Shapeshifter OPA

2018-09-11 13:00

 Courtesy of OPARCH

对奥帕奇的礼遇

架构师提供的文本描述。两位艺术收藏家和交易商专门从事美国西部的当代艺术和艺术，他们决定从雷诺郊外干旱的沙漠搬到一个不那么偏僻的地方俯瞰这座城市。他们想要一座既能反映当代时代，又能体现西方的房子。这个新的地点坐落在一个老牌社区的悬崖上，远远望去沙漠的山脉，但其他方面却没有提供什么其他的灵感。我们一起凝视着光秃秃的群山，决定把沙漠看作一个真实的环境，以及它在文化想象中的矛盾角色。

Text description provided by the architects. Two art collectors and dealers specializing in contemporary art and art of the American West decided to move from the arid high desert outside of Reno to a less remote site overlooking the city. They wanted a house that would both reflect the contemporary moment and be explicit of the West. The new site, a large lot located on a bluff in an established neighborhood, gazes off at the desert mountains in the distance, but otherwise offered little other inspiration. We joined the site in gazing off at the bare mountains and decided to think about the desert as a real environment as well as its ambivalent role in the cultural imaginary.

Text description provided by the architects. Two art collectors and dealers specializing in contemporary art and art of the American West decided to move from the arid high desert outside of Reno to a less remote site overlooking the city. They wanted a house that would both reflect the contemporary moment and be explicit of the West. The new site, a large lot located on a bluff in an established neighborhood, gazes off at the desert mountains in the distance, but otherwise offered little other inspiration. We joined the site in gazing off at the bare mountains and decided to think about the desert as a real environment as well as its ambivalent role in the cultural imaginary.

 Courtesy of OPARCH

对奥帕奇的礼遇

 Floor Plans

平面图

 Courtesy of OPARCH

对奥帕奇的礼遇

美国沙漠有被理解为缺乏、空虚或其他地方的历史。沙漠被设计成一片荒芜的荒地，一种“没有地方”，被指定为完美的试验场，是所有类型的实验-军事、科学和社会-的场所。沙漠本身很少被看到，而不是充当各种投射幻想的镜子：荒野、边疆和异国。长期的变化无常，它是一个沙箱，改变形式，以适应用户的想象力，一个矛盾和不确定的空间。

The American desert has a history of being understood as a place of lack, emptiness, or otherness. Framed as a barren wasteland, a kind of ‘no place’, the desert has been appointed the perfect test site, a place for all genres of experimentation – military, scientific, and social. The desert is rarely seen for itself, instead of acting as a mirror for various projected fantasies: wilderness, frontier, and heterotopia. Enduringly mercurial, it is a sandbox that changes forms to fit the imaginations of the user, a space of ambivalence and uncertainty.

The American desert has a history of being understood as a place of lack, emptiness, or otherness. Framed as a barren wasteland, a kind of ‘no place’, the desert has been appointed the perfect test site, a place for all genres of experimentation – military, scientific, and social. The desert is rarely seen for itself, instead of acting as a mirror for various projected fantasies: wilderness, frontier, and heterotopia. Enduringly mercurial, it is a sandbox that changes forms to fit the imaginations of the user, a space of ambivalence and uncertainty.

 Courtesy of OPARCH

对奥帕奇的礼遇

在我们的例子中，这片平坦而空旷的土地变成了一个试验场，以恢复大盆地沙漠的生态，使之成为雷诺(Reno)的普通扩张。沙漠塑造了这个项目，它既是一个特定的环境，也是一个想法。我们认为沙漠的回归是被压迫者的回归，这是一个有弹性的土地，漂流和涌动，形成景观和住所。该项目以沙漠为卓越的变形者，首先将地面视为一种液体物质，允许不同的形态出现，然后闪烁或溶解成其他形式。

In our case, the flat, empty lot became a test site to reinstate the ecology of the Great Basin Desert into the generic sprawl of Reno. The desert shapes the project both as a specific environment and as an idea. We see the return of the desert as the return of the repressed, a resilient ground that drifts and surges to form both landscape and shelter. Invoking the desert as a shapeshifter par excellence, the project began by treating the ground as a fluid material that allows different forms to emerge, then flicker or dissolve into other forms.

In our case, the flat, empty lot became a test site to reinstate the ecology of the Great Basin Desert into the generic sprawl of Reno. The desert shapes the project both as a specific environment and as an idea. We see the return of the desert as the return of the repressed, a resilient ground that drifts and surges to form both landscape and shelter. Invoking the desert as a shapeshifter par excellence, the project began by treating the ground as a fluid material that allows different forms to emerge, then flicker or dissolve into other forms.

 Courtesy of OPARCH

对奥帕奇的礼遇

变形人通过把地面看作是一种变化无常的、变化无常的物质，一种未被开发的无意识来探索滑的形态。受沙漠地形的启发，我们将遗址重塑为背斜、向斜、沙丘和井喷，并逐渐形成了随地形而生的房屋形式。然后我们把最初认为是软形式的东西硬化成一个由平面组成的规则网格。每个边都是完全共享的：在另一个边的中间没有边终止。这导致空间的流动，支持极端的差异，没有间断。

Shapeshifter explores slippery form by seeing the ground as a mutable, protean material, an untapped unconscious. Inspired by desert topography, we reshaped the site into anticlines and synclines, dunes and blowouts, and gradually the form of the house emerged with the terrain. Then we hardened what was initially conceived of as a soft form into a regular mesh composed of planar faces. Every edge is entirely shared: no edges terminate in the middle of another edge. This results in a flow of space that supports extreme difference without discontinuities.

Shapeshifter explores slippery form by seeing the ground as a mutable, protean material, an untapped unconscious. Inspired by desert topography, we reshaped the site into anticlines and synclines, dunes and blowouts, and gradually the form of the house emerged with the terrain. Then we hardened what was initially conceived of as a soft form into a regular mesh composed of planar faces. Every edge is entirely shared: no edges terminate in the middle of another edge. This results in a flow of space that supports extreme difference without discontinuities.

房屋的元素相互滑动，相互移动的关系，分裂的对称性，局部的轴，和嵌入的平行。从拓扑上看，房子在空间上很滑，是一个扭曲的环面，有几个二次和三次气泡的空间。当地的植物-草本植物、沙漠灌木丛和野花-充斥着这片土地。沙漠开始在城市内部重新出现-也许它会蔓延开来。历史上，景观形式被允许比建筑更放松，但在这种情况下，景观让建筑意识到两者是分不开的：另一个沙漠幻影。

Elements of the house slide into each other with shifting relationships of fractured symmetries, local axes, and embedded parallelisms. Topologically, the house is spatially slippery, a twisted torus with several secondary and tertiary bubbles of space. The landscape is populated by native plants – grasses, desert scrub, and wildflowers.  The desert begins to reassert itself within the city – maybe it will spread. Historically, landscape form has been allowed to be more relaxed than architecture, but in this case, landscape informs the architecture to the point that the two are inextricable: another desert mirage.

Elements of the house slide into each other with shifting relationships of fractured symmetries, local axes, and embedded parallelisms. Topologically, the house is spatially slippery, a twisted torus with several secondary and tertiary bubbles of space. The landscape is populated by native plants – grasses, desert scrub, and wildflowers.  The desert begins to reassert itself within the city – maybe it will spread. Historically, landscape form has been allowed to be more relaxed than architecture, but in this case, landscape informs the architecture to the point that the two are inextricable: another desert mirage.