非常建筑新作：从空间原型，到四栋“坊宅”

设计单位 非常建筑

项目地点 浙江宁波东钱湖

竣工时间 2022年

建筑面积 1255平方米

本文文字由设计单位提供。

教育/艺术社区

宁波东钱湖的教育论坛是一个由会议中心、酒店、美术馆和住宅等设施组成的群落。由于业主从业教育并收藏艺术，因此教育与艺术在该项目中并重。论坛还专门为来访的学者及艺术家建造了四栋“坊宅”，即工坊与住宅的结合，以供他们进行相对长期的研究或创作。

The Education Forum at Dongqian Lake in Ningbo is a community that includes a convention center, a hotel, an art museum, villas, and other facilities. The owner is passionate about education as well as art. A group of four studio-houses are built specifically to accommodate visitors, especially scholars or artists who may come for a relatively extended period of time to conduct research and/or work on creative projects.

鸟瞰东钱湖教育论坛 ©田方方

设计研究

四个坊宅中的三个是张永和于20世纪90年代初在没有业主和基地的情况下首次构思的，设计的焦点是如何模糊古典主义与现代主义之间的界线。这些“纸上建筑”实际上是严肃地对建筑核心问题之一 ——空间——的研究，同时也是可建造的方案。坊宅设计的特殊背景使这组建筑成为教育论坛有关艺术研究讨论的参与者。

Three of the four studio-houses were conceived by Yung Ho Chang without client nor site in the early 1990’s as an attempt to blur the line between Classicism and Modernism. These “paper architecture” are in fact serious investigations of a core issue of architecture – space – and buildable propositions as well. This particular history of the project makes these four pieces of architecture an engaging participant in the discussion and exchange of ideas on art and research at the Forum.

1991年，由张永和绘制的院宅研究 ©FCJZ

院宅研究实体模型 ©FCJZ

探索空间原型

这组坊宅可以认为是建筑空间概念的测试。在这些坊宅中，工作—生活使用需求相对开放，促使我们以空间形态为主导推动设计，产生了四个空间原型，每栋具有独一无二的空间特质。空间设计也不可避免地涉及对体验进而对生活方式的想象。

The studio-houses are meant as experiments to test out ways to organize architectural spaces. The openness of the work-live program allows us to produce four distinctly different spatial conditions. Designing space can never be separated from imagining experience as well as lifestyle.

根据其最具特征的建筑元素，四栋坊宅被分别命名为：廊廊相对宅，玻璃十字宅，来去梁上宅和翻转屋顶宅。

The four studio-houses are thus named respectively after an architectural element that characterizes the spatial organization. They are House with Face-to-Face Loggias, House with Cruciform Glass, House with Walkable Beam, and House with Flipped Roof.

鸟瞰四栋坊宅 ©田方方

从建筑群入口看四栋坊宅 ©田方方

廊廊相对宅

鸟瞰廊廊相对宅 ©田方方

设计操作想象将一个对称的体量沿中轴分为两半，向外拉开，并在之间置入一水体，在其两侧的底层对应地布置了敞廊。相对的两个廊下空间横跨水面形成该坊宅的半室外—室外生活场所。

During design, a symmetrical volume is imagined being sliced in the middle and pulled apart to accommodate a pool flanked by two loggias on the ground level, one on each side. The two facing loggias define the open space in between framing both outdoor and semi-outdoor events.

廊廊相对宅入口 ©李柯梁

两廊之间的水院 ©李柯梁

居者要穿过水院从一侧的住所抵达另一侧的书斋去工作，工作结束回归住所再次跨水而过。过水，成为每日生活中的仪式之一。坐在廊下与对面廊下的朋友隔水交谈, 是小住于此的又一乐趣，此刻廊的关系也化作成人的关系。

The inhabitant needs to cross the water court from the living quarters to work in the study on the other side and then cross it again on the way back, which creates a ritual for daily living. Sitting in a loggia and talking to a friend is another pleasure the house offers. At that moment, the relationship of loggias morphs into that of people.

从底层的工作空间看水院及厨房 ©田方方

工作廊二层的书斋 ©田方方

生活廊一层的厨房 ©田方方

生活廊的楼梯 ©田方方

生活廊二层的起居空间 ©田方方

玻璃十字宅

鸟瞰玻璃十字宅 ©田方方

一层的研究室以风车形布置。二层的玻璃宅被透明的十字形双层幕墙均分为四间同等大小的房间，其使用分别限定为起居、餐厨、休息、洗浴；同时双层幕墙的空腔将二层和一层联通起来。

On ground level, spaces are organized with a pinwheel formation; on the upper level, a transparent volume is divided into four equal quarters for living, cook/dining, sleeping, and bathing by a hollow cruciform double curtain wall that connects the second-floor to the ground below.

玻璃十字宅的每侧各有门廊 ©李柯梁

一层的十字形半室外空间 ©李柯梁

二层玻璃宅的空间既开敞又分割。居者沿外侧玻璃墙环绕而行，得以欣赏周边连续的水院，且一瞥四个方位上院墙缺口中透过来的远方风景。

The space in the upper floor glass house is simultaneously open and divided. The inhabitant may move along the outer glass curtain wall enjoying a panoramic view of the surrounding water court, which is only punctured by the sceneries through the cuts in the peripheral wall.

十字形天井 ©李柯梁

来去梁上宅

鸟瞰来去梁上宅 ©田方方

一个造型艺术工坊属性的高空间被两个内向的超大门廊夹于中间。十字形可走人的横梁穿过画室上空。

A double-height space for plastic art studio is bookended with two oversized porches and floats in the middle a cruciform beam that is walkable.

来去梁上宅入口 ©田方方

从边院看楼梯间 ©田方方

在这栋坊宅里，创作围绕梁展开。居者可以站在梁上审视自己的创造，也可从梁上吊挂作品，或从梁上进入书房。

The inhabitant’s creative process unfolds around the beam: standing on it to examine his/her art on the walls or underneath, hanging from it work-in-progress, or crossing it on his/her way to the library.

从可行走的十字横梁上，可以欣赏挂在两侧墙面上的艺术作品 ©田方方

翻转屋顶宅

鸟瞰翻转屋顶宅 ©田方方

一个大空间由一个颠倒坡屋顶划分出工作和居住两个相通的部分。

A single space is divided by an inverted sloped roof into two zones, one for work and one for live.

翻转屋顶宅主入口 ©田方方

翻转屋顶宅廊侧立面 ©田方方

居者创作与生活几乎在同一空间里。在视线上，各在屋顶一侧的工作和居住区域只有有限的联系；但居者无论在哪一侧总能意识另一侧的存在。坊宅的意义在于既分又合。

This inhabitant lives and works in the same space, almost. Visually, live and work areas on opposite sides of the inverted roof have limited connection yet whichever side the inhabitant is on he would be constantly aware of the other. Studio-house juxtaposes combination and separation.

翻转屋顶宅入口 ©田方方

材料性

钢筋混凝土像粘土一样被用来塑造纯粹的空间。通过木模板，外露的混凝土表面纹理避免了抽象化并获得了物质性表现。

Reinforced concrete is used like clay to mold pure spaces. The textured surface of the exposed concrete poured in timber formwork is intended to avoid abstraction and give expression of tangibility to the spaces.