恒河真木紡織工作室，北阿坎德邦，印度

建筑設計：比喬伊·杰恩/孟買工作室

1 外景/Exterior view

2.3 模型/Models

恒河真木紡織工作室是位于印度里什克什附近的博格普爾的一座居住工作綜合體。這個綜合體為50人的工作坊提供了工作空間，這些工人包括來自全國各地的織布工、染色工、裁縫、設計師、農民、手工業(yè)者和看護人員。

與太陽和月亮的循環(huán)相協(xié)調，它被視為一個循環(huán)的、自給自足的農業(yè)系統(tǒng)，集成了紡織過程的所有方面。從種植靛藍和其他天然染料植物，到從蠶繭上收集蠶絲，從羊毛紡線到紡織布料。基于流經土地的水流及該場地以前被耕種過的歷史，設計結合了景觀中小徑、梯田、水道和芒果樹林的現(xiàn)有痕跡。基礎中所使用的幾乎所有的建筑材料——包括磚石、石灰和磷光河石，都取自于工作室的2km半徑之內。

占據(jù)場地中心的五邊形建筑是工作室本身，它為工作和聚會圍合出了一個庭院。內部庭院受到周圍建筑的保護與包容，是項目的核心；它以樹木和水箱為特色；水箱的位置為了滿月的倒影而設置，是空間的原點。

院子代表了所有居民之間的聯(lián)系點。在這里，你可以聽到織布工的梭子、鳥兒和微風的聲音；這是對話進行的地方，還有慶?；顒?、神圣儀式以及紡織過程的各種活動。它是人、動物和大自然連接地面和天空的地方。

該工作室的作業(yè)方式包含了紡織生產從開始到最終成品的每個階段，經過了一個完全自然的過程。因此，工作步驟起始于工作室種植棉花、天然染料等原材料的農田。封閉的生產空間容納了大多數(shù)工作內容，如紗線生產、經紗、織造、裁剪和修尾工作等。這里制造各種布料和紡織產品，包括絲綢、羊毛、棉、亞麻制品等；還有用來制備各種天然染料的設施，包括一個神圣的房間來制備靛藍。

紡織品成品被陳列在明亮的展廊里，配合太陽和月亮的不同光線。配套設施包括用于行政、會計工作的一間辦公室，職工、客人使用的多處用餐設施，主人、客人的住所。

這里還有一個牛棚和飼養(yǎng)動物的地方。□（陳雨瀟 譯）

Ganga Maki Textile Studio is a live-work complex in Bhogpur near Rishikesh, India. The complex provides working space for a studio of 50 people,including weavers, dyers, tailors, designers, farmers,hand workers, care-takers from all over the country.

Tuned to the cycle of the sun and the moon, it is conceived as a cyclical, self-suffcient farm system that integrates all aspects of the weaving process. From the cultivation of indigo and other natural dyes, to gathering silk from cocoons and spinning of wool to making textile. Based on the flow of water through the land, the site had been previously cultivated, the design works with the landscape's existing traces of pathways,terraces, water channels and mango groves. Nearly all construction materials - including the brick, lime, and phosphorescent river stones used in the foundation come from within a 2km radius of the studio.

The five-sided building placed at the centre of the site is the workshop itself, which frames a courtyard for work and gatherings. Protected and contained by the architecture surrounding it,the interior courtyard is the heart of the project;It features trees and a water tank; positioned to anticipate the re fl ection of the full moon, the tank is the point of origin of the space.

The courtyard represents the point of connection between all the inhabitants. Here, one can hear the sounds of the weaver's shuttles, the birds and the breeze; this is where dialogue takes place, along with celebrations, sacred rituals and various activities of the textile making process. It is a place for people,animals and nature connecting ground and sky.

The programme of the workshop comprises every phase of textile making from beginning to the finished product, through a wholly natural process.Thus the initial step originates in farm lands, where the studio cultivates raw material like cotton, natural dyes, etc. The enclosed workshop space houses most of the activities like making of yarn, warp, weaving,tailoring andfinishing, etc. This is where all kinds of textiles and textile products are made, including those made of silk, wool, cotton, linen, etc. There is also a facility to prepare various natural dyes, including a sacred room to prepare indigo.

The finished textiles are displayed in the luminous gallery, calibrated to the light of the sun and the moon. Supporting facilities include an offce for administration and accounts work, multiple dining facilities for staff and guests, as well as residences for the owners and guests.

There is also a cow shelter and a place for animals.□

項目信息/Credits and Data

地點/Location : Bhogpur Village, near Dehradun, Uttarakhand,India

主要客戶/Main Client: Chiaki Maki（日本紡織設計師/The textile designer from Japan ）

客戶合伙人/Client Partners: Parva Tanaka, Rakesh Singh

石灰和石匠工作的工匠師傅/Master Craftsman, Lime and Stone Works: Ruedi Krebs

承建方，石匠工作/Contractor, Stone Works: Rameshwar Bhadhwa

結構顧問/Structural Consultant: Batiserf Ingenierie （展廊屋頂/Gallery Roof）, Dwijen Bhatt （鋼結構/Steel works）砌體工作，竹工和石灰工作/Masonry Works, Bamboo Works, and Lime Works: Sariful Islam & Team

砌體工作和景觀設計/Masonry Works and Landscape: Anil Singh & Team

木工工作/Carpentry Works: Rajesh Vishwakarma & Team

翻開迪慶工行的史冊，幾十年間發(fā)生的變化都歷歷在目，它見證了改革開放以來工行發(fā)展的艱辛歷程，這是一段值得銘記的歷史。

鋼架工作和制造/Steel Works and Fabrication: Amjad Ali

水管工/Plumbing Works: Sunil Kumar

電工/Electrical Works: Mohammad Hafij Mansur & Team

駐場建筑師/Site Architects: Srijaya Anumolu, Karthik Balla,Krish Chetan, Faiza Khan, Suril Patel (Studio Mumbai)

甲方代表/Client Representatives: Uttam Kumar, Ashok Kumar （出納，材料采購，現(xiàn)場監(jiān)督/Accounts, material procurement, site supervision）

場地協(xié)調員/Site Co-ordinator: Biri Sodhi

場地面積/Site Area: 13,355m2

建筑面積/Floor Area: 1737m2

攝影/Photos: Studio Mumbai Architects (fig.2-4,8,12,13),Srijaya Anumolu (fig.1,14-16)

4 模型/Model

5.6 草圖/Sketches

7 總平面/Site plan

8 外景/Exterior view

9 手工蝕版畫：立面/Hand etchings: elevation

10.11 剖面/Sections

12-14 外景/Exterior views

15 內景/Interior view

16 外景/Exterior view

評論

莊慎：像孟買工作室的其他實踐工作一樣，這個織物工作營地正可以用來證明“現(xiàn)代是一種組織的方式”，而對此的意義，我們以往的理解顯然還不夠透徹。設計中，使用的需求、氣候的回應、設計與建造的融合、當?shù)氐牟牧吓c質地、手工藝、鄉(xiāng)村文化精神、教徒似的空間、虔誠的氣質，被用現(xiàn)代的方式，新的意志嫻熟地組織在一起，建造出新的建筑的同時也塑造出新的價值。

Comments

ZHUANG Shen:Like other works of Studio Mumbai Architects, the Ganga Maki Textile Studio could also prove that: To be modern means a way of organising,to which we obviously did not have a deep enough understanding in the past. In this project, the use,the response to the climate, the integration of design and construction, the understanding to local material and texture, the crafts, the rural culture and spirit,the religious-like atmosphere, the pious temperament are all maturely organised together by the modern manner and new will. New architecture is created, as well as new values.

王亦知：恒河真木紡織工作室營造了一個印度本土化的“世外桃源”：本地文化、本地材料、本地工藝，內向的建筑空間，營造出獨立的小世界，自然、人、動物和諧共處，進行著傳統(tǒng)的手工活動。與之對照的是日本的業(yè)主和美國畢業(yè)的建筑師，相信這一項目是在完全國際化的語境下完成的。只有國際化的視野，才最能提煉出本土的特質。而桃花源的理想，恰恰在“不復得路”的情景下才顯得珍貴。

WANG Yizhi:The "Shangari-la" of Indian characteristics is created in Ganga Maki Textile Studio: local culture, local materials, local crafts, introverted architectural space, an independent small world showing the harmony among nature, people, and animals, with traditional handcraft work going on. Given the fact that the owner is a Japanese and that the architect was educated in the US, the project must befinished in a completely international context,because only an international perspective can extract the most local characteristics. And the ideal of "Shangari-la"is especially precious when it is in the circumstances of"there is no way out". (Translated by QIAN Fang)