蘭溪庭，成都，中國

建筑設(shè)計：上海創(chuàng)盟國際建筑設(shè)計有限公司

蘭溪庭，成都，中國

建筑設(shè)計：上海創(chuàng)盟國際建筑設(shè)計有限公司

1 外景/Exterior view

蘭溪庭位于成都非物質(zhì)文化遺產(chǎn)公園內(nèi)，在空間組織方面，該項目是對中國傳統(tǒng)江南園林的全新演繹，其主要由三進院落組成，這三進院落分別承擔餐飲、內(nèi)院和私人會所的功能。居所與園林在縱深方向多重組合，這種布局方式表現(xiàn)了傳統(tǒng)江南園林空間的層次性和多維性。另一方面，高低起伏變化的屋頂對山水綿延起伏的意向進行了呼應(yīng)，同時也隱喻了中國傳統(tǒng)的坡屋頂文化符號。同時，在傳承傳統(tǒng)建筑空間構(gòu)成模式與文化符號的基礎(chǔ)上，建筑師運用了數(shù)字化建造方式的語言對中國傳統(tǒng)建筑的形式進行了重新闡釋。

我們試圖對水這一靈動自然的元素進行一次數(shù)字化轉(zhuǎn)譯，這種嘗試促成了水墻這一設(shè)計的產(chǎn)生。起初，我們運用算法捕捉在時間維度上趨于靜止時的瞬時狀態(tài)，并將這一狀態(tài)轉(zhuǎn)譯為實體的建筑語言。最終，青磚這一中國傳統(tǒng)建筑中普遍使用的建筑材料和極其普通的錯縫砌筑法成為了我們轉(zhuǎn)譯的媒介，特殊的空縫砌筑形式在厚重墻體中實現(xiàn)了流水的視覺效果和輕盈通透效果的表達。

非常規(guī)的磚墻的砌筑方式使得合理的施工建造方式顯得尤為重要，現(xiàn)有的技術(shù)和施工條件不允許我們使用機械臂這類數(shù)控加工設(shè)備來精確實現(xiàn)這種不同錯縫尺寸的砌筑方式，因此，這些青磚的砌筑必須在極為緊湊的工期安排內(nèi)由工人手工完成。為此，我們將不同的錯縫尺寸擬合為5種錯縫尺寸，預先設(shè)計了5種青磚磚縫模板，通過這5種模板數(shù)值的排列實現(xiàn)磚縫的漸變效果。實際建成的效果也證明，這一建造方式在磚墻上實現(xiàn)了這種具有流動感的水紋理。這種將數(shù)字技術(shù)與本土建造材料和建造模式結(jié)合的方式，表達了我們以數(shù)字化設(shè)計結(jié)合低技建造方式來實現(xiàn)數(shù)字化建造效果的構(gòu)想。

項目信息/Credits and Data

客戶/Client: 成都青羊城鄉(xiāng)置業(yè)有限公司/Chengdu Qingyang Suburb Construction & Development Co., Ltd.

項目主持/Principal in Charge: 袁烽/Philip F. Yuan

設(shè)計團隊/Design Team: 呂東旭，孟媛，韓力/LV Dongxu, MENG Yuan, Alex Han

設(shè)計時間/Design: 2008.06-2009.03

建設(shè)周期/Construction Period: 2010.04-2011.10

使用面積/Usable Floor Area: Ca.4000m2

建筑用途/Building's Purpose: 餐廳與私人會所/Restaurant and private club

用磚類型/Brick Type: 面磚/Facing bricks

攝影/Photos: 沈忠海/SHEN Zhonghai

The Lanxi Curtilage is located in Chengdu's International Intangible Cultural Heritage Park. It is composed of three parts: restaurant, inner courtyard and private club. It is an interpretation of traditional Chinese architecture using the language of digital fabrication.

The spatial layout of this project represents a new interpretation of the traditional Southern Chinese garden. Multiple layers of longitudinal residences and courtyards reflect the hierarchical and multi-dimensional spatial pattern of traditional gardens. The rising and falling profiles of building roofs embody rolling mountains and rivers and reference the tradition and culture of sloped Chinese roofs.

The ripple wall design comes from a digital interpretation of water, a flexible natural conception. The algorithm tried to catch the transient behavior of water which, when viewed over time, can be understood as both static and active. A traditional building material, blue brick, and the staggering joint process were used but a special hollow joint process sharpens the visual effect of dynamic water and the light transparent effect of a heavy wall. The design focused on producing a pattern that would be workable as a process of building and fabrication. Robots that can produce precise bricks over a wide range of scales are not currently available in the area. All brick masonry for the project's rigorous construction schedule had to be handmade. Five kinds of blue brick joint templates were provided and a joint gradient was achieved through the permutation and classification of the five template values. In the end it was possible to verify that bricks under certain conditions of light and shadow can embody the dynamic effect of water. The combination of digital design and low-tech fabrication reflects a viable approach for local areas.

2 入口/Entrance

3 水墻/Water Wall

評論

崔愷：波浪般起伏的屋頂，漣漪般泛著波光的磚墻，無疑是設(shè)計者追求的入畫之境，可謂匠心獨到。其實對我來講更吸引人的是那張精彩的平面，狹長而不規(guī)則的地段上，幾道粗線條的長墻把空間劃分出不同寬度的系列，其中有堂、有室、有廊、有院，平面簡潔清晰，層次收放有序，空間令人神往。然而，從有限的幾張圖片中看去，內(nèi)院中墻的穿透感被木門和灰墻阻塞，磚墻上的變異也不像外側(cè)看去那么舒展飄逸，略感遺憾。但是，對設(shè)計者表示的沒用機械手砌墻的遺憾我倒不太以為然，因為工人們用手工砌筑能達到如此參數(shù)化效果實在難為，技法之高、實現(xiàn)度之好是極不容易的。其實，讓當代設(shè)計語言和地方性建造相結(jié)合，應(yīng)該是我們相當長一段時間內(nèi)要走的路，而蘭溪庭應(yīng)該是這條路上的一種有價值的研究性實踐，值得肯定。

邵韋平：對這個項目最直接的感受來自于水墻的做法，之前創(chuàng)盟工作室已有綢墻的實踐，但那是在建筑裝修中的一個局部；這一次是結(jié)合中國傳統(tǒng)建筑的整體設(shè)計。配合屋頂曲線的形態(tài)，水墻產(chǎn)生了一種介于磚塊和整面墻之間的紋理，從靜態(tài)中感受到動態(tài)。雖然感覺這么做工作量很大，但建筑師將數(shù)字化工具和手工化生產(chǎn)方式相結(jié)合，最終實現(xiàn)了特殊的視覺效果。

Comments

CUI Kai: With its undulating roof and wavelike shimmering brickwork, this is an undoubtedly picturesque effort by designers of unique ingenuity. In fact, most attractive to me is the project's floor plan. The building, located on a narrow and irregular lot with long rough walls, is wonderfully divided into rooms of different widths - a living room and other rooms, gallery and courtyard. The floor plan is fascinatingly concise and simple, with a clear spatial hierarchy and alternating wide and narrow spaces. But based on these few pictures, it seems that the penetrating feeling of the courtyard walls has been blocked by wooden doors and gray walls. The courtyard walls, variations on the wavy exterior walls, are not as stretched and elegant as the exterior ones - a pity. Additionally, the designers regret that they did not use machine tools to create the brick walls, because the intended parametric effect is hard to achieve by hand. It is extremely difficult to execute such a high level of technique and realization. Though integrating contemporary design language with local design technique will still take some time and effort, Lanxi Court is a valuable case study, which is worthy of recognition.

SHaO Weiping: The most direct impression from this project is the technique of the water wall. Archi-Union has experimented with a silk wall in the past, but that wall was only created as a component of a larger project. This time the water wall is understood as a holistic design that integrates with traditional Chinese architecture. To match the curving shape of the roof, the water wall creates a texture that lies somewhere between bricks and a conventional wall, a static texture that creates a dynamic feeling. Creating this texture required a large amount of labor but the interest of the architects was precisely this integration of digital tools and handcrafted construction methods. It ultimately realized this special visual effect.

Lanxi Curtilage, Chengdu, China, 2011

Architects: Archi-Union Architects

4 平面/Plan

5 通道/Corridor

6 庭院/Courtyard