泰爾磚屋 美國芝加哥市埃文斯頓

建筑設(shè)計(jì)：布魯克斯+斯卡帕建筑師事務(wù)所

設(shè)計(jì)團(tuán)隊(duì)：Matt Barnett,Fui Srivikorn,Jeff Huber,Angela Brooks,Jonathan Heckert,Arty Vartanyan,Eleftheria Stavridi,Chinh Nhan Nguyen,Cesar Delgado

總承包：Dwell 工作室

結(jié)構(gòu)工程：Louis Shell 結(jié)構(gòu)公司

景觀/照明設(shè)計(jì)：布魯克斯+斯卡帕建筑師事務(wù)所

土木工程/電氣照明工程：Dwell 工作室

面積：260 平方米

攝影：Marty Peters

Architects: Brooks+Scarpa,Studio Dwell Architects

Design Team: Matt Barnett,Fui Srivikorn,Jeff Huber,Angela Brooks,Jonathan Heckert,Arty Vartanyan,Eleftheria Stavridi,Chinh Nhan Nguyen,Cesar Delgado General Contractor: Studio Dwell

Landscape/Lighting Design: Brooks+Scarpa

Structural Engineering: Louis Shell Structures

Civil Engineering: Studio Dwell

Electrical And Lighting Engineering: Studio Dwell

Area: 2 800 ft2

Photographs: Marty Peters

位于芝加哥郊區(qū)西北大學(xué)校園內(nèi)的幾個(gè)街區(qū)內(nèi)，這個(gè)大小適宜的庭院式房屋幾乎完全被磚包裹。就像大家知道的那樣，芝加哥“普通”磚之所以被選中是因?yàn)樗麄兛雌饋砼c典型的紅磚不同——這是當(dāng)?shù)孛苄惩恋牡刭|(zhì)成分和燒制方式的結(jié)果。它的多樣性和不規(guī)則性讓“普通”磚頓失吸引力，便宜的價(jià)格和豐富的來源——一種平凡的建筑材料被用在遠(yuǎn)離街道的地方，比如說側(cè)墻和后側(cè)的墻，煙囪煙道和立面后面的結(jié)構(gòu)支撐。

相反，磚的使用在泰爾住宅中是高度可見的，并被用作是一個(gè)突出的設(shè)計(jì)元素。臨街的立面由垂直扭曲的柱子組織而成，營造了一個(gè)隨著光線穿過立面時(shí)不斷變化的開閉圖案。當(dāng)參觀者經(jīng)過這棟房屋的時(shí)候，它的立面創(chuàng)造出一種像是波紋絲綢的圖案，看起來像是處在不斷的運(yùn)動(dòng)中。根據(jù)一個(gè)人的位置，這多孔的庭院可以表現(xiàn)的開放和歡迎，也可以讓人感覺封閉和私密。這使得無眩光的日光可以穿透它們背后的拋光表面進(jìn)入到建筑當(dāng)中，并且在夜晚開著燈的時(shí)候從內(nèi)部產(chǎn)生光亮。光線穿過磚墻滲透進(jìn)來，在墻、房間的地板、交通區(qū)域和臨近的結(jié)構(gòu)上產(chǎn)生了不斷變化的光影幾何圖案。

該設(shè)計(jì)檢驗(yàn)了材料、形式和體驗(yàn)之間的張力。特別有趣的是超越傳統(tǒng)工藝并提升簡(jiǎn)陋材料這個(gè)想法，而不是試圖讓它們脫離它們本身的樣子。它試圖在平凡中找到并揭示非凡。這種探索鼓勵(lì)使用者對(duì)他們自己、自然世界、它的重要資源和我們的集體文化之間基礎(chǔ)但微妙的關(guān)系建立一種更深刻且由意義的理解。

Located within a few blocks of the campus of Northwestern University in the suburbs of Chicago,this modest sized courtyard house is wrapped almost entirely in brick.Chicago “Common” brick,as it is known,was chosen because they look different from typical red bricks -a result of the geological composition of the indigenous Lake Michigan clay and the way in which it is fired.It’s variegations and irregularities made “Common” bricks unattractive,cheap and an abundant resource—a prosaic building material used in places generally obscured from the street such as side and back walls,chimney flues,and structural support behind facades.

Conversely,the brick at the Thayer House is highly visible and featured as a prominent design element.The street facade is organized in vertical twisting columns to create an ever-changing pattern of opening and closing as light moves across and thru the facades.As the viewer passes by the home,the fa?ade creates a moire-like pattern that appears to be constantly in motion.Depending on one’s location,the porous courtyard fa?ade courtyard can appear open and welcoming while also feeling closed and private.This allows glare free daylight to penetrate into the building through glazed surfaces behind them,as well as creating a glow from within when the lights are on at night.Light seeping through the brickwork produces a shifting geometric pattern of light and shadow on the walls and floors of the rooms,circulation areas and neighboring structures that alters throughout the day.

The design examines the tension between materials,form and experience.Of particular interest is the idea of transcending traditional craft and elevating humble materials without trying to make them into something other than what they really are.It is an attempt to find and reveal the extraordinary from within the ordinary.This exploration encourages the user to forge a deeper and more meaningful understanding of the fundamental,yet delicate relationships that exist between themselves,the natural world,its vital resources,and our collective cultures.

總平面圖 site plan

剖面圖 section

通過在不熟悉的地方運(yùn)用熟悉的東西，從感知的角度來說，材料既是新的，也是舊的。這讓人更加意識(shí)到不僅僅是建筑，還有我們對(duì)于該地方的感覺。這里有一種探索的感覺，自發(fā)的、意想不到的。真實(shí)的物體是重要的，但它的體驗(yàn)有深遠(yuǎn)的影響，并留下了一些遠(yuǎn)遠(yuǎn)超出建筑的物理和視覺的存在的影響。這不僅給我們學(xué)習(xí)設(shè)計(jì)的機(jī)會(huì)，也給了我們學(xué)習(xí)自我、我們的集體文化和社會(huì)地位的機(jī)會(huì)。哲學(xué)家約翰·杜威（John Dewey ）將這一思想描述為記憶從我們的潛意識(shí)到一個(gè)有形、統(tǒng)一的整體的轉(zhuǎn)化。建筑需要這種環(huán)境，從而被理解，并且與社會(huì)相聯(lián)系。它提供了歷史的視角，將建筑與人和我們的集體文化聯(lián)系起來。如果沒有這樣的背景，建筑僅僅只是簡(jiǎn)單的觀賞對(duì)象，而不是給人們帶來活力和意義的地方。

By using the familiar in an unfamiliar location and application,the material become perceptually both old and new at the same time.This makes one more aware of,not just the building,but also our sense of place.There is a sense of discovery,something spontaneous and unexpected.The object is important but it’s the experience that has a profound impact and leaves something that lasts well beyond the mere physical and visual existence of the building.This gives us the opportunity to not only learn about design but also,about ourselves,our collective cultures and our place in society.The philosopher John Dewey described this idea as the transformation and conversion of memories from our subconscious into a tangible and unified whole.Buildings need this context to be understood and to be relevant to society.It gives historical perspective,connecting buildings to people and our collective cultures.Without such context,buildings are simply objects to look at,and not places that bring vitality and meaning to people.