Ramble – Office in Hutong – DL atelier

信步辑,闲庭信步看世界。gooood新推信步辑,信步辑是一个可以拥有许多子分类的专辑。这里为大家展现的是其中一个子分类:胡同里的办公室。北京,是中国的首都,在快速的经济发展下,这个拥有两千万人口的十一朝古都逐渐面目模糊。北京所特有的胡同也所剩不多。现在,这些弥足珍贵的胡同里有哪些工作室,它们的创意和生活又

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信步辑,闲庭信步看世界。

gooood新推信步辑,信步辑是一个可以拥有许多子分类的专辑。这里为大家展现的是其中一个子分类:胡同里的办公室。
北京,是中国的首都,在快速的经济发展下,这个拥有两千万人口的十一朝古都逐渐面目模糊。北京所特有的胡同也所剩不多。
现在,这些弥足珍贵的胡同里有哪些工作室,它们的创意和生活又是怎样?

Ramble is album with several sub albums. Here is one: Office in Hutong.
Beijing, as the capital of China, has a long history, and currently is going through fast economical development.
Hutong, as the traditional urban typology of Beijing city, is slowly disappearing.
We try to find the offices in those Hutong, discover their ideas and life.

 

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第二期为大家介绍的是北京市东城区永恒胡同的大料建筑。永恒胡同就在安定门内,这一片少见楼房,属于北京极为珍贵的老胡同大片区。

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永恒胡同的对面就是牛气哄哄的国子监街和小资的五道营胡同,附近还有许多火爆的小吃店,比如吃饭永远都要排队的“张妈妈”。大料建筑就位于这片宝地儿的永恒胡同28号院。

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↑ 安定门桥南侧的永恒胡同是一条呈东西走向的安静胡同。全长240米,宽5米,沥清路面。胡同内多为居民区。

 

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↑ 大料建筑位于永恒胡同的28号院。去之前,大料主持建筑师刘阳告诉编辑此地不好找,但是对gooood编辑来讲这种程度的寻找太小儿科了。在安静的胡同里走着,再拐入一条一米多宽的小巷,辨着各院门头上的门牌号,走到尽头,就找到了院门。

 

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↑ 院子里面的众多门中最有建筑师气质的那扇简约白门就是大料建筑的入口。进门是一个有情调的方寸小院,再往里,便是两间办公室。

 

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向大家介绍一下自己
Let’s have a quick induction about ourselves ?

我们工作室很小,主要是我和我的合伙人徐丹。我俩的关系也比较复杂,是同学、同事、同床的三同关系。如果还要再求同存异的话,我俩还同是胡同出生的“同胡”关系,不过被踢出胡同的时间,我是在高中,她就很小很小了,基本是在北京大院里长大的。
  
我已经多年不住在胡同中,幸而没离开过,因为我的小学,初中,高中都在胡同里,虽然现在都已经被拆了吧。胡同里有我很多好玩的回忆,我没事时就爱在里面瞎转转,那里总会让我安静下来,基本上再乱的大街,只要往胡同里走个一二十米,嘈杂声也就没有了,尤其是午后和晚上的胡同,基本没什么人,特别舒心。我的好多设计想法都是在溜胡同时瞎琢磨出来的,这招儿也绝对管用,基本上可以和洗澡,蹲坑并列为我做设计的“三大法宝”。
  
可能跟这种方法有关,我们的设计一般会比较感性,比较个人,甚至有的时候会拒绝讨论。我想,每个设计师都会有适合自己的方法,有的是靠眼睛,有的是靠脑子,甚至有的靠一张嘴就够了。可惜我眼不明嘴不快,就只好靠“做梦”了!

做“白日梦”和“说梦话”是我们的看家本领。徐丹总是说,作家用文字记录,导演用影像记录,而建筑师就得用空间来记录自己的故事、感受和思考。就像用“空间”写日记一样,真实,即使是在做梦。这对于我们是做设计最大的乐趣,虽然过程并不梦幻,甚至血淋淋。但幸好人们做的梦也就那么几样,其实都差不多,所以总会遇到跟我们有一样“梦境”的客户、合作伙伴、工人等等,我们会一起把这个“梦”给圆了。

Our studio is not very big; mainly runs by me and my business partner Dan Xu. The relationship between us is a bit complicated. We used to study in same class, work in same company and eventually sleep on same bed. Also, we were both born in hutong.

Lots of my ideas come while I am walking along in hutong. This is equally important as two of my other design sources, when having a shower and when answering the call from nature.

Probably because of this, our design is generally quite sensible, quite personalized. Sometimes we even refuse discussion. In my eyes, every designer has his own way of thinking. Some relies on his eyes, and some relies on his brain. Someone even just use his mouth, unfortunately my eyes are not that bright, nor my speaking. Therefore, I have to rely on the ideas come from my dream.

 

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你们为什么把办公地点选在胡同里?
Why did you place your office in hutong ?

之所以把工作室放在胡同里,上面其实已经说了些,就是我们喜欢在胡同里遛弯,还有一个最重要的原因,就是胡同比较便宜!我们当初不想给自己太大经济压力,要不面对钞票,实在禁不住诱惑,会影响我们的判断。不过,事实证明,即使没有租金压力,我们还是禁不住诱惑啊!也只好哼两句:“钱是王八蛋,但长得真好看”。

I have mentioned a few reasons why we placed our office in hutong. We do like walk along in hutong. Moreover, it is relatively cheap. We didn’t want to give ourselves too much pressure. Otherwise we may make wrong decision when we were tempted by cash. However the fact is we are still driven by income even without the pressure of paying rent.

 

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在胡同里有遇到哪些好玩的事情?
Have you experienced anything interesting in hutong ?

有意无意间,在胡同里都会遇到比别处更多的事,这些都会刺激我们的设计。而之所以胡同故事多,可能是因为现在的胡同多是大杂院,特别外向,已经完全不是传统意义上的合院式内向空间了,渐渐的这里的人们也都不得不外向起来。比如,我们12年底刚搬进胡同时,经常会有大妈推门就进来和我聊天,到后来就发展成大妈带着大妈们集体来串门儿,甚至不太理我,直接就手舞足蹈的给她的“小伙伴们”介绍起这里的模型啊,小画啊什么的,绝对主场。刚开始我还挺尴尬,但后来渐渐回忆起了小时候的感觉,我发现是自己变了,变得跟人的距离大了,不会交往了,大妈们还是小时候的大妈,一直没变,一直很“大妈”。
  
我小时侯,一家三口挤在一间不到十平米的小平房里,屋子是小了点,但家可不小。我们有大院子,长胡同,甚至每个邻居家都跟我家是一样的,从来都是随便串。徐丹说她家那时是个朝南的正房,邻居经常会推门就进来往床边一坐开始看报纸,等到院子里喊道:“老王,吃饭”,才会起来。

这整个过程他可能一句话没说过,完全无视主人的存在,当然主人也会无视他。这就是胡同的生活,屋子小,“家”却很大。对于我们这些小屁孩就更幸福了,屋外也是家的一部分,对空间的体验非常丰富。可以说是上得天,入得地。在那段激昂的岁月里,侠客,忍者,超人,猛兽,我都是,我都行。
  
后来,我住进了楼房,有了自己的房间,我的家只在那个门牌号里,我的家反而变小了,我的家变成了“微宅”。更重要的,那些“家里人”也都变成“陌路人”。随着胡同的消失,人们邻里的亲密关系也消失了。这种能力我们在试着恢复,但好像没了就是没了,挺难。

人们的关系近,“家”就会变大,而“家”变大了,人们也会近乎起来。恢复和建立公共空间永远是设计住宅和胡同的王道。
  
而把胡同变成纯商业街我觉得还是不太好,即使空间保留了下来,但住宅区才是正途。人们留在这里生活太重要了,有了生活,胡同才是胡同,才有故事,即使打架,撒泼,骂大街。

Some local aunts often came and talked with me without appointment when we just moved into hutong at the end of 2012. Afterwards, my officebecame aunts’ meeting place. They just came and had discussion about those models and designs in my office, sometimes I was just ignored. I was a bit embarrassed initially. However I then found the feeling when I was a child. Eventually I realized I was the one changed, changed to notbe able to interact with others. Aunts never changed though. They stay the same as when I was a child.

 

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看得出来你们对胡同感情很深,认知也很深。其中你们提到“恢复和建立公共空间永远是设计住宅和胡同的王道”,请问你们有做过哪些与此相关的住宅或项目?其中最大的挑战是什么?并如何看待城市中高密度,公共空间,效率这三者的关系?
We can see you are considerably obsessed with hutong, and you do know it quite well. I noticed you’ve mentioned ‘The golden rule of your designing concept is to build or restore space for public. May I ask if you have physically done anything related to it? What is the biggest challenge you have experienced? Also, what is your opinion on the relationship between high density, public space and efficiency?

这问题挺严肃,我也得装的严肃一点,争取说出个一二三。
   
首先,我觉得住宅的公共空间分两个层次,一个是家庭与家庭之间的,另一个是家庭内部的。
   
而第一种最大的挑战我觉得是如何同时建立高密度居住空间和高密度公共空间。现有的规范法规,比如日照间距,其实已经让居住区必然会有公共空间,并且是容积率越高公共空间就越大,所以我觉得高密度是个挺好的事,可能性会更多。但很遗憾,市面上的设计往往会把居住空间和公共空间分开,其实两者融在一起会更有效些。举两个我们做的设计为例,一个是我的本科毕设–胡同中的集合住宅;另一个是我们正在做的别墅区。这俩项目的共同目标都是把容积率提到更高。具体的,第一个是把房子和树融合起来,我希望即使密度比胡同更高,但还能有些胡同和院落的记忆;第二个是把独栋,联排,叠拼等重组融合起来,我希望形成村落中常见的那种古老的人和人之间、房子和房子之间的认同感。方法上其实都是把居住和公共空间混合,最后的结果也还好,无论是居住空间还是公共空间似乎都变多,变丰富了。

I would say the biggest challenge would be how to balance the residential space and public space in a very limited landscape.

First of all, I would like to mostly utilize the space for both buildings and trees. I really hope people can find the feeling of hutong and courtyard back from my design, though the space is more limited than hutong. Secondly, I’d like to put detached, terraced, lofted buildings together, in a harmonized manner. I would also like to see my design can bring people the sense of identity on that vanished relationships between people and people, buildings and buildings.

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而家庭内部的公共空间,我觉得最大的挑战是如何“私密的开放”或者说“开放的私密”。还是举例子吧。一个小住宅,我们希望家里人在房子里的状态像是拥抱在一起的两个人似的,彼此虽然看不到,但却能感受到对方的心跳。一个树林里的大屋顶,形成开放完整的家,其下高低不同的地面产生了从私密到开放的各种微妙关系的空间。站起身时,家人们共处一室;或坐或卧时,又回到了自己的世界。在这里,可能彼此看不到对方,但却能感觉到他们就在那里,做着什么。
   
其次,没有其次了,很遗憾。

We’d like people living in the small home we designed feel they are actually embraced together. They can feel each other’s heartbeat, though they can’t touch each other.

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你们“一抹黑(点击连接到达)是一个轻松幽默还有趣的作品,这让我记住了你们。这种用感性去做作品的方式目前看来没有固定的风格和方法论去约束,请问你们对此有目标吗?你们在建筑和设计中最关注的问题是什么?
Your “Eyes Closed” is an interesting product with sense of humour. This made us remember you. Using your sensibility to design can’t be currently judged or restricted by a certain rules or methodology. Do you have your own target on that? What is your main focus in your design?

设计说白了就是“设计师对一个事有了些理解,然后用自己的语言给解释出来”。而目前可着中国也扒了不出几个有自己独特”语言”的,我们显然也还没有。至于“理解’,我们比较在乎的是发现项目中“善良”的地方,并且去放大它,享受它。而这些美好的地方又往往跟我们个人的经历有关,也许是一段记忆,也许是某种情怀。这大概可以算作我们的设计方法论。

拿到一个项目时,我们不会上来就去找问题,冲着解决问题就杀过去了,而是会去体会这个项目有没有些地方刺激到我,能让我笑出声、掉眼泪那种。然后把这个点放大再放大,直到它足以撑起整个设计概念。之后就尝试找到一个原型,既能把这种情感装进去,更能被别人给倒出来。使得空间里弥漫着浓浓味道,形成某种氛围,也许“多愁善感”的人们会触碰到自己的那些故事。而至于项目中的各种问题,只要原型合适,顺带手也就给办了。
   
这条被徐丹美其名曰“情感记忆”的小路,我从上学时候就在上面走,现在走的稍微顺当些了,往往能够找到那个点,比如一摸黑中的“闭眼”;马兰舞台中“月亮”;安徒生花园中的“眼泪”;水上漂中的“江湖”等等吧。但是,“话”该怎么说,却一直没把舌头理顺,还得多听听评书,看看相声,慢慢来。

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↑ 一抹黑
   
我们理想中的设计,情感是饱满而内敛的,语言却是幽默甚至荒诞的,打个也许不太靠谱的比方:“李安的情怀让姜文给说出来”。

The thing we care about is how to find the “Fine”part in a project, and then to enjoy it, and maximize it.

Our ideal design must be full of emotions, though it could be restrained. However words need to be humorous or hilarious. You may think it in this way: Li An’s feeling is voiced by Jiang Wen.

 

 

 

Recent  Project

 

 

 

Moon  Stage
月亮舞台

这个小舞台位于河北的马兰村,委托人是邓小岚老师,使用方是那里的一群天真烂漫的孩子。

也许有人看过纪录片《马兰的歌声》,讲述的就是这里的故事。这里有着也许是中国最特殊的管弦乐队。他们的演出场所,是山村猪圈边的泥地;乐手,是十多个指甲缝里都是黑泥的农村孩子;指挥棒,是一截干硬的玉米秸……不过,只要指挥者一声令下,小提琴、吉他和曼陀铃等乐器齐响,一首首西方名曲便流淌而出。指挥者名叫邓小岚。8年前开始,每个月,这个70岁的北京奶奶,会接连坐公交、地铁、火车、大巴、乡间汽车,行程近300公里,前往位于河北保定深山里的马兰村,给80多个农村孩子上两天音乐课。在这个偏僻的小山村里,她组建了这支管弦乐队,取名“马兰”。(本段部分文字来源《中国周刊》)

邓老师一直想给孩子们一个演出的地方,一个小小的露天舞台。我们听到这个故事后,来到了马兰村,见到了邓老师和孩子们。被她们的“纯净”深深吸引。 

我们想给孩子们一个同样“纯净”的地方,一轮由山坡而下,流入溪水中的“圆月”。
平时,孩子们可以在上面玩耍,大人们可以洗衣钓鱼。演出时,这里又成了一个在月亮上唱歌跳舞的地方。

 

 

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“月亮”舞台由小石块铺砌而成,石块的缝隙镶进了许多的玻璃球。在月光下,舞台闪闪发亮,像水面的波光一样。舞台背后藏一暗室,可作为后台,并有一楼梯连接着岸上的村庄。而舞台对面,还有一圆型看台,依河岸而下,流入溪水中,坐在这里的观众,可以看到半扇水上的舞台和半扇水中倒映的舞台共同画出了一轮完整的“圆月”。

如果没有邓老师的热情,山村里的孩子可能一辈子也感触不到音乐的美好;而没有这些幸福的孩子,也便更不会有这月亮舞台的纯净。

We was approached by a school teacher, Deng Xiaolan, who is teaching at Malan village located in Hebei province of north China. She came to us looking for scenic design for their little special orchestra. All the players of the orchestra are lovely local children.

Teacher Deng was keen for us to design an outdoor stage for their little performers.
With the illusion of full moon over the mountain, and its reflection  on the water, we decided to make the scene as natural as the group of little orchestra players.

On one hand, children in village may never experience the beauty of music without teacher Deng’s great effort. On the other hand, the sanity of this moon stage may never exist without those happy children

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The little mermaid’s tears
小人鱼的眼泪
共同设计:高伟

初衷:
“The little mermaid cast one more lingering , half-fainting glance at the prince , and then threw herself from the ship into the sea , and thought her body was dissolving into foam .”当我读到这里时,随着小人鱼一起流泪了,安徒生通过童话和读者之间产生了共鸣。他的故事,虽然大都是悲剧,但是故事中的主人公确却是幸福的,哪怕是幸福的死去。而我们读者更是在这种悲伤的幸福中,体味自己的故事。我想,孩子们更多的读到的会是幸福吧。

而这种跟我们自己的生活融在一起的大悲大喜,便是安徒生童话的动人之处。我们希望带来一个空间,一个会激发人们内心悲喜的地方,而这恰恰与安徒生童话的气质相吻合–传达了一种极致的深情,大悲大喜。

我想,也许,大悲大喜的极致都是眼泪吧。

一滴眼泪,一滴小人鱼的眼泪,一个眼泪般深情而粼粼波光的童话世界。它所带来的光影和气氛,让身在其中的人们与安徒生产生对话,那会是多么美妙的情景啊!

在这”眼泪”的世界里,不同的人们会体味不同到的情感,因为他们有着自己不同的故事,但是,这些情感都会被瞬间激发出来吧,湿润在”眼泪”里。想读着安徒生的故事一样。

Inspiration:
“The little mermaid cast one more lingering, half-fainting glance at the prince, and then threw herself from the ship into the sea, and thought her body was dissolving into foam.” When I read along to this point, I welled up, Hans Christian Andersen’s fairy tale resonated with his readers not only by a sentimental world he created, but also by the tear he added to her, a momentary expression of emotional breakdown. The teardrop, even a tiny one dropped from her cheek, touched the whole world. My inspiration, therefore, rooted deep in “tear” by using an architectural form deprived of expression of architecture, only a space rendered by pure light and shadow, indicating dialogs that might happen between visitors and Andersen, how wonderful it would be.

 

 

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城市空间:
“眼泪”在不影响交通流线的情况下,用变化的光影,诗意的连接了周围的城市空间,为故居及其花园创造出一种奇幻的童话色彩,将故居、花园、街道变成一个整体,使得过往的人们仿佛瞬间进入到安徒生的童话世界里,无论你在广场的任何角落,都能感觉到自己好像童话的一部分,每个人都感觉自己是童话里的人物。

Urban space
The “Tear” poetically connects the surrounding neighborhoods by casting shadows and lights, meanwhile it does not congest the traffic flow, and it integrates Andersen’s house, gardens and streets into a spatial entirety with colorful fairy tale feelings. It triggers the public to reminisce the wonderland Hans Christian Andersen created for us. You will feel that you are part of story if you are close by, and you might even feel you are one of characters.

 

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建筑空间:
地上空间在保留了原有花园的基础上扩大了活动场地。起伏的地面,使得孩子们有更多的嬉戏空间,同时丰富了人们的活动和交流方式。地下的空间作为儿童活动中心,其空间与地上空间呼应,由“眼泪”折射的光线弥漫其中,像是有着温暖、辽阔、自由灵魂的海底世界。其中的展墙,书架,桌子,椅子都以故居为中心涟漪状散开,使得新的空间和故居之间产生对话,让人们感觉由安徒生的故居而衍生出了这一童话世界。

Architectural space
The original garden is preserved and also expanded further for encouraging outdoor activities, children will enjoy more on the playground and everyone will be participants rather than just bypasses. Underground level is another playground for children, an answer to the up level, the “Tear” diffuses lights into this place creating a vast, comfortable and boundless space like an under ocean world. All exhibition walls, bookshelves, tables and chairs are like ripples centered around Andersen’s house, activate conversations between the new designed space and existing ones, the purpose is to make people get the feeling that there are stilling fairy tales coming out from Hans Christian Andersen’s house.

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功能流线:
将儿童活动中心和博物馆的扩建部分设置于地下。儿童活动中心的主出入口在“眼泪”的下方,与博物馆的主出入口比邻,在博物馆内部有楼梯链接故居和儿童活动中心,使两个功能空间融为一体,形成一个循环的流线。在另一端,儿童活动中心与地下车库相连,整个流线包括了展览、图书馆、旅游集散、小剧场、餐厅、商店、教室、体验站、多功能厅、咖啡厅、停车等等功能,使儿童活动中心不再孤立,成为城市的一部分,有更多的人参与其中。

Function flow:
The children’s playground and the museum’s expansion are designed underground, main entrances are right to each other under the “Tear”, inside the museum there is a staircase connects Andersen’s house to the playground, therefore the design integrates two functions together creating a circular visiting flow. At the other side, children’s playground is also connected to underground parking, The idea here is to connect everything together, such as exhibition space, library, meeting points, multimedia center, small theater, restaurants, shops, classrooms, experience center, coffee shop, parking and so on, so that children’s playground will no longer be isolated, and became a part of the city encouraging the public to join in.

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结构:
建筑用悬索的方式,用三组柱群,拉出一个钢网。将“眼泪”放置其上。地下空间被罩在一个波浪状的木质大屋顶下,屋顶有不同高度的水平板组成,板与板有1500mm间距的曲线钢梁连接,使得屋顶成为一个整体。而这一整体的大屋顶则被成涟漪状分布的混泥土墙体撑起。

Structure:
The “Tear” is formed by steel suspension mesh structure which is supported by three sets of column group; the underground is housed by a large wooden wavy roof, all wooden pieces are flat, but fabricated in different heights, all are connected by curved steel beam with a distance of 1500mm in between, and there are concrete walls under the roof organized in a ripple pattern around the center.

 

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材料:
建筑主体采用木结构桁架,运用中国木结构的煮蜡工艺,使木材具有防水性。木材和玻璃运用不锈钢龙骨结合到一起。高透光的玻璃使得水的光影更灵动的展现于地面及广场四周。广场地面即地下空间的屋顶是梯田一样的木质水平板,板与板之间的缝隙为地下室的天窗。白天,灵动的水影撒入地下,晚上,地下儿童活动中心的光芒又映射到天上的“眼泪”。而在木屋顶的上面,铺设了厚厚的透明树脂,使得原来的梯田变成了坡地,孩子们可以在上面摸爬滚打,自由奔跑。透明树脂不仅反射天上的水影,还使得地面也想水面一样波光粼粼,使置身其中的人们像被“眼泪”包裹起来似的,如梦如幻。

Materials:
The “Tear” is built with wooden truss structure which will be treated by ancient Chinese construction techniques called “boiled wax” piece by piece to make the wooden structure waterproof. Wood and glass are bonded together by using stainless steel skeleton. The transparent glasses will let the reflection from the water cast onto the ground and surrounding areas. The square floor, or the roof of underground, is made by terraced-like flat wooden panels, gaps between the panels became the roof windows of the underground. During the daytime, the water shadow will be weaving down to the underground; and during the nighttime, light from children’s playground will shines up to the “Tear”. On top of the wood roof are transparent resin material, it makes the terraced-like roof into a slope, so kids will play freely on it. Transparent resin not only reflects the water shadow from above, but also makes the floor like shining water. When people are in the “tear”, they feel they are in the tear.

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水处理:
“眼泪”里的水是可以循环的,通过穿越其中的水管,经柱子内部管线集中到地下水箱,进行过滤。过滤后的水经过加温达到摄氏零上1.5度后,通过另一侧的柱子内部经过水管重新注入“眼泪”,以保证室外的水常年保持在恒定水位且冬季不会结冰。通过对雨水的收集,建筑还可以为花园的植物提供浇灌用水,使得建筑更加节能环保

Water design:
The water used in the “Tear” is recyclable: it passes through pipes in the “Tear” on one side all the way down to the tank beneath, and will be filtered, heated up to 1.5°C, then pumped all the way back up to the “Tear” on other side, the idea is to ensure water temperature maintain at certain level and will not be frozen in the winter time. Irrigation of the garden will use collected rainwater, makes the building more environment friendly.

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来吧,来到ODENSE,在“小人鱼的眼泪”里,重新开启安徒生世界的大门。

Welcome to ODENSE. In the “little mermaid’s tear”, you will find the Hans Christian Andersen’s world is still growing.

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Daxing No.1 Middle School Beijing
北京中学
共同设计:齐欣建筑 ,无界景观

这是一所很大的中学,有120个班,4000多人在这住宿。以我上学的经历,这完全就是一大学啊!

现在的中学生,有的已经是00后,对他们最直接的了解是在打篮球时我常常被狂虐,他们就没有说累了的时候;还有就是一年四季都穿着比自己大
两圈的校服,成群结伙,追跑打闹。这点倒是跟我上学时候没什么区别!可能那个年龄段,就应该这样吧,“青春期的骚动”。

回忆我那时的日子,所有的故事差不多都是跟同学一起发生的。无论是学习,玩闹,打架,谈恋爱,都是群体事件,同学间是最熟悉的。既不像大
学时候都很“自我”,也不像小学时的“无我”,中学时,我们集体思考人生。

那时的我们就像森林里的小野兽,羊群,猴群,还有狼群都生活在一起,相互依存,相互排斥;而老师有时像牧羊人,有时又像猎人,时而亲密,
时而警惕,总之人兽不同种。

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我想让这所中学就成为一片森林,无论是教室宿舍,还是球场食堂全部打散、七零八落,淹没在树林里。学生能在各种犄角旮旯里找到自己的领地。

你可以有安静读书的院儿,也可以有肆意约架的地儿,更会有谈情说爱的窝儿。

这里不能像我那时的中学,学生是被管理的对象,学校变成了“动物园”,各种被驯化了的小野兽衣食无忧的活着。这里应该是小野兽“撒野”的地儿,释放天性。

空间的发掘,留给了生活在这里的“小野兽”,房子只是以最原始的双坡屋顶的样子出现,就像那些大树似的,长的都差不多,样子普通但组合在一起却丰富异常。

我希望在这片自由的森林里能发生更多的故事,悲悲喜喜,不枉走一遭花季雨季。

We were like social animals living in the forest, interacting with each other at most of our times. And teacher was seen as the leader provided guidance on our social behavior. But sometimes, teacher was the ultimate fear to us when we were doing stupid things driven by young impulsive.

As health and safety at the heart of a community, school landscapes are filled with opportunities to deliver effective, enjoyable education, build healthy lifestyles, enrich and experience nature first-hand, plan space for play and deliver meaningful responses to the needs of today’s teenagers. Our plan is to put the whole school sheltered under an artificial forest. Students will find each functional place to fulfill their needs.

We would like all the students enjoy their young wild freedom in this specially designed forest-like campus.

 

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胡同 树 邻里
Hutong,Trees,Neighbor

胡同改造,估计是个在北京混的建筑师就会做过,至少是琢磨过。而我,从上学的毕设,到实际的工程,已经做过至少四回了。每一阶段对胡同的理解都不太一样,就跟写日记似的,记录了我那时的状态。
    
我在胡同长大,现在的生活也是围绕着胡同转悠,他总是让我特别舒心。可能很重要的原因是这里的树,成片成片的大树。并且这些树是和房子交织在一起的,不像欧洲大城市中,都是楼房,所以房子是房子,树林是树林,没法共存;也不像南方里弄中的街道窄院子小,只有园子里才会有大树。而北京的胡同,房和树是拥抱状的。
 
地上是正南北垂直网格的四合院组成的胡同肌理,而空中则是自由奔放的大树肌理,两套肌理融合在一起,互为补充。人活动的地面,建筑街道规整,效率高;人不待的天空,大树有机生长,形成丰富的景观。而向下坡的屋顶和向上散开的树冠又强化了这种融合的紧密感。

鸟瞰北京胡同,冬天时,树叶落光,实用的房子肌理会展现出来,这也是传统意义的胡同肌理;但是一到开春,各种大树开始上绿,再看看,房子都没了,变成了一整片树林。  

而胡同里之所以会安静,会烂漫,都是这些大树所赐。房子和树都不能缺!
    
而胡同的改造呢,大家现在都知道要针灸式的,一点点来。也都知道要保留原来肌理,空间,记忆,这些都对,而我更在乎的是留住这里的人。我们是愿意在这里生活的,我们喜欢胡同,院子,大树;同时我们更喜欢住-大-房-子!

那好,我们就是要在胡同里增建大房子,使大房子和大树融和在一起。

Expandable living spaces will be created by using both underground and upper space on the original footprint. Some living spaces can be lifted into higher space for geting more sunlight during the day time, or just stay on the ground as usual spaces just like other normal house. The expandable living spaces will perfectly blend into Hutong when they stay on the ground, and will go with all those trees when they are being lifted into the sky.

It is not merely extension to the house itself, for more rooms or for a bigger courtyard. It is all about remaining the relationship between all the families living in Hutong. It makes the Hutong become a whole community. The relationship between people in this community makes Hutong what it is, makes Beijing as well.

 

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利用胡同中不常用的地底下和天空,栽入一颗颗可以上得天入得地的房子。就像一年四季大树花开落叶一样,这些房子在一天中也会上上下下。有时升到空中,享受阳光;有时埋入地下,恢复院子。而他们既不影响胡同原来的地面肌理,又和大树们一起组成了胡同中生动的天空肌理。

他们也许是把原来占了院子的自建房更新换代,即增加了每户的住房面积,需要时,又可以邻居几戸把房子都落地,恢复原本的大院子;他们还会自觉的在家中没人时就收入地下,别挡着邻居家的太阳;或者政府出资共建一个邻里中心,像居委会活动室似的,大家都可以在天上活动,看着这里最漂亮的景色–蓝天灰瓦老槐树;如果他们临着胡同,更可以在其底层停车,而不停车时,这里便是老哥几个下棋、乘凉的地方……

他们与老房子的关系就像原来院子里常种的葡萄架似的,自家打理,按需分配;而他们之间的关系更是建立在胡同邻里间相互关照、多亲多近的基础上。他们不仅是为大杂院增加了房间,留出了院子的事,我觉得更重要的:是他们会使大杂院中“家里人”般的邻居关系得以保存,而保存了这种关系,“街坊”才是“街坊”,胡同才是胡同,北京才是北京。

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About 大料建筑  DL atelier:

曾经,创始人刘阳和徐丹都毕业于北京建筑工程学院,之后在齐欣建筑和非常建筑工作多年,负责过各种规模、类型的项目 。
2012年秋,大料建筑设计工作室成立。
如今,我们最关心的是情感和记忆。我们希望做出“煽情”的设计。
我们理想中的建筑是:午后,大树下,人们三三两两,聊天嬉笑,享受阳光和恬静。

DL atelier Set up at the end of 2012,the principal is Liuyang and Xudan.
Great design is all about feelings and memories. We design with passion.
People relaxing under the shadow of trees with bucket loads of sunshine are the ideal scenery which inspire most creativity on our work.

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MORE: 大料建筑  DL atelier  



发表评论

16 评论

  1. 设计本身的意境很不错,只是介绍的文字有点过于个人化的煽情,反而有点破坏氛围

  2. 这个工作室招聘么???

  3. 我们理想中的建筑是:午后,大树下,人们三三两两,聊天嬉笑,享受阳光和恬静。
    好感动!!非常喜欢你们!!加油哦~

  4. 我觉得他们距离他们理想中的建筑很近了。看完了感觉很开心又很有点感动。

  5. 非常喜欢 非常有意思

  6. 没有看完,已感觉到强烈的有生命力的文化感染。设计–生活、生活–设计。祝福她、他们!

  7. 月亮舞台非常棒 很喜欢

  8. 设计很有韵味~

  9. 很羡慕他们。才子佳人,共同的梦想共同经营,简单的生活,紧张的节奏下却有一种慢生活的姿态

  10. 他们的主页的背景音乐竟然是《让太阳照常升起》,就着看着他们做的项目,愈发觉得有趣

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