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  • 留云草堂-許宏泉工作室設計

    • 建筑類型: 居住建筑
    • 建筑規模:1200㎡
    • 設計內容: ——
    • 項目地點:北京 懷柔區
    • 設計周期: 2016 -2016

    留云草堂-許宏泉工作室 —京郊的另一種藝術棲居


    Hall within cloud-Art studio of Xu Hongquan

    ---Artistic living in suburban of Beijing



    許宏泉老師是位畫家,也是個既會書法,又會寫書,又擅長文學評論的文人。在今年夏天許老師經人介紹找到我們,給他做這個懷柔橋附近的廠房改造。改造成他的工作室,也是他未來的家:留云草堂。


    Mr.XU Hongquan is painter, and a literati who is good at writing books, calligraphy, literary review as well. Mr. Xu found us through friends this summer, to make this reconstruction of the old factory building, which will be used as his studio and home in future: Hall within the Cloud.


    通過和許老師的交談,我們明晰了工作室的基本功能,無非就是工作室,茶室,臥室,書房等典型的藝術家工作室的配置?;匾彩堑湫偷臈l狀坡屋頂磚砌廠房,之前作為工廠辦公樓使用。廠房高度約6米,屋頂為三角形鋼桁架結構,整體保存狀況良好。對于我們來說,項目的特別之處在于,許老師是同時受過東西方教育熏陶的文人,他既在大學里和年輕的孩子們一起搞藝術評論,美術史研究。又先后師從羅積葉、黃葉村、石谷風先生研習書畫和美術史。所以他不是一個“傳統”的畫家,因為他不僅僅畫畫,他的文名甚至會蓋過畫名。但他骨子里又是個傳統文人,默默堅守著中國傳統文化里的文人氣質和精神世界的生活。

     

    Through conversation with Mr. Xu, we clarify the basic function of the studio, which is studio, tea room, bedroom, study room, etc. The typical configuration of an artistic studio. The site is also a typical linear brick factory with slope roof, which was used as factory office before. The height of the building is about six meters, with the triangular steel roof truss structure, overall keep in good condition. For us, what unique about the project is, Mr. Xu is trained in eastern and western education at the same time, he is taking art comments and art history research in college together with young students,. And also had successively studied from Lou Jiye, Huang Yecun, Shi Gufeng about calligraphy, painting and art history. So he is not a "traditional" painter, because he is not only drawing, His literary achievements is even above drawing. However, he is also a traditional literati, who keeps lifestyle in spirit of Chinese traditional culture.


    我們發現他在功能的需求上,點明了需要一個油畫室,還需要一個國畫室。兩個分開的不同氛圍和場景的畫室。我們在這份獨特的任務要求中,找到了我們的切入點:透視,這個典型的東西方繪畫最大的不同點之處。


    We find his demand on functions for an oil painting room, and a traditional painting room as well. Two separate studios with different atmosphere and scenario. In this unique mission requirement, we find our entry point: Perspective, the biggest difference between east and west painter art.


    順著這個透視的線索,我們設計了一種嵌套式的生活場景。通過一系列心理分析。我們提出了一個藝術家的心理空間圖示。在這個圖示中,我們將人最基本的睡眠,飲食等生理需要放在中心位置,中間一層為會客,展示等社交需要,最外面一層為畫家最重要內心的藝術追求與需求。如果將這個心理空間關系直接投射到建筑空間的布局上,我們可以創造出一個嵌套遞進的空間結構。通過房間角部的出口,人們從一個房間進入另一個房間,通過每個角部的開口,形成一條貫穿建筑的視覺通廊。因為這種嵌套式的平面布局,每一層的空間都包裹著另一層,到達一層空間需要穿越另一層空間,它們當中發生的事情都被另一層影響和觀看,也同時徹底消滅了走廊的概念。


    Follow this perspective clue, we designed a nested life scenario. Through a series of psychological analysis. We propose an artist's psychological space diagram. In this chart, we put sleep, diet and other most basic physical need in center position, reception, exhibition these social needs in the middle layer, the outermost layer as the painter's most important art pursuit and demand. If the psychological space relationship directly projected on the layout of architectural space, we can just create a nested progressive space structure. Through the corner of room export, people enter from one room to another, through the open of every corner, form a visual corridors through buildings. Because this kind of nested layout, space of each layer are wrapped in another layer, reach one layer space needs get through another one, Space events in each layer are affected and watched by another layer, this is also thoroughly eliminated the element of the corridor.

     

    這種空間不免讓我們聯想到傳統水墨畫中的場景,如宋朝畫家周文矩的《重屏會棋圖》,四個男性圍成一圈下棋或觀弈,在他們后方有一扇屏風,屏風中又畫著一個人在一扇屏風前的榻上被幾人服侍。而第一扇屏風上的這幅場景的透視角度使人看起來就和前方會棋的幾人處在一個空間內,使人難以分辨屏風到底是一幅畫還是空間的一個門框。有趣的是,這幅《重屏會棋圖》最初也是裱在一扇屏風上面。這樣就形成了畫中之畫,框中之框的三層嵌套關系,無法分清那個是真實空間,哪個是再現的想象空間,形成了“重屏”的效果。


    This space may let us think of traditional ink painting scenario, such as painting < play chess in multiple screen>from Zhou Wenju in Song dynasty, four men in a circle to play chess. There is a screen behind them, In the screen which shows a person in front of another screen on the couch served by a few servants. This perspective on screen makes people feel like they are in the same space with play chess in front,which makes it difficult to distinguish the screen definitely is a picture or just a real door frame in space. It is interesting to note that the< play chess in multiple interfaces > originally is also mounted on a screen. Thus formed three layers of nested relations about the painting of the painting, box in box, impossible to distinguish which is the real space, which is the reappearance imagination space, a effect " multiple screen".

     

    我們的這種空間布局也是意欲再現這種“重屏”之境。


    Our this kind of space layout is also intended to reproduce the " multiple screen".

     

    由于廠房的周圍被大量林地包圍,許老師希望能把臥室和書房搬到二層,這樣就能欣賞到窗外美景。于是我們原本希望在廠房內部解決改造的希望就被打破了。在這個改變之下,我們希望在加高的部分植入新的秩序來回應新的需求,我們采取了變坡的處理方式。一方面是因為高起的二層沒必要再采用坡屋頂,這樣會讓高度過高,顯得突兀。同時無法讓加建部分和原有廠房歷史形成某種區分和對話關系。透視的主題也由這個外在的形式暗示擴展到了二層。另一方面,我們也覺得通過變坡的方式是對傳統意境的一種轉譯,我們想象著在雨中,雨水落在由緩及陡的屋頂上,自由落水的灑向院子。借由著這個坡屋頂,搭建出一個水與重力表演的舞臺。這個坡頂,一開始我們打算做成一個純粹的雙曲面,但是限于廠家工藝和造價的限制,最終我們選擇了分段折面的屋頂形式,期間為了保證工藝還做了一次一比一的構造試驗,最終完成了這次有意義的從理想到現實的建構“翻譯”。


    Due to the site is surrounded by a lot of forest land, Mr. Xu hopes to move the bedroom and study to second floor, so that the beautiful scenario outside the window can be caught. So our plan which only do the modification inside the factory has been changed. Under this change, we hope to implant new orders to respond new needs, We took the gradient type slope roof as the treatment. On one hand, because of there is no need to use the slope roof, it will let the height too high and abrupt. Meanwhile this can't connect new added parts and the original factory history form into some kinds of distinction and dialogue relations. The perspective theme from the external form which hints that theme extends to the second floor. On the other hand, We also think by changing slope is a translation of traditional artistic conception, we imagine in the rain, raindrops fall on the slow and steep roof, and then gently sprinkled on the yard. Make the slope roof as a water and gravity acting stage. At first we are going to make the top a purely hyperboloid, but as the limitation of manufacturers craft level and cost, we chose the segmented folding roof form finally. In order to ensure construction quality , we also made an 1:1 scale structure test sample before the construction. Finally this meaningful construction from ideal to reality "translation" complete.


    最后,我們在“透視化的平面布局”和“變坡屋頂”之外,就沒再做更多設計上的大動作了,屋外的園林,屋內的大量陳設,墻上的畫作等都是按許老師自己的意愿進行的布置。這種大膽的設計上的取舍幸運的完成了一次很好的設計師和甲方意愿的和諧融合。就像是我們搭好了一個戲臺,又或者說就像是傳統水墨畫的“留白”手法,讓中國傳統文化元素在這里充分的展示。許老師帶著他的學生和朋友們在設計的整個過程中都深度參與,在工作室建成以后,還要陸續的辦昆曲的游園驚夢等藝術活動。就在剛剛竣工完的一次試唱過程中,我們就領略到了昆曲的歌聲在整個高敞的工作室空間里回蕩的震撼場面。


    Finally, In addition to "the perspective of layout" and "changing slope roof", We didn't do more big actions during the design, how to treat the outdoor garden, a large number of display interior, the painting on the wall, they all according to Mr. Xu’s wishes. This bold design decision finally make a good harmonious fusion from designers and customer’s will luckily. Our design is like a stage set, or like "white space" of traditional ink painting technique, make the Chinese traditional culture elements in full display here. Mr. Xu with his students and friends involved in the whole process deeply, after completion of the construction, they will start to do art activities such as kunqu opera the Pony Pavilion. In a demo perform finished complete, we appreciated the shocking scenario of kunqu opera song in the high open studio space.


    走進剛剛完成的工作室里,我們都能想象出接下來冬夜的雪中看湖;明年的夏日暖陽下,許老師和朋友們在茶室品茶聽琴;在大畫室搖椅上搖曳,蛐蛐鳴叫的一系列動人場景了。


    Walking Into the studio which has just completed, We can imagine to watch the lake and snow in next winter; and Mr. Xu and his friends listen to zither in a teahouse next summer under the warmsun; and in the big studio rocking chair with Cricket chirping, a series of touching scene.
























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