藏着一座“翠玲珑”的小家 / 王田田+罗雅琴

园林片段与日常生活的完美结合,让家变得更加自在、放松、有趣。

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来自 王田田 对gooood的分享。更多关于他Wang Tiantian on gooood
Appreciation towards Wang Tiantian for pr
oviding the following description:

 

1. 翠玲珑 Cui Linglong

在设计自己的家之前,脑中出现过无数种关于家的想象。而在真正开始设计时则需要一个合适的开始,这个开始有点偶然。作为一对建筑师,出于对江南园林的共同兴趣,我和雅琴默契地决定将苏州沧浪亭中的一座房子——“翠玲珑”嵌入一个当代中国普遍存在的80平小戶型中,这时,园林不再是园林,住宅不再是住宅,它會是什麼?设计之初我們並不太清楚,清楚的是,这是一个有意思的开始。

Before having a chance to design a house of our own, various imaginations about it emerged in our minds. The real beginning of design called for an appropriate start which was somehow incidental. As architects sharing the interest in Chinese gardens of Jiangnan, Yaqin and I arrived at the idea of embedding “Cui Linglong”, a house in the Surging Waves Pavilion Garden in Suzhou, in an 80㎡ apartment typical in modern China. Thus, a garden is no longer just a garden and an apartment is no longer just an apartment, then what will it become of? Initially we were not quite clear about it, and we only know that this is an interesting start.

018-Small home hiding a Cui Linglong by Wang Tiantian and Luo Yaqin

021_1-Small home hiding a Cui Linglong by Wang Tiantian and Luo Yaqin

一个造园师搬一座山到一个庭院中,对其进行改造,使这座假山成了自己的生活环境和对话者;我们搬一个园林片段到一个日常户型中,对其进行改造,生活其中,与它对话。这是一场生活实验的开始,也是我们接触传统的方式。

对很多人来说,翠玲珑可能是一个意象,是透过匀质花窗看到的满眼翠竹。对我们来说,它是存在于宋代的一组空间结构。三个房间的角部连接为每个房间都提供了最大的视野,每个房间都很正,连接在一起却产生了曲折的体验。

A creator of gardens places a hill in a yard, modifying it and turning it into his or her habitat and a dialogist. Similarly , we placed a fragment of a garden in an ordinary apartment, modifying it ,trying to live in it and talk to it. This presupposition started a living experiment and also determined how we would relate to tradition.

For many people, Cui Linglong is probably just an image implying an even lattice window through which the green of dense bamboos fully occupied one’s sight, while for us it represents some specific space structure exiting in Song Dynasty. Each of the three rooms is square, connected with one another by the corner, which provides the widest view in each room. Such connection provides a zigzag space, which brings about experience that is not available in any one single room.

▽ 苏州沧浪亭翠玲珑平面图,Plan of the original Cui Linglong, Surging Wave Pavilion Garden, Suzhou /原始户型图 ,The apartment’s original plan

031-Small home hiding a Cui Linglong by Wang Tiantian and Luo Yaqin

▽ 将翠玲珑结构嵌入80平户型,Embedding a Cui Linglong structure into an 80㎡ apartment

006-Small home hiding a Cui Linglong by Wang Tiantian and Luo Yaqin 

 

2. 既是3个小房间又是1个大房间 3 small rooms or 1 big room

“几室几厅”的居住模式,在极短的时间内成了当代中国城市的主要居住模式。年轻人不但很少买得起房,对自己家园营造的可能性也被压缩到了室内装修的范畴。在这样的环境中,我很感谢父母为我们在杭州买了一套两室一厅的房子,让我们在多年的居无定所之后有了自己的家。

按照户型图,它有三间房间朝南(客厅餐厅和两个卧室),厨房、卫生间和一个小书房安排在北面,这是一个功能合理的经济户型。

在这里,功能合理的前提是,我们惯性地接受了一个房间和一个功能的简单对应方式,生活被切割成几种简单的行为看电视、吃饭、睡觉…以及所对应的一个个封闭的房间。

城市生活已经让人感到各种束缚,我们不希望回到家中依然感到拘束,我们想做的是要在结构上松动这个前提,让家变得更加自在、放松、有趣,这些与风格无关。

Room-oriented residential pattern has become dominant in contemporary Chinese cities. Meanwhile, many young people can hardly afford an apartment, not to mention building a home in a sense beyond mere interior decoration. In such conditions,I appreciate my parents very much for buying us an apartment of two bedrooms and one living room in Hangzhou, which put an end to our years of unsettled life.

According to the apartment’s original plan, it included three rooms in the south, two bedrooms and a living room; and a kitchen, a bathroom and a small study room are in the north. In a word, the program is reasonable in its convenience and efficiency.

However, the premise of such reasonableness is that we’ve got used to an oversimplified living mode in which life is reduced to bald behaviors like watching TV, having meals or sleep, etc, each relating to a clearly defined room.

We hoped all the constraints in urban life won’t extend to our home. What we intended to do was to structurally challenge the current presupposition of such reasonableness and bring more freedom, easiness and fun to our home, all of which have nothing to do with styles.

004-Small home hiding a Cui Linglong by Wang Tiantian and Luo Yaqin

001-Small home hiding a Cui Linglong by Wang Tiantian and Luo Yaqin   011-Small home hiding a Cui Linglong by Wang Tiantian and Luo Yaqin

某种程度上,园林的营造就是在松动刻板的生活模式,一个文人的内心多少总有超越日常生活的意愿。“翠玲珑”的结构打破了固定的房间分类法,它既可以看作3个小房间,又可以看作1个连续的大房间,它既不是各自无关的房间,也不是一览无余的连续大空间。

我们在原始的户型平面中勾勒出一个变形了的“翠玲珑”,从西北角的入口至住宅东南角,它以曲折的方式连接了这个住宅的最长距离。进入这个住宅是循序渐进的,从狭长的玄关空间到东南角的工作阅读空间,光线由暗到明,住宅的场景慢慢展开。

To some degree, to construct a garden is to is to loosen the rigid living mode, for more or less there would be some ambition to transcend daily routines in a literati’s mind. The Cui Linglong structure somehow defies the conventional way of dividing rooms by functions, as it can be regarded as either three small independent rooms or a big room of continuity but neither a gather of unrelated rooms nor a large monotonous space. According to the original plan, we drew out a transformed Cui Linglong which extends from the entrance in the northwest to the southeast end, connecting the two most remote points in the apartment zigzagly. Entering the apartment, scenes open up continuously from the narrow hallway to the corner for reading or working in the southeast, with light getting brighter and brighter.

▽ 研究模型/既是3个小房间又是1个大房间,Study model/3 small rooms or 1 big room

029-Small home hiding a Cui Linglong by Wang Tiantian and Luo Yaqin

019-Small home hiding a Cui Linglong by Wang Tiantian and Luo Yaqin

 

3. 2个反常的房间 Two Irregular Rooms

“翠玲珑”的置入自然将整个空间分为开放的和私密的。

“翠玲珑”之内是开放的部分。在这个结构中,随处可以坐下休息、阅读、会客、吃饭、工作…,通过改变家具的形式和位置就能改变空间的使用方式。

“翠玲珑”之外是私密部分。户型图上的朝南客厅改成父母卧室,厨房和卫生间保持原有户型图上的位置。另外,我们还设计了两个反常的房间:1.一个一张床大小的卧室,2.一个单层净高不到1.8米的二层小楼。

Cui linglong spontaneously divides the whole space into rather open parts and some relatively enclosed spaces. Inside the Cui linglong there is the open space. Actually it’s agreeable to sit, read, entertain guests , have meals or work anywhere in this structure, for alterations of furniture’s arrangement can accommodate the space to different purposes.

Besides Cui linglong there are some private spaces. The living room in the south in the original plan has been adapted into guestroom (mainly for our parents),and the kitchen and bathroom remain in their original positions. What’s more, we have designed two unusual rooms:

1 A bed-size bedroom, 2 A two-floor room with each floor’s clear height less than 1.8m.

▽一张床大小的卧室, a bed-size bedroom

009-Small home hiding a Cui Linglong by Wang Tiantian and Luo Yaqin

022-Small home hiding a Cui Linglong by Wang Tiantian and Luo Yaqin

一座园林中常常出现反常的空间,反常带来趣味。在这个住宅中,反常是对空间利用最大化的结果,这两处成了来访者最感兴趣又有些困惑的地方,再小的家也因此有了游戏的可能。

1.为了留出足够的公共空间,北卧室被压缩到只有一张双人床的大小,小得像一个家具;同时它的朝南面有可以全部打开的窗和门,又像一个房子。门窗都关上的时候,它就成了一个密室,来访者往往一时找不到它的进入方式。

2.这个户型位于顶层,原本餐厅的位置大概有2mx1.5m左右的范围净高约有3.7米(其余空间净高为2.8米),这是个意外,利用这个意外,我们设计了一个一层更衣室、二层多功能(储藏/睡觉/冥想)的两层小楼,由一道50度500宽的楼梯通往二层。不细心的人会惊叹如此小的户型中居然会有二层,因而无法判断这个家的实际大小,但当人上去之后发现是个最小化的二层。让我想到沈复在《浮生六记》中提到的“开门于不通之院”,这里便是架梯于咫尺阁楼。

Irregular spaces that bring about fun are common in a traditional Chinese garden. In our home, similar unusualness arises from a full utilization of space, and visitors always find these two rooms most intriguing. Thus, however small our home is, it never fails to offer a chance to play.

1 To leave enough space for the open area, the bedroom in the north is reduced to a double bed’s size, which makes it look like a piece of furniture, while with its south-facing windows and door all opened, it gives the impression of a small house; and when all are closed, it turns out to be an adyta, making it difficult for visitors to find out how to enter it.

2 Our apartment is on the top floor, what is special here is that in the area of the original dining room the clear height is 3.6m while it’s only 2.8m elsewhere in this apartment or on other floors. Taking the advantage of this accidental particularity, we have designed a double-floor space in which there is a 500mm wide and 50° angular stair leading from the changing room on the first floor to the functionally undefined room on the second(it’s suitable for storage, napping, or meditating). Unobservant people will at first be surprised by the stair, wondering whether such small an apartment should contain a second floor, only to find out that it can’t be any smaller upstairs. There’s a quote from Six Chapters of a Floating Life, saying “Let a door lead into a blind courtyard”, and what we’ve done can be described as “Set a stairway within a quite confined garret”.

▽ 单层净高不到1.8米的二层小楼,a two-floor room with each floor’s clear height less than 1.9m.

002-Small home hiding a Cui Linglong by Wang Tiantian and Luo Yaqin

023-Small home hiding a Cui Linglong by Wang Tiantian and Luo Yaqin

 

4. 可以打开的吊顶 The Openable Ceiling

我们在概念上连接了原本独立的三个房间,但天花上的横梁依然提示着原来的房间分隔,抽象的“翠玲珑”结构需要具体的手法使其可以被真实感受。对于天花的惯常处理手法或者用吊顶来掩盖梁、空调等物件,或者干脆暴露。过于完整的吊顶粗暴地降低了空间的高度,那种完整性往往让我感到压抑,完全的暴露又丧失了一个家所应有的温馨气质。

The full-covering suspended ceiling abruptly reduces the space height and thus makes us uneasy, while total exposure is somehow inconsistent with the atmosphere of a sweet home. Apart from exposing ceilings directly, the conventional way of dealing with intrusions of ceilings, such as beams and air-conditioner’s output draughts, is to cover them with a suspended ceiling. As a concept, Cui Linglong unified the three independent rooms, yet the beams protruding from the ceiling were still revealing the original divisions, thus further details were required to turn the abstractness of Cui Linglong perceptible.

▽ 可以打开的吊顶,The Openable Ceiling

025-Small home hiding a Cui Linglong by Wang Tiantian and Luo Yaqin

020-Small-home-hiding-a-Cui-Linglong-by-Wang-Tiantian-and-Luo-Yaqin

我们想用一种介于两者之间的方法,一种既掩盖又暴露的吊顶,既可以勾勒出整体的“翠玲珑”形状,又可以感受到住宅原来的净高,一种空灵的吊顶。我们想到了立体的格子。我们设想了一个正交的木构单元(基本尺寸360x360x360mm),以此覆盖整个“翠玲珑”的范围,在顶部是吊顶,在墙面是书架、柜子、门、壁灯,在空间中是家具。

We felt like a compromise that the suspended ceiling should be between the two extremes, so that it could on the one hand present the shape of Cui Linglong as a whole, and on the other reveal the original height. So we have come up with the idea of three-dimensional grids. We have conceived of an orthometrical wooden system with the unit measurement of 360mm×360mm×360mm, covering the whole Cui Linglong structure and extending from the top as suspended ceiling to walls as bookshelves, cabinets, doors or bracket lamps, and even to the space as furniture.

▽ 覆盖“翠玲珑”的木构系统,The wooden system that covers Cui Linglong

032-Small home hiding a Cui Linglong by Wang Tiantian and Luo Yaqin

当吊顶初具规模,我们发现吊顶对顶部空调、管线的暴露多过掩盖,该如何做出既有空透感觉又能掩盖多余设备管线的吊顶呢?我们纠结了很久,最终,我们想做一个可以打开的吊顶。在关闭的时候,它是一个完整的界面。打开的时候,可以看到空透的吊顶空间。在空调的位置,作为空调的出风口和回风口;其他位置,开启部分的两侧的可以作为储藏的空间。

When installation of the suspended ceiling began to take shape, we found the air-conditioner and pipelines above inadequately covered. So there should be some modification, but what? After quite some brains-racking time, we have finally conceived of an operable suspended ceiling, which takes the double-layer wooden system as a frame that fully occupies the top. When all the operable pieces are closed, the suspended ceiling forms an integral surface; and when opened, it reveals the inside space. Except for those as air conditioner’s outlets or inlets, all the operable pieces can serve as openings of the upper storage space around.

▽  吊顶平面 Ceiling Plan

 034-Small home hiding a Cui Linglong by Wang Tiantian and Luo Yaqin

▽  吊顶开启部分的两侧可做储藏空间All the operable pieces can serve as openings of the upper storage space around.

021-Small home hiding a Cui Linglong by Wang Tiantian and Luo Yaqin

 

5. 回收“云梯”  Recycling the Cloud Ladder

有个朋友来我家玩,进门第一句话便是,“哇,是云梯到顶上去了吗?”

在自宅的施工过程中,我平行为一个当代艺术展创作了一个空间装置——云梯,正交的木构单元在这里生长成了一个立方塔,内部两道阶梯盘旋缠绕,远观便是立体的“玲珑”。

云梯拆除后,我们回收了那些木料用在了这个家中,因而云梯真的到吊顶上去了。云梯中的木构单元节点,每个方向的木方都是完整的,螺丝链接。经由这个实验我改进了木方的构造方式,由螺丝链接改为榫卯,每根木头在中点处咬接。

A friend of mine visited our home, on entering, he exclaimed:” Wow! You just put the Cloud Ladder onto the ceiling!” Simultaneously with Cui Linglong’s constructing, we built up the Cloud Ladder, a spacial installation for a contemporary art exhibition. In this Cloud Ladder project, units of wooden bars are orthometrically organized into a cubic tower, in which there are two stairways twisting together, thus viewed in a distance this is literally a Linglong in three dimensions. After the Cloud Ladder had been dismantled, we recycled its wood pieces in our apartment’s renovation, and the Cloud Ladder is literally put onto the ceiling. In the wood conjunctions of the Cloud Ladder’s units, wood bars remains intact in their cubic shape and connected with each other by bolts. And we optimized this detail in our apartment by replacing bolt connection by tenon-and-mortise work, and each piece of wood joints another two in their mid points orthogonally.

▽ 云梯, Cloud ladder/自宅中仍然可以看到印有“云梯” 字样的木料,Timber printed with “云梯”(Cloud Ladder) can be seen in our home/改进木格构造,Improving constructions of the wooden grid

027-Small home hiding a Cui Linglong by Wang Tiantian and Luo Yaqin

▽ 云梯搭建现场/木构螺丝链接,The construction site of Cloud Ladder/ wooden structure, bolt connection,搭建现场/木构榫卯链接,The construction site/ wooden structure, tenon-and-mortise work

028-Small home hiding a Cui Linglong by Wang Tiantian and Luo Yaqin

▽ 最终效果,final condition

015-Small home hiding a Cui Linglong by Wang Tiantian and Luo Yaqin

 

6. 木构大灯笼 A Big Wood Structure Latten

在一个已经很有表现性的吊顶上我们决定吊顶上不暴露任何灯具,我们把整个吊顶想象成一个大灯笼,光源都在灯笼里,因为界面的不同而产生不同照明效果,吊顶之上我们设计了3种照明:
1.位于木架露明的部分,对下面的空间是直接光照,最亮;
2. 透过白色亚克力板照明,白天的时候,除了亚克力光滑表面的反光几乎看不出与周围吊顶的区别,晚上这个区域成了发光的吊顶,亮度适中;
3. 透过吊顶多层板上开的5cm直径的圆洞照明,光线最柔和,很适合看电影的时候开。

不论哪种照明,光线都从吊顶多层板和木构之间的缝隙中挤出,形成了一道道有序列的金线。

Since the suspended ceiling is quite expressive, we decided not to add any lamps below it. Instead, we just imagined the whole suspended ceiling a big lantern that encloses all the illuminant sources, and lighting effects differ depending on different surfaces, for which we designed three details of lighting:

1 Lamps are installed in between the void part of the wood grids and directly illuminate the space below, offering the brightest lighting.
2 Based on 1, a piece of white acrylic board is fixed on each unit’s lower surface as a cover. In the day, only the gentle reflection from acrylic boards tells the difference from surrounding parts; while in the night when lights are turned on, this area becomes a moderate illuminant.
3 Light of lamps goes through plywood boards on which evenly drilled round holes of 5cm. This is the softest lighting that is particularly suitable for seeing a movie.

In any case, light beams from the cracks between the wood grids and the plywood boards, turning out to be neat golden lines.

026-Small home hiding a Cui Linglong by Wang Tiantian and Luo Yaqin

 

7. 片断化的“翠玲珑” The Segmented Cui Linglong

沧浪亭中的翠玲珑,入口和出口分别处在一头一尾的两个房间,中间的房间是没有门的,体验它的过程是单一流线的。重复的花窗和竹林,对竹林的体验很纯粹,而生活是琐碎的,当“翠玲珑”嵌入到我们这个小户型中时,它的边界上出现了6个出入口和数个窗洞,在身体和视线上连接着其他的房间、阳台和二层。因而“翠玲珑”的经典结构被肢解了,片断化了。

The two entries of the original Cui Linglong in the Surging Waves Pavilion Garden are respectively set in the two rooms at two ends of the space, inside which there’s no doors as further division, so that the only way that Cui Linglong is experienced is linear. Besides, repeated lattice windows and the bamboos outside them result in a pure sensation. Yet daily life consists of so many trivial details that once the Cui Linglong structure was embedded in our tiny apartment, there have inevitably been 6 entries and several openings on its boundaries, connecting small rooms, the patio and the second floor visually and behaviorally. In this sense,the classic Cui Linglong structure is segmented here.

007-Small home hiding a Cui Linglong by Wang Tiantian and Luo Yaqin

一个好的空间,应该可以让你在一个空间中感知到周围空间的存在,我记得日本建筑师妹岛和世说过类似的话,我也喜欢这样的空间,你在每一个房间中都不会感到绝对的封闭。边界片断化的“翠玲珑”正形成了这样的空间,在这里,没有一个房间是绝对封闭的,为了实现这一点,我们设计了多种门窗:

1.窗洞;
2.可全部开启的多层板窗扇;
3.由吊顶延伸下来的木条宽格栅;
4.透明玻璃木格门扇;
5.磨砂玻璃木格门扇;
6.竖向磨砂玻璃条拼成的木格门扇;这种半透界面,从正面看,背后的风景被竖向切割,从侧面看,整个界面就像翠绿的果冻,透光不透影,这是对翠玲珑的“翠”字的片断回应。

这些门窗以不同程度的透明程度,适应了不同的私密需要。让每个房间在不同程度上相互关联,成为一个通透的整体,片断化的“翠玲珑”融在了这个整体中。

Kazuyo Sejima, the famous Japanese architect, once observed to the effect that space of quality should hint at its surroundings. I share such observation, for such space never makes people feel isolated. Here, with its boundaries fragmented, the Cui Linglong structure has formed such a space, that none of the rooms are totally shut. To achieve this effect, we designed specific details for each opening and screen wall:

1 Bare opening
2 Window with entirely operable plywood casements
3 Wooden grilling extending from the suspended ceiling as screen wall
4 Wooden grid door paned with clear glass
5 Wooden grid door paned with frosted glass
6 Wooden grid door with frosted glass strips that are plied together on the dull-polished side and then vertically installed, which formed a conditionally transparent surface. When looking in front of it, one can have a view of what’s behind with parallel lines on it, and from an angled direction, it looks like verdant jelly, which forms fuzzy images on it and somewhat responses to Cui of Cui Linglong, a Chinese character referring to green jade.

These details have created various visibilities accommodating different degrees of privacy necessities. All the rooms relate to each other and have become a whole, into which the fragmented Cui Linglong has merged.

008-Small home hiding a Cui Linglong by Wang Tiantian and Luo Yaqin   013-Small home hiding a Cui Linglong by Wang Tiantian and Luo Yaqin

003-Small home hiding a Cui Linglong by Wang Tiantian and Luo Yaqin   014-Small home hiding a Cui Linglong by Wang Tiantian and Luo Yaqin

012-Small home hiding a Cui Linglong by Wang Tiantian and Luo Yaqin   024-Small home hiding a Cui Linglong by Wang Tiantian and Luo Yaqin

 

8. 未完成 Unfinished

对“翠玲珑”的兴趣,源于王澍老师在本科时为我们上的第一堂园林课,也几乎是第一堂建筑课,在还不太了解萨伏依别墅、范斯沃斯住宅等教科书上的经典西方现代建筑之前,我们先认识了翠玲珑。

我曾给王澍老师看过我们的方案,记得导师说这是个小中见大的设计,还兴奋地说不知道这个房子在十年以后会变成什么样?我理解老师的意思是,这个方案已经找到明确的形式语言,经过生活的冲刷,这套形式语言会变成什么样呢?

我当时脑中闪过一个词,“新陈代谢”,新陈代谢派作为上世纪五六十年代在日本涌现的建筑浪潮,提出建筑是可以生长的,虽然在实际实施过程中,建筑多是凝固成了看似可变的形式,但这个观念却依然是诱人的,它消解了对固有风格、形式的追求,设计不是设计一个结果,而是设计一个体系一个过程。

My interest in Cui Linglong arose from my college years, when Professor Wang Shu gave us the first lesson on Chinese gardens, which in a sense was also the first architecture we have learned. Before getting familiar with these classic western modern architecture like the Villa Savoye and the Farnsworth House, we first learned about Cui Linglong.

I showed our design to my tutor Professor Wang Shu. He described our work as “ generate the sense of large in a small space ” excitedly asked, "what will it be like in ten years?" My understanding of this question is that since this design had formulated a set of form language of its own, what would this language be like after ten years’ immersion in daily life? Then the word “metabolism” flashed across my mind. This concept basically refers to a Japanese school of modernism architecture that was active in 1950-60s and asserted that architecture should be renewable as organism capable of metabolism. Although the innovative forms of their works have led to rigid results, the concept is still charming, for it goes beyond some certain style or form, and suggests that designing aims at not only a limited result but a process and a system.

▽ 部分草图,some of the sketches

030-Small home hiding a Cui Linglong by Wang Tiantian and Luo Yaqin

翠玲珑为这个家提供了一个有趣的开始,木构体系为这个家提供了一套形式语言、一个框架,过程中,设计慢慢变得像是画一幅素描,不断地在原有的基础上修改叠加,最后成了一副充满痕迹的作品,一副永远画不完的画,最后的成果在一定程度上也偏移了作者最初的想象。

很久以前看过葡萄牙建筑师西扎的一部纪录片,记得他说他很讨厌建筑完成的那一刻,我们也有类似的感觉, 我们不希望一个设计的完成是某种现有风格的完成,我们希望设计一直在进行,因为生活一直在变化,我们对生活的理解也一直在改变。

The abstract Cui Linglong provided an attracting start for constructing our home, and the wooden system, a set of form language. In the process, to design becomes like to sketch, for both involve continually modifications overlapping the present works and finally turn out to be full of traces, a never-finished drawing, and such everlasting project will inevitably deviate from the original envision of the author.

As regards this, our opinion is similar to the Portuguese architect Alvaro Siza’s comment in a documentary that he dislikes the moment when a building’s finished, for we hope that our design will always be in progress and never a finished product of some already existing style, because life is always changing, and so do our understandings of it.

005-Small home hiding a Cui Linglong by Wang Tiantian and Luo Yaqin

016-Small home hiding a Cui Linglong by Wang Tiantian and Luo Yaqin

017-Small home hiding a Cui Linglong by Wang Tiantian and Luo Yaqin

010-Small-home-hiding-a-Cui-Linglong-by-Wang-Tiantian-and-Luo-Yaqin

▽ 平面图,plan

033-Small home hiding a Cui Linglong by Wang Tiantian and Luo Yaqin

▽ 剖面图,section

035-Small home hiding a Cui Linglong by Wang Tiantian and Luo Yaqin

项目地点:杭州
面积:78.3m2
建筑师:王田田、罗雅琴
工匠:徐朋才、程军等
摄影:夏至
翻译:滑琪

Location: Hangzhou
Area: 78.3m2
Architects: Wang Tiantian, Luo Yaqin
Craftsman: Xu Pengcai, Chen Jun…
Photographer: Xia Zhi
Translator: Hua Qi

MORE: 王田田 Wang Tiantian 更多关于他Wang Tiantian on gooood



发表评论

32 评论

  1. 在不可变的密集框架之下,貌似有一些无力的可变小动作,本身就是很矛盾的。窃以为不是个很成熟的设计,居家空间要想和园林搭上边,没有个几百上千平米来浪费,最后的结果必定是失败的。

  2. 类似密斯的流动空间?感觉元素太密集有点削弱了空间感。。。

  3. 想法超级赞 不过。。。。。。。。

  4. Profile photo of Chen Ping

    很好的尝试,有点让我想起王澍在自家造园的故事。可惜住宅毕竟不是园林,限制太多。看翠玲珑的平面图可知,三个房子以转角相连,狭窄的通道和宽敞的室内让空间形成了松紧节奏,但是转译到住宅中,受户型所限,从入口到饭厅的第一个转折勉强有这种松紧节奏,代价是一进门时映入眼帘的是父母卧室的门,不能算是太好的景观;第二个转折,从饭厅到工作室的通道太宽了,两个空间几乎已经连成了一个空间,松紧节奏几乎消失,可谓遗憾。再者,翠玲珑之所以“玲珑”,房子周围的竹林和树木功不可没,树影通过窗格映入室内,带给人玲珑剔透之感,而这一特性在住宅中很难体现,木框架后面的实墙堵死了空间,让原本应该增强空间深度的木框架变成了纯粹的装饰。还是那句话,住宅毕竟不是园林啊,虽然很努力地去转译了,但仍有无法克服的局限。
    很多评论在批评设计的实用性和舒适性,我觉得倒不必,这个设计最重要的价值在于其概念性,实用性并不是第一位的,不必苛求,在概念的转化上,这个设计是很到位的,尽管受限于条件,转化并不完美,但仍然是一次有趣的尝试。

  5. 以为是餐厅的设计
    作为住家 还是感觉吊顶复杂了点 整个建筑面积不大 但是框架感觉东西好细碎啊
    不晓得真实的住进去的感受如何

  6. 大面积的使用裸露的木色会不会使人感到压抑,这其实不是木头的本色啊,它是树木剥了皮的颜色啊。

  7. 千万不要让文艺青年做居家设计

  8. 居家有点过于压抑

  9. 个人认为设计师很有想法,但是就居家来说,感觉太过于零碎,如坐针毡,难以长久。

  10. Profile photo of henry

    本来交错的木架就有笼子的感觉 还缺少了严格的秩序 墙面和顶棚开启的柜门增加了凌乱感 墙面与地面、顶棚交接的秩序性不完整 室内的完成度其实还是归结到建造与节点的品质

  11. 没地方葛优躺~就像前面的评论,做工作室挺好,做“家”神经会一直绷着吧~

  12. Profile Photo

    感觉做成工作室会很有感觉

  13. 看到木结构突然想到生活上的问题…搞卫生的时候木结构那么多的突出…这工作量,感觉还是不太适合家居,工作室就还好

  14. 这个跟翠玲珑有关系吗?

  15. Profile photo of 董化一

    很喜欢天花,正好在研究新工作是的装修,这个天花跟我们想要的效果很接近

  16. 天花能打开,但是开一次得画多长时间啊?
    文中说是3间又是一间,但实际上还是有功能分区,没有墙隔开就是融合吗?
    觉得形式大于实用了。

  17. Profile photo of monisung
  18. Profile photo of 邹一帆

    来给琴姑凉攒攒人气:)

  19. Profile photo of Kahn

    冒昧的问一下,能不能再合适的时候可以参观一下,对空间非常好奇。

  20. Profile photo of 李黎
  21. Profile photo of 薛嵩

    原来以前看到的云梯就是他们做的

  22. Profile photo of YEYUPING

    做成工作室,不错

  23. Profile photo of SEVEN

    木构看着真是闹眼睛,“既可以看作3个小房间,又可以看作1个连续的大房间”……

  24. Profile Photo

    消防怎么处理的?

  25. 创意不错,做办公室不错。家有点憋屈,密集恐惧症容易紧张。

  26. 从云梯开始关注王田田,希望能看到更有才气的作品

  27. 想法很好,效果也不错,不过看上去蛮脆弱的,而且吊顶的使用蛮不方便的,储藏空间有点牵强。五各面都是木条框架给人空间孤立的感觉,至少我是这样的…..

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