楊瑛工作室，長(zhǎng)沙，中國(guó)

建筑設(shè)計(jì): 湖南省建筑設(shè)計(jì)院創(chuàng)作設(shè)計(jì)研究中心楊瑛工作室

楊瑛工作室，長(zhǎng)沙，中國(guó)

建筑設(shè)計(jì): 湖南省建筑設(shè)計(jì)院創(chuàng)作設(shè)計(jì)研究中心楊瑛工作室

1 楊瑛工作室手繪/Hand drawing by YANG Ying

大樹情懷

一拂熏風(fēng)，滿院沉香，踏著遍地紅香葉，2014年春，楊瑛工作室遷入新工場(chǎng)。從以樹為鄰到擁樹而居，香樟樹見證了工作室春華十五載。

新工作室是以主辦公樓東端相鄰的車庫(kù)改造而成。原場(chǎng)地面積500余m2，南高北低，長(zhǎng)有3棵香樟樹；東側(cè)為一縱列單層車庫(kù)，并與一幢5層住宅樓緊鄰。對(duì)此，建筑回應(yīng)的策略便是：以各方位大樹作為場(chǎng)地的情境原點(diǎn)和控制點(diǎn)，解放來(lái)自東、西、北建筑的擠壓和約束，輕輕地將建筑歸于場(chǎng)地，還一個(gè)閑適、恬靜、沉思、頓悟的心性之器。

設(shè)計(jì)與建造從一開始就跟隨場(chǎng)地現(xiàn)象脈絡(luò)和直覺(jué)的指引，先以場(chǎng)地西邊樟樹作為建筑切入的起始點(diǎn)，由此向東延16m，南北伸展34m，適度退讓與場(chǎng)地周邊建筑的施工安全距離，保留和提質(zhì)原車道，并以3棵大樹作為場(chǎng)地定位標(biāo)志：南懷大樟、西含香蕊、北靠香樟，圍合而構(gòu)成工作室工場(chǎng)的基本建筑邊界。

同時(shí)，拆除原車庫(kù)北端，利用高差、架空底層，作為還原補(bǔ)位的陽(yáng)光車庫(kù)，車庫(kù)南端加固改造成為會(huì)議室和辦公室。由于受東邊住宅日照要求和建筑采光與面積控制的約束，建筑頂部依據(jù)相鄰住宅日照時(shí)間與角度限定的高度和傾斜度，使建筑順勢(shì)成為兩層的非等邊采光坡屋面，通過(guò)對(duì)場(chǎng)地潛存魅力的積極釋放，自然而然地成就了建筑的基本形式輪廓。

主入口選擇與西南角樟樹共生同構(gòu)，含樹藏風(fēng)，開懷引路。通過(guò)先抑后揚(yáng)、漸開悉見的前序空間遞進(jìn)式處理，并聯(lián)一個(gè)虛實(shí)相應(yīng)、起伏錯(cuò)落的“樓中樓”多用途復(fù)合空間，兩層空間疊合并置：常態(tài)工作、短時(shí)工作、模型制作、作品展示、打印儲(chǔ)存、圖書覽閱、研討學(xué)習(xí)、健身娛樂(lè)、沉思遐想；多種行為和功能，都以自己的方式介入到空間當(dāng)中，參與空間的構(gòu)成并激活空間的流動(dòng)性狀態(tài)。

斜玻璃頂隔間在有效解決保溫隔聲的同時(shí)，將一個(gè)輕、透、亮、潔的輕松形式注入空間，連同頂部采光井和南向、東向水平通窗以柱狀和散漫的形式投射的陽(yáng)光，形成光的彌散集合體。借助抹去表情的白色墻體和白色家具的消隱“退場(chǎng)”，讓使用空間的人如同漂浮沐浴在光的容器里，放縱一個(gè)想像、沉思、研討、交流、自由的情境空間。

進(jìn)一步延展經(jīng)營(yíng)這一自由的彈性空間：由東至西，經(jīng)由陽(yáng)臺(tái)改造的休閑空間與主辦公樓連為一體；由北至南，則通達(dá)室外閑適輕松的空間——這里由延綿無(wú)界的3部分組成：輕質(zhì)金屬屋面延續(xù)擴(kuò)充的

項(xiàng)目信息/Credits and Data

主創(chuàng)建筑師/Principal Architect: 楊瑛/YANG Ying

設(shè)計(jì)團(tuán)隊(duì)/Design Team: 賀麗菱，周朝亮，肖藝，李秀峰，廖達(dá)輝，張佳彬/HE Liling, ZHOU Zhaoliang, XIAO Yi, LI Xiufeng, LIAO Dahui, ZHANG Jiabin

建筑面積/Floor Area: 950m2

設(shè)計(jì)時(shí)間/Design Period: 2013

2 原貌/Original state

攝影/Photos: 楊瑛/YANG Ying亭臺(tái)空間；碩大樹冠與一層屋頂構(gòu)成的平臺(tái)空間；懷抱大樟的玻璃茶屋與混凝土孔磚圍合而成的庭臺(tái)空間。3個(gè)“臺(tái)”空間分別置以健身器材、研討交流與休閑桌椅、魚池樹木等，經(jīng)由細(xì)鋼柱、細(xì)鋼纜的概念性定位與木塑板的上下鋪陳串聯(lián)，并通過(guò)漫步游走的懸梯聯(lián)結(jié)，有效調(diào)節(jié)了活力與靜謐的沖突，從容松弛工作的枯燥與焦慮感。

同樣，在這個(gè)受擠壓的環(huán)境中，工作室東西兩向1m高水平連續(xù)帶形窗的設(shè)置，為減少眩光、日曬和外部干擾，安穩(wěn)工作心情，起到了調(diào)適緩和的作用。而南向、西向設(shè)置的豎形落地窗以及立軸景窗，在百葉窗簾的協(xié)同和陽(yáng)光的作用下，納像于借景之中，成像于恍惚之間，如同水墨竹影、神工畫境。除此，混凝土孔磚的斑駁光影、用廢鋼材自制的門前抽雕，玻璃頂上的婆娑樹影、與袖珍庭臺(tái)的流水魚歌，同為心性而筑、向心而生——流而不息、和而不同，與景同構(gòu)，擁樹相生。恰當(dāng)?shù)鼐S系身體體驗(yàn)與精神感受之間的平衡，還揣度與直覺(jué)、研討與頓悟一個(gè)共生的平臺(tái)，為創(chuàng)作提供誘人的持續(xù)動(dòng)力。

香樟四月，換葉無(wú)痕；春華滿院，一地落紅?；纱耗嗄胱鲏m，護(hù)佑人間香更濃。（文：楊瑛）

3 從庭院看入口/Entrance, view from courtyard

Sentiments of Tree

In April 2014, when the ground was covered with red fragrant leaves and the whole courtyard was scented in the gentle spring breeze, Yang Ying Studio moved into its new workshop. From a neighbor to a constituent part, the camphor trees have witnessed 15 years of evolvement of the studio.

The new workshop took its shape from the reconstruction of a garage that is connected to the east end of the main building. the original site has three camphor trees and covers an area of over 500m2in a structure that is higher in the south and lower in the north; on the east side is a row of single-storey garages adjacent to a five-storey residential building. the architectural design of the project responds to the setting as follows: using the trees at individual locations as the situational origins and control points of the site, relieving the sense of pressure and restriction imposed by buildings on the east, west, and north sides, gently fitting the structure into the site, and restoring a leisurely, peaceful shelter for the minds to relax, contemplate, and attain enlightenment.

Right from the start, both design and construction have been following the calls of the instincts and the site context. Taking the camphor tree on the west as the starting point, the structure extends 16m eastwards and 34m northand southwards, while at the same time keeping a safe distance for the construction of surrounding buildings. The existing driveway is preserved and upgraded. The three trees on the south, west, and north are used as location marks of the site, surrounding the studio's workshop and forming the essential boundary of the project.

In the meantime, the north part of the original garage is demolished, in whose place a sunlightaccessible new garage is built by making use of the height disparity and raising the ground floor. The south part is reinforced and transformed into conference rooms and offices. Due to the daylight requirement and the restrictions of lighting and area control on the east side of the residential building, the roof design is based on the height and inclination dictated by the daylight duration and angle of neighboring residential building. The resulting structure is a two-storey building with asymmetrical sloping roofs for natural lighting. Hence the essential form of the building is a natural outcome of active emancipation of the potential charm of the site.

The main entrance is created to form a symbiotic relationship with the camphor tree at the southwest corner, inviting and leading the visitors while embracing the tree and collecting the breeze. An incremental prelude space is first repressed but then gradually expands, to which is annexed a two-storey, self-contained, and multi-functional composite space of echoing void-solid sequences in crisscross ups and downs. A variety of activities and functions find their respective ways into the space, from full-time and part-time work, model making, work display, printing and storage, library work, seminar and research, fitness and entertainment, to contemplation and meditation, all of which get involved in constituting the space and activating its fluent state.

4 主入口前，用做鋼結(jié)構(gòu)屋面剩余的邊角廢料制作的雕塑/ Sculpture at the entrance

5 一地落紅，樟樹落葉時(shí)看工作室二層/Falling leaves of camphor tree covering the ground in red, with the second floor of the studio in the background

6 日落時(shí)分的窗前光影/Light and shadow through the office's window at sunset

the sloping, glass-roofed attic provides effective solutions for thermal and acoustic insulation, while at the same time breathes a light, transparent, bright and clean form into the space. the top light well and the south- and eastwards horizontal window bands cast columnar or diffused beams of sunlight into the building, creating a dispersed aggregation of light. Erased of all expression, white walls and furniture conceal or “withdraw” themselves from the space, leaving the space users floating and immersed in a container of lights. So comes into being a scenario space for unbridled imagination, contemplation, discussion, and communication.

this free and flexible space is further extended and managed in the following design: from east to west, the balcony-turned recreational space is connected with the main office building; from north to south, one has access to the outdoor leisure space, which is composed of three extensive parts: the pavilion-terrace space formed from the expansion of the light metal roof surface; the platform-terrace space created by the grand tree crown and the roof of the ground floor; and the patio-terrace space enclosed by concrete hollow bricks and a glass tea room embracing the great camphor tree. These three terraces are furnished with fitness equipment, tables and chairs for discussion, communication, and recreation, as well as fish pond and plants. In addition, with thin steel columns and wire ropes as a means of conceptual positioning and wooden plastic panels as vertical connection, the terraces, linked with each other via hanging stairs, effectively mediate the conflict between vitality and serenity, and greatly ease the sense of dullness and anxiety of work.

Likewise, the one-meter-high horizontal window bands on the studio’s east and west walls are designed to reduce glare, sunburn, and exterior disturbance, and to pacify people who work in such a compact space. Moreover, the south- and west-oriented French windows and vertical picture windows, together with the Venetian blinds and the working of sunlight, successively frame borrowed views and shape illusive sceneries that resemble exquisite ink-and-wash paintings. Besides, all the elements, be it mottled shadows of concrete hollow bricks, or abstract sculpture made of discarded steel, tree shadows dancing on top of the glass roof, or fishes wandering merrily in the flowing water on the mini terrace, are conceived both out of and for human feelings – they flow ceaselessly, harmonious yet diverse, cohabiting with the surrounding landscape and breathing with the tree. By preserving a subtle balance between physical experiences and spiritual feelings, the design re-establishes a platform for reason and instinct, discourse and epiphany, offering attractive and lasting impetus for creation.

In April the camphor trees change their leaves, covering the ground in red and bringing the spring into the courtyard. Though ground to dusts and merged to soil, fallen leaves embrace the world with ever richer fragrance. (Translated by QIAN Fang)

7 首層平面/Floor 0 plan

評(píng)論

戴春：以植物界定空間邊界并令其成為一種空間同構(gòu)，以周邊環(huán)境限制順勢(shì)而為形成建筑基本輪廓，讓人看到一種積極與環(huán)境對(duì)話的設(shè)計(jì)姿態(tài)。設(shè)置“樓中樓”多用途復(fù)合空間，并將一系列功能空間并置呈現(xiàn)了一個(gè)小型設(shè)計(jì)工作室的基本工作狀態(tài)，一種觸手可及的功能空間設(shè)置方式讓工作團(tuán)隊(duì)容易互動(dòng)并提高工作效率。

Comments

DAI Chun: Natural plants, which are used to demarcate the space, also become a part of the space, and the surrounding environment is utilized to form the basic outline of the building, which impresses people with a design attitude actively interacting with the environment. A "double-deck" structure is built to provide a multi-purpose complex space, and a series of functional spaces are juxtaposed, presenting the basic operation of a small design studio. A design method, which brings the functional spaces close enough for easy use, not only facilitates the communication between team members but also improves their efficiency.

張昕楠：楊瑛工作室的設(shè)計(jì)表達(dá)著東方之于自然的態(tài)度，“樹”與“間”成為了解讀設(shè)計(jì)的關(guān)鍵詞。在場(chǎng)地中，空間依3棵香樟纏繞展開，圍繞、依靠、親近的設(shè)計(jì)操作將自然樹木與人工造物融為一體；藉此，枯/榮、變換的圖景，葉/花、時(shí)節(jié)的味道，風(fēng)/雨、自然的聲響，得以成為空間中交響的環(huán)境，使人之于自然的形、聲、聞三感獲得滿足。

ZHANG Xinnan: The design of Yang Ying studio expressed the Eastern attitude towards nature, with "tree" and "inter-space" being the key to understanding and interpreting the design. On site, the spaces surrounded and grew from three camphor trees; the operation strategy of surrounding, bending and approaching combined natural trees with artificial constructions. Hence, the changing prospect of withering and blooming, the seasoning fragrance of leaves and pedals, the genuine sounds of wind and raindrops have created a symphonic environment in space, offering a complete experience of nature through the three human senses towards image, sound and breath.

Yang Ying Studio, Changsha, China, 2014

Architects: Yang Ying Studio, Center for Design and Research, Hunan Architectural Design Institute

8 從外廊看屋頂露臺(tái)/View from the verandah

9 屋頂露臺(tái)/Roof terrace

10.11 內(nèi)景/Interior views

12 剖面/Section