© Yuval Hai

(余华海)

架构师提供的文本描述。在这次回顾中，我们希望作为一个论点和独特的方式，我们的建筑规划，以及最终的产品，建筑结构。

Text description provided by the architects. In this review we wish to present as an argument and the unique way of our architectural planning as well as the final product, the built structure.

位于特拉维夫南部地区之一的Ba‘al Haakeda 5号主建筑。这是一个由异族人口组成的社区，来自外国移民、退伍军人家庭、学生和近几年来移民的年轻家庭。这个社区的特点是小建筑，重建速度很快。这座4层的住宅共有1，500平方米，10套公寓单元，3至5间房，一个宽阔的公共露台。

The building in the main Ba'al Haakeda 5, located in one of the southern neighborhoods of Tel Aviv. This is neighborhood composed of a heterogeneous population, from foreign immigrants, veteran families, students and young families who have moved in recent years. The neighborhood is characterized by small buildings and is rebuilt at a rapid pace. This 4 story residential building has a 1,500 m2 in total, with 10 apartments units with 3-5 rooms, a wide open public terrace.

我们的工作是作为建筑-哲学研究的产物，通过建筑媒介，通过独特的规划方法，使处理形状和空间与其形式和文化意义分开。

Our work is presented as a product of Architecture-Philosophy research through the architectural medium, by a unique planning methodology that enables to deal with shapes and spaces separately from their formal and cultural meanings.

 © Yuval Hai

(余华海)

形式没有意义-读诗揭示了一个独特而令人兴奋的世界视角，一个故事或一本书更详细地描述了它。同样，它也适用于二维绘画和三维雕塑.反过来，建筑可以成为利用空间进行研究的媒介，这是一个了解世界的机会。

Form Has No Meaning Reading poetry reveals a unique and exciting perspective on the world, a story or a book describes it in more detail. Similarly, does it for the two-dimensional painting, and the three-dimensional sculpture. Architecture in turn could be the medium to research through the use of space, an opportunity to learn about the world.

 © Yuval Hai

(余华海)

这里所呈现的建筑作品并不是作为“美”或其构成质量的形式标准来设计的。摆在我们面前的基本假设是“形式没有意义”。作为建筑师，我们要为人类的使用和文化创造正式的空间。然而，对形式作为具有文化意义的符号的充分理解，与我们作为创造者的能力相去甚远，对于其存在的城市和文化情结而言，它是极其复杂的。为了不被淹没在无限的解释中，我们试图把“一种形式”作为一种符号来表达。通过这种结构，我们想提出一种方法，在这种方法中，建筑可以揭示关于讨论对象的层次，在讨论对象中，建筑被设计和规划。

The architectural work presented here was not designed as a criterion of Form as "beauty" or its compositional quality. The basic assumption that stands before our eyes is that "Form Has no Meaning". We, as architects, deal with the creation of formal spaces for the human use and culture. However, the full understanding of the forms as symbols of cultural significance is far from our ability as creators, and is immeasurably complex for the urban and cultural complex in which it exists. In order not to get carried away into infinite interpretation, we seek to dichotome "Meaning" an "Form" as a symbol. Through out this structure, we want  to present a methodology, in which architectural can reveals layers about the object of the discussion in which the architectural is deigns and pl

 Ground floor plan

在每一种建筑结构中，独特之处在于物理情节、创业计划和创造性/探究性建筑行为之间的三角相遇。为了处理最小符号形式的唯一性，并证明建筑中形式纯空间的创建是合理的，我们提出了一种独特的方法​​，称为M.O.F.，意序形式。通过这种方式，我们的建筑作品处理的是遵循顺序而不是意义的形式空间。把秩序作为沟通意义和形式的屏障和桥梁。

M.O.F. Methodology In each architectural structure, the uniqueness can be found in the triangular encounter between the physical plot, the entrepreneurial program and the creative / investigating architectural action. In order to process the uniqueness in a minimum of symbolic forms, and to justify the creation of formal pure spaces in architecture, we propose a unique methodology ​​called M.O.F., Meaning-Order-Form. In this way, our architectural work processes the form spaces that follow the Order rather than the Meaning. The use of Order as a barrier and a bridge between Meaning and Form.

 © Yuval Hai

(余华海)

这一区分是在分析了建筑权利和我们从业主那里得到的项目之后做出的。我们发现，“信封”的体积远远大于所要求的建筑权利。结果，我们在底层创造了一个公共空间，一个小阁楼和一个大楼层，我们把这些空间留在了“空中”。事实上，我们可以把“无用”的空间附加到建筑物的几乎每一个地方，这是通过使用M.O.F方法做出的决定。

This distinction was made after the analysis of the building rights and the program that we received from the owners. We discover that the volume of the "envelope" was significantly greater than the requested building rights. As a result we created a public space in the ground floor, a small mezzanine and a large floor, which we stayed "in the air". In fact, we could attach the "useless" spaces to almost every place in the building, this decisions made through the use of M.O.F methodology.

我们在这个情节中发现的独特性创造了这个建筑中的话语主题。主题是“胶体”的概念在建筑中所做的动作。必须澄清的是，这不是经验性研究或实证讨论的方法，而是通过每一个情节和任何独特的建筑作品中存在的建筑行动的凝视，使另一个层面暴露在现实中。在纯建筑的情况下，使用M.O.F方法对“胶体”概念进行了批评和讨论。

The uniqueness which we found in this plot created the subject that was discourse in this architecture building. The subject is the concept of "Colloid" in the architectural action made. It is important to clarify that this is not methodological for empirical research or an attempt at empirical discussion, but to expose an additional layer to reality through the gaze of the architectural action that exists in every plot and in any unique  architectural work. In the case of pure building, has a criticism and discussion of the "Colloid" concept using the M.O.F methodo

 © Yuval Hai

(余华海)

意为“胶体”：描述两种物质之间均匀(均匀)混合物的概念。由单个物质(“分散相”)的微小粒子组成，它们均匀地分布在另一种物质中，其粒子围绕着第一物质粒子(“连续相”)。在这方面，这是两个不同的机构和一个空间之间的区别，使它们在更广阔的空间内稳定下来。所提出的主题是稳定两体之间公共空间中的一个空间，以及它从街道到私人建筑的投影。

Meaning "Colloid": A concept that describes a homogeneous (uniform) mixture between two substances. Consists of tiny particles of a single substance ("scattered phase") that are uniformly distributed in another material whose particles surround the first particles of matter ("continuous phase"). In reference this  is the distinction between two distinct bodies and a space that stabilizes them within a wider space. The subject raised is about the stabilizing one space in the public space between the two bodies, and its projection from the street to the private buil

命令两个正式规则：(1)在“存在”层和“不存在”分层建筑开放空间之间，在不同的公共级别创建一个空间组合。(2)在公共领域建立范围。事实上，许多表格草图都是按照订单规则制作的。我们指的是草图和视频，其中形式的首选。

Order Two formal rules: (1) Create a spatial mix between "existent" layers,  and " non existent" layered construction open spaces at various public levels. (2) creating a range in the public sphere. Form In fact, dozens of form sketchs have been made that comply with the Order rules. We refer to sketches and a video in which forms of the preferred op

 © Yuval Hai

(余华海)

这些形式的建筑处理使我们讨论了胶体的中心成分，不仅是在私人和公众之间的极点，而且在保持两极和区分两者之间的关系范围内。这是公共空间的组成部分，它发生在建筑物中的“存在”空间和“不存在”空间之间的各种可能性中。

Architectural processing of the Forms led us to discuss the central component of colloid, not only at the pole between the private and the public, but in the range of relations that holds both poles and distinguishes between them. This is the component of the public space, which takes place in a wide range of possibilities between the " existent" spaces in the building and the "non existent" spaces.

 Second floor plan

二层平面图

我们得出了几个结论。第一，“不存在”部分统一并稳定了“存在”的私人空间。这一组成部分出现在几个正式的层次上，并在街道上广泛的公共结构中找到。这座建筑的主要组成部分在公共空间中产生共鸣，并通过在底层减去并连接到他的城市周围来创建结构。一种在邻里尺度上保留第一层的结构分区。在同一高度的相邻建筑物上放置底层的决定。这一要素的运动是从街道的开放入口和技术空间开始的，一直到阁楼的公共空间，最后是以面向街道的框架和纪念碑门廊为标志的公共空间。

We reached several conclusions. The first is that the " non existent" component unites and stabilizes the private spaces of the "existent". This component is found in several formal levels, and in a wide range of public structures in the street. The main component of this building resonates in the public space and creates the structure by subtraction on the ground floor, and connecting to his urban surrounding. A structural division that preserves the first floor in the neighborhood scale. The decision to place the ground floor in relation to adjacent buildings of the same height. The movement of this element takes place from the open entrance to the street and to the technical spaces, continues to the public space on the mezzanine floor, and ends in the public space marked by the framed and monumental porch facing the street.

在建筑中所做的大部分建筑工作是在讨论“胶体”时强调建筑的结论。例如，在入口处放置三根细柱子的决定是为了强调街道和入口大厅，以及分开的地板。以及选择覆盖公共空间墙壁，以相同的色调，颜色和材料，在街道上。另一个例子是，在阁楼的后部只放置一套公寓，与阳台上的玻璃相比，在那里选择水平栏杆来区分公共空间。应该指出的是，在整个规划和建设过程中，在不同级别(照明、开口和框架)作出了许多其他决定，但不可能在此列出这些决定。

Much of the architectural work done in the building was to highlight architectural conclusions in the discussion about "Colloid". For example, the decision to place three thin pillars at the entrance was made to emphasize the street and the entrance hall, and together with the split floor. As well as the choice of covering the public space walls in the same toning colors and materials as in the street. Another example is placing only one apartment in the rear of mezzanine floor, and choosing the horizontal railings there, compared with the glass in the upper balcony, to do a distinction of public spaces. It should be noted that there are many other decisions at different levels (lighting, openings and frames) that are made throughout the planning and Construction, but it is not possible to list them al here.

最后，对建筑规划过程的描述强调了建筑创建的独特方式，它展示了我们作为建筑师也可以研究世界的经验。这是一个大胆的步骤，通过这种方法，人们可以“思考不可想象的事情”(Deleuze)。

In conclusion, the description of the architecture planning process emphasized the unique way in which the building was created, one that presents our experience as architects who can also research the world. This is a bold step that present methodology through which one can "Think the unthinkable" (Deleuze & Guattari, A thousand plateaus).

Architects Toam Architecture

Location Tel Aviv-Yafo, Israel

Lead Architects Assaf Asherov, Asher Aharoni

Area 1500.0 m2

Project Year 2017

Photographs Yuval Hai

Category Houses

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