lái)的環(huán)境負(fù)擔(dān)不感興趣。在討論概念的同時(shí)，我們開(kāi)始參觀當(dāng)?shù)氐拇u廠，發(fā)現(xiàn)一家工廠正在做雙燒磚的試驗(yàn)。我們看到，通過(guò)在特殊的加熱環(huán)境中雙燒，粘土的顏色從紅色轉(zhuǎn)變?yōu)榛疑?。我們立即?lián)想到，土壤屬泰國(guó)，但顏色為中式風(fēng)格。

Our conversations always begin with material and making, and we started thinking about the basic and relatable construction methods shared between the two cultures. Bricks are an aggregative process,many humble individuals come together to form a potentially rich and complex whole. Thai bricks are red while Chinese bricks are grey— this has to do with the nature of the soil. We were interested in the neutral aspect of a grey brick (red brick is an emblem of western academic architecture), but naturally weren’t interested in the environmental burden of producing bricks in China and shipping them to Thailand. Concurrently with our conceptual discussions we began visiting local brick factories and found a factory that was doing experiments in double-firing bricks. We saw that by double-firing in a special heat setting, the clay color shifts from red to grey. We immediately connected with the idea that the soil would be Thai, but the color would be Chinese.

我們?cè)缙诘拇笠?guī)模研究始于一個(gè)具有更微妙入口的古典對(duì)稱建筑的想法；建筑堅(jiān)固且極具標(biāo)志性，但其使用和抵達(dá)過(guò)程為一個(gè)更加親切且精致的體驗(yàn)。該項(xiàng)目分為公共展覽空間和更多的私人辦公空間，在一個(gè)單一的屋頂下，在材料上統(tǒng)一，但在細(xì)節(jié)上有所區(qū)別。我們的想法是設(shè)計(jì)一個(gè)可以響應(yīng)程序差異的單一模塊，并以兩種截然不同的方式進(jìn)行部署。水平排列時(shí)，磚塊形成立體排面，偏移的頂端在某些區(qū)域?qū)R，形成清晰的陰影線，在其他區(qū)域交錯(cuò)排列，形成粘重質(zhì)地，急轉(zhuǎn)直下。垂直排列時(shí)，磚塊形成間隔緊密的圓柱體，這些圓柱體聚集成一個(gè)掩蔽，偏移頂部相結(jié)合以改變圓柱體的形式和相等的空隙。

Our early massing studies began from the idea of a classically symmetrical building with a more nuanced entrance; the image of the building is strong and iconic but its use and process of arrival becomes a more intimate, choreographed experience. The program was divided between a public exhibition space and more private office spaces leading to equal volumes, under a single roof, unified in material but differentiated in detail. Our idea was to design a single brick that could respond to the programmatic distinction and be deployed in two dramatically different ways. Used horizontally, the bricks form a solid mass, with the offset peaks aligned in certain areas creating a crisp shadow line and staggered in other areas creating a heavy texture, almost a turbulence. Used vertically, the bricks form tightly-spaced columns that gather as a screen, the offset peaks combined to variate the form of the columns and the equal voids.

一個(gè)露天的中央庭院將兩個(gè)空間連接起來(lái)，坐落在山峰和寬闊的后張拉混凝土屋頂?shù)膽姨粝隆?/p>

An open air central courtyard connects the two volumes and sits under the peak and generous overhangs of the sweeping post-tensioned concrete roof.