垂直玻璃宅，上海，中國

張永和/ Yung Ho Chang

垂直玻璃宅，上海，中國

張永和/ Yung Ho Chang

The Vertical Glass House, Shanghai, China, 2013

1 平面：顯示誤讀 ——下層桌邊的凳子圍繞著上層的床，剖面/Plan: display misreading - the stool on side of the table in the bottom surrounds the upper bed, section

2 上層平面：有床，顯示誤讀——下層桌是上層床的陰影；下層平面：有桌椅，下層軸測/Upper plan: a bed, showing misreading - the lower table is the shadow of the upper bed;Lower plan: table and chair, isometric drawing of the lower floor

3 軸測，剖面：描述人的生活場景/Isometric and sectional drawing: describe life scenes

4（左）水平玻璃宅與聯(lián)排垂直玻璃宅的軸測：比較水平透明性與垂直透明性，（中）剖面：描述人體-家具-透明樓板之間的關(guān)系，（右）平面，剖面，軸測：顯示上下層家具的關(guān)系和視覺重疊/(left) Isometric drawing of the horizontal glass house and the vertical glass town house: comparison of the horizontal transparency and vertical transparency, (middle)section: description of relationship between the human body -furniture - transparent foor, (right) plan, section, isometric drawing: show the relationship between furniture on the upper and lower foor and its visual overlap

在1991年，我總想把繪畫作為探索設(shè)計的途徑，而不僅僅是再現(xiàn)設(shè)計想法的工具；但我并不知道如何去做，于是在設(shè)計垂直玻璃宅時試驗了不同的繪畫方式。為了不背離建筑的精神，我做的第一個決定是不徒手畫，而是從一開始就用器具制圖。就繪畫媒介而言，早期概念草圖是用水彩、鉛筆、墨線畫的，去琢磨質(zhì)感、光線、氣氛；中期在透明膠片上畫墨線研究玻璃樓板之間的關(guān)系；最終用傳統(tǒng)的水彩渲染完成一套圖紙，追求盡可能詳盡和精確地描述物質(zhì)細節(jié)，包括光線的變化。為了想象垂直玻璃宅內(nèi)生活方式精神的一面，我在一些草圖中畫了姿態(tài)儀式化的裸體人形。攝影師田方方的照片正是在和那幾張圖進行對話。□

Back in 1991, I always wanted to use painting as a way to explore design, not just a tool for represent design ideas; but I did not know how to do it. So I experimented with diferent painting styles when designing the Vertical Glass House. In order not to deviate from the spirit of architecture, the frst decision I made was not to begin with freehand drawing but instead, drawing with tools. In terms of painting medium, the early concept sketch is painted with watercolours, pencils and ink lines, trying to figure out the texture, light, and atmosphere. In the middle stage, the relationship between the glass floors is studied on the transparent film. The final result is presented by a set of traditional watercolour renderings, in pursuit of the detailed and accurate description of materials, including changes in light. In order to imagine the spiritual side of living in the vertical glass house, I painted ritualised nude fgures in some sketches. Photos taken by TIAN Fangfang are the result of a conversation with those drawings. □ (Translated by QI Yiyi)

當(dāng)混凝土保護層厚度達不到標(biāo)準(zhǔn)或澆筑質(zhì)量較差時，鋼筋會發(fā)生銹蝕，主要是由于其保護層受二氧化碳侵蝕，大大降低了鋼筋堿度，鐵離子與水分與氧氣產(chǎn)生化學(xué)反應(yīng)，使混凝土出現(xiàn)膨脹應(yīng)力，同時銹跡滲透到混凝土表面。此外，因銹蝕問題致使鋼筋有效面積減少，混凝土與鋼筋之間的融合力降低，結(jié)構(gòu)承載力出現(xiàn)較大程度的下降，會加劇混凝土鋼筋銹蝕，使結(jié)構(gòu)遭到破壞。

項目信息/Credits and Data

主持建筑師/Principal Architect: 張永和/Yung Ho Chang

項目團隊/Design Team: 李相廷，蔡峰，劉小娣/LI Xiangting,CAI Feng, LIU Xiaodi

項目負(fù)責(zé)人/Project Architect: 白璐/BAI Lu

施工圖合作/Construction Drawings Collaborator：同濟大學(xué)建筑設(shè)計研究院/Tongji Architectural Design(Group) Co., Ltd.

補償來源：逐步厘清水電資源不均衡應(yīng)征收的補貼問題，讓所有機組可以在市場上公平競爭，而不是通過各種計劃分配平衡各機組之間的收益。最終備用成本均由用戶承擔(dān)。

教學(xué)做一體化的特點是“做中學(xué)、做中教”，雙向教學(xué)，這種模式非常適合高職學(xué)生的特點，即喜歡實踐操作，對單純的理論講授比較抵觸。

建筑面積/Floor Area: 170 m2

攝影/Photos: 田方方/TIAN Fangfang

5 獨立垂直玻璃宅：四層平面：（從右至左）地窖，有熱水器；首層，有大門、衣櫥、便器和浴缸；中層，有灶臺、冰箱、桌椅；頂層，起居（制圖要點：設(shè)備，管道，家具）/Vertical glass house: fourth foor plan: (from right to left)cellar, with water heater; frst foor, with doors, wardrobe, toilet and bathtub; middle foor, with stove, refrigerator, tables and chairs; top foor, living room( Drawing points: equipment, pipes,furniture)

6 獨立垂直玻璃宅：（左）一點透視：內(nèi)部空間從下往上看，（中）仰視平面，（右）俯視平面/Vertical glass house:(left) one-point perspective: looking from the bottom, (middle)looking up plan, (right) overlooking plan

7 獨立垂直玻璃宅：（左）日剖面，（中）左日右夜立面，（右）夜剖面/Vertical glass house: (left) day section, (middle)left: day elevation right: night elevation, (right) night section

8 垂直玻璃宅外景/Exterior view, vertical glass house

9-11 垂直玻璃宅內(nèi)景/Interior views, vertical glass house