楚迪之家，作爾茲，瑞士

建筑設(shè)計(jì)：梅恩·杜里·阿爾昆特

Architect: Men Duri Arquint

1 外景/Exterior views

建筑師梅恩·杜里·阿爾昆特關(guān)注的是有文化關(guān)聯(lián)的建筑。他認(rèn)為建筑師的職業(yè)是以場地的文化、建筑類型、可用的建筑材料和當(dāng)下的技術(shù)為基礎(chǔ)的。他的建筑不只關(guān)注視覺表面或形象。他是關(guān)注空間和明確文化關(guān)聯(lián)的建筑師。所以，阿爾昆特將建筑視為一種整合的手段，使各個(gè)方面融入一個(gè)清晰的形式之中，并從室內(nèi)空間、施工過程或城市規(guī)劃中確定最終的建筑。一切都需要從建筑結(jié)構(gòu)和高質(zhì)量的建筑材料中得到精確的解決方案，并通過工藝加以提升。建筑可以借鑒前人的經(jīng)驗(yàn)、施工方式、材料用法和建造方案。這種經(jīng)驗(yàn)與今天營造空間的多重可能性構(gòu)成了當(dāng)代的空間。

楚迪之家位于作爾茲市面向大山的居住區(qū)上部。這座混凝土建筑在南側(cè)是敞開的。它是為畫廊的一對(duì)夫婦和一位客人建造的，里面還有奇異爬行動(dòng)物的飼養(yǎng)箱、汽車和藝術(shù)品倉庫的空間，以及主人的個(gè)人收藏品。建筑的外觀在形式上參照了其所在的恩加丁山谷的傳統(tǒng)建筑。

這座有5個(gè)門的建筑分為兩個(gè)部分，朝向山坡的是服務(wù)區(qū)。三角形的部分保護(hù)建筑免受雪崩，因此建筑采用了堅(jiān)固的雙層混凝土做法，這里所有的地板都是水磨石制成的。住宅朝向南的部分是建筑所有的生活空間。在這兩個(gè)部分中間是帶有電梯、建筑設(shè)備和煙囪的設(shè)備層。起居室是建筑的中心，它跨過了整個(gè)上層樓面。在這里，雙層高的空間從中間被插入的客房分開。窗戶、百葉窗和門扇等細(xì)木作使用的是暗色橡木。它們是各個(gè)房間的連接要素。所有的黑色部位都采用暗色橡木。內(nèi)部的房間組織為一個(gè)室內(nèi)空間序列，并構(gòu)成了一種空間內(nèi)部雕塑。建筑就是一種內(nèi)部雕塑，呼應(yīng)著歷史和當(dāng)代生活。（尚晉 譯）

2 外景/Exterior views

3 總平面/Site plan

The architect Men Duri Arquint is interested in architecture with cultural relations. He sees the profession of an architect based in the culture of the site, typologies, available building materials and the technologies of today. His architecture is not just interested in a visual surface or image. He is an architect interested in space and clear cultural relations. Therefore Arquint sees architecture as a combining tool to bring various aspects into a clear form to define the final building out of interior, construction or urban planning.Everything needs to come to a precise solution out of one building structure, high quality building materials and improved through handcraft. Architecture can profit from the knowledge of previous generations, their constructions, use of materials and building solutions.That knowledge combined with the spatial possibilities of today form contemporary spaces.

The house Tschudi in Zuoz is situated in Zuoz at the upper part of the settlement towards the mountain. The building is exposed to the southern side and constructed in concrete. It is built for a galerist couple, one guest, and gives space for terrariums with exotic reptiles, cars, art storage and hosts the personal collection of the owners. The outside of the building refers in its typology to the classical buildings in the Engadin Valley where the house is situated.

The building has five floors. It is organised in two parts: a serving part towards the hillside of the mountain. The triangle shape protects the house from the danger of avalanches. Therefore the construction of the building is solid with a double layer of concrete. Here all floors are made in terrazzo. Towards the south the house hosts all living spaces of the building. In between the two parts one finds a service layer with an elevator,building technologies, and chimneys. The living room spans over the whole floor in the upper part and is the centre of the house. Here the double height of the space is divided in the middle by the insertion of the guest room. The carpentry work as windows, venetian blinds and doors are done in dark oak. They serve as in a connecting element for all the different rooms. All black parts are in a dark oak. The inner rooms are organised as an inner spatial sequence and form a spatial inner sculpture. A house is an inner sculpture and refers to history and to contemporary living.

4 首層平面/Ground floor plan

5 地下一層平面/Floor B1 plan

6 停車場/Parking level B2 plan

7 二層平面/1st floor plan

8 三層平面/2nd floor plan

9 縱剖面/Longitudinal section

10-11 內(nèi)景/Interior views

評(píng)論

郭廖輝：一如每一個(gè)清晰的住宅平面，“家形”的平面被劃分成服務(wù)和被服務(wù)兩個(gè)部分。相對(duì)于平面方正的起居室、臥室，服務(wù)區(qū)域組織了樓梯、通高和鈍角，使空間呈現(xiàn)出被雕刻的幾何性。平面與材料則嚴(yán)格對(duì)應(yīng)。白墻和混凝土墻的應(yīng)用為收藏家的藝術(shù)品提供了美術(shù)館質(zhì)量的展示空間。橡木地板、地毯與白墻的組合又提示了居住性。服務(wù)區(qū)域通體混凝土和水磨石，與外層混凝土墻形成了“三明治”結(jié)構(gòu)，而內(nèi)層的材料意義大于結(jié)構(gòu)，旨在空間感受上的區(qū)別。主臥室架在起居空間上空，消解了坡屋頂，將起居室分為天窗伸向屋脊兩邊的兩個(gè)空間，這幾乎是5層的房子剖面上的唯一空間操作。均勻的混凝土立面上模版分縫形成了一個(gè)網(wǎng)格，打破網(wǎng)格的開洞，平面構(gòu)成般的欄桿都顯出了立面的當(dāng)代性。整個(gè)建筑對(duì)色彩的克制在日落之后被紫色霓虹燈字釋放了出來。張?jiān)纾喝缃裨谌鹗?，一座混凝土立面的住宅意味著完全的?nèi)保溫構(gòu)造。連接混凝土墻體和樓板的抗剪銷釘技術(shù)可以在這兩種結(jié)構(gòu)構(gòu)件間制造間隙，允許保溫層穿過，從而避免可能出現(xiàn)的冷橋。今天，這種技術(shù)使混凝土墻體可以作為外殼出現(xiàn)在瑞士寒冷的山區(qū)。這座住宅靠南的部分便是這樣處理的。在北側(cè)，服務(wù)核嵌套在外立面的殼子里，保溫則在兩個(gè)殼子之間出現(xiàn)。這樣的結(jié)構(gòu)與表皮制造了具有現(xiàn)代美術(shù)館氣息的水泥盒子。這個(gè)盒子里，下埋的車庫和入口區(qū)、在北側(cè)侵向山體的折線以及頂部坡頂下的空間規(guī)劃強(qiáng)化了住宅流線的戲劇性。這一切現(xiàn)代手法都被覆蓋在了瑞士山區(qū)木屋式的坡頂之下，盡管高反光的屋頂、過于夸張的排水管和混凝土盒子消解的正面弱化了類型的力量，它仍是一座山面臨街、屋脊垂直于等高線的房子。

項(xiàng)目信息/Credits and Data

客戶/Client: Elsbeth Bisig and Ruedi Tschudi

結(jié)構(gòu)工程師/Structural Engineer: Jon Andrea K?nz

建造周期/Building Year: 2010-2012

攝影/Photos: Men Duri Arquint (fig.1), Ralph Feiner (fig.2,10-16)

12 內(nèi)景/Interior views

13 內(nèi)景/Interior views

14 藏書室/Library

15.16 位于三層的客房將位于二層的客廳與餐廳分隔開來/Living and dining area in the first floor divided by the guest room in the 2nd floor

ZHANG Zao: Nowadays in Switzerland, a house with concrete facade means a complete internal insulation structure. The shear pin technique connecting the concrete walls and floors can create gaps between the two structural components, allowing the insulation layer to pass through, so as to avoid possible cold bridges. Today, this technique makes it possible for concrete walls to be used as shells in the cold mountain areas of Switzerland. The south part of this house is treated like this. On the north side, the function core is embedded in the shell of exterior facade, and insulation appears between the two shells. This structure – skin system creates a concrete box with the feeling of Museum of Contemporary Art. In this box, the buriedin garage and entrance area, the fold line that leans to the mountains on the north, and the space planning under the slope roof, enhanced the drama in the residential route. All these modern techniques are covered underneath the Swiss Chalet style slope roof. Although the highly reflective roof, the exaggerated drainage pipe and the front of a resolved concrete box have weakened the power of the style, it is still a house with its gable facing the street and its ridge vertical to the isohypse line. (Translated by CHEN Yuxiao)

Comments

GUO Liaohui: Just as every clear housing plan, the "home" plan is divided into two parts – service and be served. Compared with the rectangular plan of the living room and the bedroom, the service area organized stairs,voids and obtuse angles, and revealed the carved geometry of space. The plan is strictly corresponding to the material. The application of white and concrete walls provides an exhibition space with the quality of art galleries for the collector's artworks. The combination of oak floors, carpets and white walls suggests the state of living. The service area is made of concrete and terrazzo allover, forming a "sandwich" structure with the outer concrete wall. The meaning of material of the inner layer is greater than the structure, aiming at the difference of spatial perception. The main bedroom is built over the living space, which eliminates the pitched roof and divides the living room into two spaces – from the skylights extending to both sides of the ridge – which is almost the only spatial operation on the section of this five story house. The formwork jointings on the even concrete facade form a grid. The openings that break the grid and the railings that look like planar formation, all showed the modernity of the facade. The restraint on color in this whole building was released by the purple neon light after the sunset. (Translated by CHEN Yuxiao)