瑞弗吉·雷普格斯度假屋，弗利姆斯，瑞士

建筑設(shè)計(jì)：格奧爾·尼克遜及塞琳娜·瓦爾德Architects: Georg Nickisch and Selina Walder

1 外景/Exterior views

塞琳娜·瓦爾德與格奧爾·尼克遜的建筑作品專注于基本，恰當(dāng)而明晰的材料。他們在瓦倫達(dá)斯進(jìn)行了多項(xiàng)改造工程，曾把早前的校舍改建成為當(dāng)?shù)氐牟┪镳^，為塑造弗利姆斯村莊的核心區(qū)貢獻(xiàn)了力量。

瑞弗吉·雷普格斯度假屋和過去用于農(nóng)民庇護(hù)所的木結(jié)構(gòu)棚屋所處一地，棚屋前面有一條通向弗利姆斯森林的小路，路旁有一棵被啄木鳥刻蝕的空心樹，與對面的馬廄一起，形成了進(jìn)入森林的大門。兩幢建筑物——木棚屋和馬廄——都被廢棄了，日見衰落。原先可居住的部分大都已經(jīng)被改造，并被新的構(gòu)筑物取而代之，但這個地方的特點(diǎn)必須被保留下來。

現(xiàn)在，新的棚屋像廢棄建筑物的化石一般，矗立在原先的地方。舊木屋尚且完整的木材被用作模板，墻壁用大量絕緣混凝土澆鑄，而粗糲的表面——大自然很快便會將人造物再次征服。

房子的建筑形式?jīng)Q定了上層空間——壁爐位于背墻；餐廳位于窗口旁，將森林的景致一覽無余；一個小廚房；坐在有加熱功能的混凝土長凳上，透過屋頂圓形的洞口可以看到大山毛櫸樹的樹冠。一條蜿蜒的樓梯通向地下，在一片寂靜中，有人正酣睡著。一塊巨大的巖石占據(jù)著這個空間，黃昏的光線落在了巖石和房屋之間的空隙中。窗前的浴缸與加熱的混凝土底座融為一體。一扇門通向外面的世界。

建筑師對舊棚屋的改建最終使既有建筑物完全消失。唯有關(guān)于舊有木材的記憶得以保留。結(jié)果便似一頂既當(dāng)代又原始的帽子，成為度假屋現(xiàn)代生活的必需品。（天妮 譯）

2 外景/Exterior views

3 總平面/Site plan

Selina Walder and Georg Nickisch focus in their work on an architecture, which is essential, direct and clearly materialised. They worked a lot of renovations as in Valendas where they contributed to the core of the village with a remodelling of the former school building to a local museum.

The Refuge Lieptgas stands where in the past a wooden structure served as a shelter for the farming people. In front of the hut a small path leads into the forest of Flims, next to it the sculpture of a hollowed dead woodpecker tree. Opposite there is a stable;together they are forming a kind of a gate into the forest. Both buildings – cabin and stable – were abandoned, about to decline. The formerly inhabited part of the ensemble could have been converted and replaced by a new construction. The character of the place had to be preserved.

The new hut now stands as a petrification of the abandoned structure in exactly the same place. The timber log construction of the old cabin was used as the formwork; the walls were cast massively in insulating concrete. The surface is rough – nature will soon re-conquer the artefact.

The archetypal form of the house defines the space of the upper floor. A fire place in the back wall,an eating area at a window with view into a clearing of the woods, a small kitchen, a heated concrete bench from which one looks through a round roof light into the crown of a big beech tree. A sinuous staircase leads to the underground. Here in silence one sleeps.A big rock dominates the space, crepuscular light falls throughout the gap between rock and house. In front of the window a bathtub incorporated in a big heated concrete plinth. A door leads outside.

Their remodelling of the old barn ended up in a complete disappearance of the existing building. Only the memory of the existence of the former wooden logs is preserved. The result is a contemporary primitive hat for an essential modern living in a holiday house.

項(xiàng)目信息/Credits and Data

客戶/Client: Guido Casty

結(jié)構(gòu)工程/Structural Engineer: Reto Walder

攝影/Photos: Gaudenz Danuser (fig. 1,4-8,10,15), Daniel Walser(fig. 2)

4 巖石和房屋之間的空隙/The gap between rock and house

6 保溫混凝土澆筑的墻壁/The walls were cast in insulating concrete

6 保溫混凝土澆筑的墻壁/The walls were cast in insulating concrete

7 保溫混凝土澆筑的墻壁/The walls were cast in insulating concrete

5-8 保溫混凝土澆筑的墻壁/The walls were cast in insulating concrete

9 完整的傳統(tǒng)圓木結(jié)構(gòu)被用作模板/The timber log construction of the old cabin was used as the formwork

10 屋頂?shù)膱A形天光/A round roof light

評論

朱淵：從木結(jié)構(gòu)的棚屋遺跡到混凝土度假小屋的新生，建筑利用傳統(tǒng)圓木結(jié)構(gòu)為模板，以形態(tài)和紋理在不同層面混凝土的塑形，讓原始信息依稀顯現(xiàn)。場所記憶通過一種凝固的現(xiàn)代建造，在材料的轉(zhuǎn)譯中重新呈現(xiàn)。不同材料在時(shí)間維度的“圖底”轉(zhuǎn)換與信息傳遞，成為混凝土材質(zhì)刻畫琢磨的重要基礎(chǔ)。從外界面對自然山體呼應(yīng)下粗糙肌理的延續(xù)，到室內(nèi)對近人感知回應(yīng)的平滑處理，室外寒冷與室內(nèi)溫暖之間的對應(yīng)性反差更加鮮明。材料的負(fù)形轉(zhuǎn)換，使人們在作為支撐結(jié)構(gòu)的混凝土厚度中，同時(shí)感受由內(nèi)而外逐漸轉(zhuǎn)變的空間意圖。不同程度“粗野”的表述，讓混凝土在表現(xiàn)其結(jié)構(gòu)屬性的同時(shí)，成為與自然對話的重要媒介，并由此呈現(xiàn)過去和當(dāng)下各種生命信息之于空間的再現(xiàn)。由此，結(jié)構(gòu)記憶在材料上的圖底再現(xiàn)，及材料內(nèi)外感知的同體呈現(xiàn)，成為小屋重要的識別特色。

Comments

ZHU Yuan: From the wooden structure of the remains of the shack to the new life of the concrete holiday cottage, this architecture uses the traditional log structure as a formwork, and with the creation of form and texture in different levels of the concrete, makes the original information vaguely appear. The memory of place is represented in the translation of materials through a solidified contemporary construction. The"figure-ground" conversion and information transfer of different materials in the time dimension became an important basis for the characterization of concrete materials. From the extension of rough texture of the natural mountain outside, to the smooth treatment of intimacy perception response inside, the corresponding contrast between the cold outdoor and the warm indoor is more distinctive. The negative transformation of material makes people feel the spatial intention of gradually changing from inside to outside in the thickness of concrete as the supporting structure. Different degrees of "crude" expression makes concrete an important medium for dialogue with nature at the same time showing its structural properties, and thus present the reproduction in space of different life information in the past and present. Therefore, the figure-ground reproduction of structural memory on material, as well as the representation of the material inside and outside,became important and distinguishing features of the cottage. (Translated by CHEN Yuxiao)

11.12 剖面/Sections

13 首層平面/Ground floor plan

14 二層平面/1st floor plan

胡恒：這種現(xiàn)澆混凝土塊的“度假屋”已經(jīng)很常見了。設(shè)計(jì)要點(diǎn)就是那個殼子。一般是在3個方面做文章。其一，外表皮。設(shè)計(jì)者聰明地利用了原木屋的墻做現(xiàn)澆模板，一舉數(shù)得。其二是開窗，也即如何用窗洞截取盡可能多的美好風(fēng)景進(jìn)入室內(nèi)。這個也做得不錯。最后一項(xiàng)是內(nèi)表皮。通常的做法是利用這個建筑的墻（包括屋頂）的厚度做出局部的凹洞，放些書、器物什么的。這既可以實(shí)現(xiàn)業(yè)主的特定功能需求，又能讓室內(nèi)氣氛活動起來。設(shè)計(jì)者顯然沒在這上面動腦筋，除了火爐那塊做了凹槽之外，其他內(nèi)墻都保持著平整，一幅心如古井的禁欲派頭（在我看來難以忍受）。不過這種古墓派生活或許就是業(yè)主追求的。

HU Heng: Cast-in-situ concrete holiday homes like this are quite common. The design consideration in this project is the housing which is usually employed in three parts. Firstly, the exterior facade:the designer used the original wall of the chalet well as a cast-in-situ concrete formwork, serving multiple purposes. Secondly, the windows: how to use the window opening as much as possible for beautiful views (which the designer has done a wonderful job of already). Finally, the interior facade:the thickness of the walls (rooftops included) is, often used to create alcoves for books, utensils, or the like. This does not merely meet the owner's requirement for special functions, but also enlivens the indoor atmosphere. Yet, it seems that the architect did not take full advantage of this: apart from the fireplace where a recess has been made, the rest of interior walls remain flat. This creates a perception of abstinence, offering peace of mind. This kind of design could be exactly what the owner desired.(Translated by Dandan Wang)