© Shamanth Patil J

Shamanth Patil J

架构师提供的文本描述。一对年轻夫妇和他们的两个孩子，来自印度南部沿海城市曼加洛尔，来到我们这里设计他们的家。简短的是建造一座干净的现代住宅。帕迪瓦尔住宅是一座位于贝尔高姆南部的私人住宅，位于格里迪伦社区，街道向北向南延伸。场地为长方形，西面有一条80英尺长的主干道。

Text description provided by the architects. A young couple and their 2 children, originally from Mangalore, a coastal city of south India, approached us to design their home. The brief was to build a clean modern contemporary house. Padival house is a private dwelling located in the south of Belgaum in a gridiron neighborhood with the streets running north-south. The site is rectangular, west facing with an 80 feet major road.

 Sketch / Section

草图/科

在曼加洛尔，庭院是传统住宅不可分割的一部分。我们选择生动地反映一个庭院的记忆，在城市环境中将乡土风格重新写成一所房子。该程序是组织在四合院周围的空间隔间，根据他们的功能，他们被设计为服务。这些隔间中的每一个都进一步演化为原始几何质量。这个想法是要创造出一种更纯粹的建筑形式-将建筑从它的非本质中剥离出来，只简化为它的基本元素和空间本身所唤起的感觉。

In Mangalore, the courtyard was an integral part of a traditional house. We chose to vividly reflect the memories of a courtyard, readapting the vernacular typology to a house in an urban context. The program is organized into spatial compartments around the courtyard based on the function they are designed to serve. Each of these compartments further evolves into primordial geometric masses. The idea was to create a more pure form of architecture - of architecture stripped of its non-essentials, reduced only to its basic elements and the feelings that the space itself evokes.

 © Shamanth Patil J

Shamanth Patil J

[医]结论性角

Hortus conclusus

“内外，天地汇合在封闭的花园里。可以说，这座建筑是从地球的质量中建立起来的，花园就是其中的一个洞。天空的无边无际的空间穿透了花园，吸收了它。“

“Inside and outside, earth and heaven converge in the enclosed garden. The building is, so to speak, erected out of the mass of the earth, with the garden a cavity in that mass. The boundless space of the sky penetrates the garden and absorbs it. “

阿本河

Aben, R., & De Wit, S. (1999). The Enclosed Garden, 10-11. Rotterdam: 010

 © Shamanth Patil J

Shamanth Patil J

入口大厅通向一边的庭院，另一边的居住空间。居住空间，一层半的楼层高度，当它流入庭院时，会减小到单层的高度，从而在一楼形成一个图书馆空间，向一边看庭院，另一边看居住空间。从居住到其他私人功能的房子是通过良好的照明就餐区。这条河完成了油门地板的无缝连接，生活和餐饮空间到庭院。

The entrance lobby leads to the courtyard on one side and the living space on the other. The living space, a floor height of one-and–a-half storey, diminishes to single storey height as it flows into the courtyard, and thus resulting in a Library space on the first floor which looks into the courtyard on one side and the living space on the other. The transition from the living to other private functions of the house is through the well-lit dining area. The river finish tandoor flooring seamlessly connects the living and dining spaces to the courtyard.

 Sketch / Section

草图/科

祭坛是一个漂浮在空中的空间。从外部看，质量故意与客厅墙壁断开，给人一种从内部滑出的漂浮立方体的印象。降低的地板高度和牧师窗口唤起了一种神秘的感觉。从圣坛通往图书馆和家庭空间的楼梯。客厅的一层半层高，在图书馆留下了一扇牧师窗，展示了庭院和客厅露台之间的对话。庭院周围私人空间的墙壁保持在很低的位置，玻璃继续接触天花板。因此，庭院流入卧室，模糊了庭院的边界，同时与房子的内部空间建立了联系。空间策略的目的是在视觉上连接空间，以便有一种交流的感觉。混凝土天花板暴露在外面，以增加一种非正式的感觉，而不是光滑的白色抹灰墙。

The Altar is a space floating in the air. Externally, the mass deliberately disconnects from the living room wall, giving an impression of a floating cube sliding out from within. The reduced floor height and the clerestory window invokes a mystical feeling. Stairs from the Altar lead to the Library and the family spaces. The one-and-a-half storey height of the living room leaves a clerestory window in the library exhibiting a dialogue between the courtyard and the terrace of the living room. The walls of the private spaces around the courtyard are kept low with glass continuing to touch the ceiling. The courtyard thus flows into the bedrooms, blurring the boundaries of the courtyard while establishing a connection with the internal spaces of the house. The spatial strategy is designed to visually connect spaces to allow a sense of communication. The concrete ceiling is left exposed to add a sense of informality in contrast to the smooth white plastered walls. 

 © Shamanth Patil J

Shamanth Patil J

一段日光浴的楼梯从家庭房间通向“Barsati”，通过半开放的阳台进入客厅的露台。“Barsati”还充当了为客户通常举办的露台派对提供服务的储藏室。

A flight of sunbathed stairs from the family room lead to the ‘Barsati’ which transitions into the living room terrace through a semi open verandah. The ‘Barsati’ also acts as a pantry to serve for the terrace parties that the client usually hosts.

“太阳直到房间建成后才意识到它有多美妙。”-路易斯·卡恩

“The Sun does not realize how wonderful it is until after a room is made.” - Louis Kahn

 © Shamanth Patil J

Shamanth Patil J

光线通过战略性的开窗进入建筑物，在某些地方接触屋顶，使视野畅通无阻地流向外部。在家庭空间中，庭院和楼梯上方的天窗显示出一种微妙的、永恒的光和影子的作用，这两种主要的光井创造了高度的秩序感和视觉印象。光作为一种建筑材料是精心雕刻的，以确定空间及其功能。随着阳光在一天中的变化，阴影使空间充满活力，并在所有季节不断变化。对空间的感知取决于一个人相对于轻型井所站的位置。

Light percolates into the building through strategically placed fenestration, in some places touching the roof, allowing an unobstructed flow of view to the outside. Two major light wells, the courtyard and the skylight above the stairs in the family space display a subtle, perpetual play of light and shadow creating a high sense of order and visual impression. Light as a building material is sculpted carefully to define spaces and their functionalities. As the sunlight changes throughout the day, the shadows make the space dynamic and ever-changing across all seasons. The perception of space varies depending on where one is standing in relation to the light wells.

 © Shamanth Patil J

Shamanth Patil J

艺术家的灵感

Inspiration from the artist

内饰和家具设计深受当代印度艺术家SHRaza的启发。他对颜色、线条、空间和光线的态度，他的绘画中的几何形状，都揭示了对情感的更深层的理解。混凝土、白色灰泥、黄铜、木材和天然石材成为内部的调色板。绘画的抽象"Tanava"在地板上，用彩色石头装饰客厅。它上升到第三维度，漂浮的金字塔凳子和咖啡桌以和谐的方式设置。庭院天窗形成的阴影凭经验重新诠释了拉扎画的图案。图书馆里的三角书架，每当太阳使墙壁落在后面时，就会沉溺于与灯光的友好对话中。这幅画，"白色十字"在木头上雕刻，形成衣柜，增加了卧室内部的温暖。

The interiors and furniture designs are heavily inspired by contemporary Indian artist SH Raza. His approach to color, line, space and light, the geometries in his paintings, all reveal a deeper understanding of emotions. Concrete, white plaster, brass, wood and natural stone became the color palette for the interiors. An abstraction of the painting ‘Tanava’ on the floor using colored stone, adorns the living room. It rises into the third dimension with the floating pyramid stools and coffee table set in harmony. The shadows formed by the courtyard skylight empirically reinterpret the patterns of Raza paintings. The triangular book shelf in the Library, indulges in an amicable conversation with the light each time the sun renders the wall behind. The painting, ‘White crosses’ is sculpted in wood to form the wardrobes adding warmth to the bedroom interiors.

 © Shamanth Patil J

Shamanth Patil J

这座房子是对西太阳作出反应的群众的抽象组成。锐利的阴影随着时间的推移而移动，给正面以生命。复合墙被设计成像织物，非常轻，没有保持成分不受干扰。这所房子试图成为一件艺术品。

The house is an abstract composition of masses responding to the west sun. The sharp shadows move as the day progresses giving life to the facade. The compound wall is designed to resemble a fabric, very light and absent keeping the composition undisturbed. The house attempts to stand as a piece of art.

 © Shamanth Patil J

Shamanth Patil J

Architects Anahata

Location Belagavi, India

Category Houses

Design Team Puneeth Hegde, Mithila Manolkar

Area 2290.0 ft2

Project Year 2017

Photographs Shamanth Patil J

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