鐮倉住宅，鐮倉，日本

2012-07-27 02:59:14建筑設(shè)計福斯特及合伙人事務(wù)所

世界建筑 2012年1期

建筑設(shè)計：福斯特及合伙人事務(wù)所

ARCHITECTS: Foster + Partners

鐮倉住宅為一位長期收集佛教藝術(shù)品的委托人所設(shè)計，它采用了一種日本文化影響下的現(xiàn)代表達方式。住宅坐落在東京南側(cè)海岸城市鐮倉一個幽靜的住宅區(qū)內(nèi)，距離東京約1小時車程。住宅的基地具有很強的歷史背景：這里留存著一座神道教神社和一個在山崖表面靠手工開鑿的洞窟，該洞窟在11世紀曾經(jīng)屬于一座專門制作武士刀的工廠。這座住宅是基地內(nèi)的3棟建筑之一，與其相鄰的是一座專門展示藝術(shù)品的藝術(shù)館，以及一個巨大的容納倉儲等用途的功能性空間。場地設(shè)計將3棟建筑和諧地組織到一起，并體現(xiàn)出了日本文化中對于自然美與人工美高度融合的追求。

一系列相互平行的結(jié)構(gòu)性墻體將3棟建筑的室內(nèi)空間有機地組合到了一起，同時，這一思路又被具有服務(wù)功能的垂直內(nèi)嵌墻體進一步加強。室內(nèi)空間設(shè)計對于顏色的運用進行了細致的考量，通過柔化色系和深灰色的天花使空間增加了親密性。設(shè)計師們?yōu)檫@一設(shè)計獨創(chuàng)了一系列特殊的材料?；A(chǔ)墻體由個性化定制的鑄石砌成，通過采用電視顯像管回收再利用制造出的玻璃塊為室內(nèi)空間提供散射光。水磨石元素貫穿了整棟住宅。地面的一部分由中國古董瓷磚構(gòu)成，室內(nèi)游泳池則由釉面火山巖磚鋪設(shè)而成。

這棟住宅圍繞著崎嶇不平的自然環(huán)境建造而成，并將人們的視線聚集在一株成熟的櫻花樹上。建筑內(nèi)的流線通過由較暗的房間移動至完全明亮的房間時視野上的變化進行組織，將包圍住宅的自然環(huán)境和主人豐富的古董與現(xiàn)代藝術(shù)收藏品逐漸展現(xiàn)出來。包含了光纖裝置、專用聚光燈和自然光背光玻璃塊的綜合集成照明系統(tǒng)進一步強調(diào)了藝術(shù)品個體的存在。材料、人工光與自然光所組合創(chuàng)造出的光影變化是整個設(shè)計的基礎(chǔ)，并喚起了傳統(tǒng)日本建筑獨有的寂靜感?！酰ɡ瞽[ 譯）

設(shè)計團隊/Design Team: Pedro Haberbosch, Andy Miller, David Murphy, David Nelson, Roland Schnizer,Dara Towhidi, Jin Watanabe, Edson Yabiku

主承建商/Main Contractor: Obayashi Corporation

結(jié)構(gòu)工程/Structural: Obayashi Corporation

造價/Cost: Davis Langdon & Everest

機電工程/ME: Roger Preston & Partners

照明/Lighting: Claude and Danielle Engle Lighting

攝影（除標注外）/Photos(except as noted): Nigel Young/Foster Partners

1 西側(cè)外景：建筑主體與平行的石墻/View from the West showing the main house and parallel arrangement of the stone clad walls.

2 從一層平臺眺望神舍/View from the first floor terrace looking towards the Shinto shrine.

3 從山坡俯瞰鐮倉屋/View from the hillside above across Kamakura beyond.

Designed for a prominent collector of Buddhist art, this house was conceived as a modern retreat with distinctly Japanese influences. Located in a quiet residential neighbourhood of Kamakura, a coastal town one hour south of Tokyo, the house occupies a site with rich historical associations. These include a Shinto shrine and caves, carved by hand into the cliff-face, which formed part of an eleventhcentury workshop for crafting samurai swords. The house is one of three buildings on the site alongside a pavilion, with a gallery for displaying art works, a large function space, and specialised storage. The overall composition ties these buildings together in a harmonious arrangement, informed by the Japanese belief that nature is at its most beautiful when considered in relation to the man-made.

A series of parallel structural walls organises the interior spaces of all three buildings, which are further articulated by perpendicular infill walls that carry the service functions. Special attention has been paid to the subtle use of colour throughout the interiors, with muted tones and dark grey ceilings that add a degree of intimacy. The design team developed a number of specialised materials for the project. The primary walls are clad with a custom-manufactured reconstructed stone, while glass blocks made from recycled television tubes provide diffuse light. Hand-sculpted terrazzo elements are used throughout. The floor surfaces are covered in part with antique Chinese tiles, and the indoor pool is finished in glazed volcanic stone tiles.

The house is planned around the rugged landscape and focuses on a mature cherry tree.Circulation through the building is organised around a sequence of views that progressively move from darkened to fully lit rooms, revealing the houses natural surroundings and the clients extensive antique and modern art collection. A comprehensive integrated lighting system, which includes fibreoptic installations, dedicated spotlights, and naturally backlit glass blocks, further emphasises major individual art works. The attention to the play of light and shadow, created through a combination of materials and artificial and natural light, is fundamental to the design of the house and evokes the quietude of traditional Japanese architecture.□