Deep³ Courtyard SU Architects

 © Su Architects

(三)苏建筑师

架构师提供的文本描述。项目地点位于长江以南地区，是中国传统景观艺术的祖国。建筑师以反映现代建筑技术和生活舒适性为目的，试图探讨如何满足那些真正珍惜中国传统文化的中国人的精神需求，让他们从喧嚣的世界中退休。因此，在现有的狭长场地上，建筑师有意通过空间的战略转换和构成，扩大纵向流通规模、景观、甚至时间线，形成了一种宽深度空间格局。本项目的建筑原型来源于通常由木梁构成的中国三位一体的名为“亭”的建筑陈列馆元素，该工程以钢结构体系为基础，以木梁形式弯曲结构体系。巨大的悬空屋顶将建筑的边界延伸到庭院和花园中。最后，这个项目产生了一个结果，一个花园房子有三个不同层次的深层空间，深邃的庭院。

Text description provided by the architects. The site of project locates in the region south of Yangtze River, this region is the motherland of Chinese triditional landscape art. The Architect aims to reflect the modern construction technology and living comfort, though this project trying to discuss about how to satisfy the spiritual needs for those Chinese who still really treasured Chinese trditional Cultures of living and abandoning themselves to the nature, to be retired from the noisy world. Therefore, on the existing long and narrow site, architect purposely enlarged the longitudinal scale of circulation, scenic views and even timeline though the strategic transition and composition of spaces, in order to form a spacial pattern of wide depth spaces.The architectural archetype of this project originates from the triditional Chinese architectual pavillion element named "Ting", which normally constructed from wooden beams, this project was constructed from steel structural system, as bending structural system as wooden beams. The huge overhanging roofs extend the boundaries of architecture into the courtyard and gardens. Finally, this project delivered a consequence that a garden house with three different hierarchies of deep depth spaces, deep³ courtyard.

 © ShengLiang Su

(三)升良苏

序言层次第一深度

Preface_ Hierarchy First _ Deep¹

在江南地区创造美丽的私家园林，一直是一种传统，唯一不同的是，园林大师的角色发生了变化。他们不是旧社会的文人，而是与整个社会有着多亲属关系的现代同工。作为客户，他们对园林的需求不再是私人游览风景名胜区，而是恢复了原来的简单性。因此，“深三院宣言”为中国古语“回归自然”提供了一种媒介，将现实与理想主义的追求联系起来。

There was always a tradition of creating beautiful Private Gardens in regions south of the Yangtze River。The tradition was kept, only difference is that the characters of Garden masters are changed. They are not as the literati in the old times that only abandoned themselves to the Nature, but also the modern co-workers having multi-relatives with the whole society. As the clients, their requirements for gardens are not making private tour of scenic spots any more, but recover their original simplicity. So the manifesto of Deep³courtyard is giving a media for the old Chinese saying “living back into nature” to relate the reality and the idealist pursue.

 © ShengLiang Su

(三)升良苏

[模式]层次二次DEEP 2

【Pattern】_ Hierarchy Second _ Deep2

特别是场地规划，起点不是实心空间的集中布局，而是空间的空隙。“虚空”指的是风景优美，也有功能，可以是庭院，也可以是建筑的一部分。“空隙”是场地组织的基本单位，根据使用要求在场地内插入不同的空隙，然后将内部和外部的边界隔开在每一个“空隙”中。最后，我们提出了四个建筑单元和十个不同规模和形状的小庭院。

In particular site planning, the start point is not the solid spaces massing layout, but void spaces. “Void” means scenic and also functional, it could be courtyard or part of architecture. “Void” is the basic unit of site organization, different void spaces would be insert in site based on using demands, then separated the boundaries of inside and outside in every “void”. Finally, we figure out four architecture units and ten small courtyard with different scales and shapes.

 © Su Architects

(三)苏建筑师

整个建筑由多个庭院组成，这些庭院覆盖在纵轴上。庭院空间格局主要有三层，第一层是入口、大堂和客厅的功能层。这第一层是为他的日常生活为一百岁的老人设计的。考虑到他的方便，设计师把他的生活功能空间放在了第一层。同时，从内到外采用连续的纵向墙将起居室和卧室隔开。为了强调这种分离，建筑聚合也遵循了这种变化。

The whole architecture consists of multiple courtyards that overlaid through the longitudinal axis. There are three main layers of the courtyard spatial pattern, first layer is functionally for entry, lobby and living room. This first layer was designed for a hundred years elder for his daily living. Considering for his convenience, designer placed his living function spaces in first layer. In the meanwhile, using a continued longitudinal wall from inside till outside to separate the living-room and bedroom. In order to emphasis this separation, architectural massing also followed this variation.

在第二层，以水塘为核心空间，周围是私人起居室。它被从第一层开始的“T”形开口分开。这个开口的上部用木栅空心来呈现无形的结构梁。在这一层，一个“亭”在这一层中，另一堵纵向墙隔开了客院的私人空间。

In the second layer, to make the water pond as a core space, surrounding is for private living room. It is divided by a “T” shape opening from the first layer. The upper part of this opening use wooden grid hollow out to present the invisible structural beam. In this layer, a “ting”---Chinese opening pavilion is placed beside the waterscape which related the inside and outside, front and rear of the garden. In this layer, another longitudinal wall separated the private space of guest courtyard.

 © ShengLiang Su

(三)升良苏

第三层是花园主人的操场和后花园，根据客户的要求，放置了一个小的篮球运动场。所有这些树层，一个接一个，相互联系，形成了一个深刻的空间知觉在这个花园房子的结果。

The third layer is the playground and back garden for the garden master, due to the requirement from client, a small basketball play area was placed. All these tree layers, one after one, relate to each other, formed a consequence of deep spatial perception in this garden house.

 © ShengLiang Su

(三)升良苏

Vista等级第三深度3

Vista_ Hierarchy Third _ Deep3

在这个庄园的每个庭院之间都有模糊的边界，但是一个扭曲的运动把它们连接起来。它们的反映是多种多样的，被覆盖的，插入的，打开的或分开的。在庭院旅游中，景观在不断的变化，而每一个地方都会呈现出模糊的场景，景观将引领探索的脚步。扭转运动扩展了在这个现存的长方形场地上的空间知觉。

There are blurry boundaries between each courtyard in this estate, but a twist movement connect them. The reflection of them are various, covered, inserted, opened or divided. In the tour of courtyards, the sight is continuing change, while every spot would show the indistinct scenes, the sights would lead the steps of exploration. The twist movement extends the spatial perception of deep on this existing rectangular site.

 © ShengLiang Su

(三)升良苏

在花园屋里，建筑本身并不是关键。在中国传统园林中，一种简单的建筑逻辑引导着人们将空间放置在应有的位置。他们每个人都根据不同的功能和形式给他们取了不同的名字，比如亭，台，带梯田的阁塔，梯田上的谢亭。所有零件使用相同的施工系统，并在适当的规模上进行集料。

In a garden house estate, architecture itself is not the key point. In tradition Chinese garden, a simple architectural logic lead pieces of space placed at where it should be. Each of them was given different name based on their different functions and forms, such as ting---pavilion, tai---platform, ge---tower with terraces, xie---pavilion on terrace. All pieces used same construction system, and in proper scale of massing.

 © ShengLiang Su

(三)升良苏

 Floor Plan

 © ShengLiang Su

(三)升良苏

在深立方庭院中，建筑的边界和布局是由庭院确定的，屋顶的解决方案是剩下的唯一问题。中国古代建筑结构体系已经很清楚地发现，作为现代后林架体系、梁柱支撑的厚屋盖体系，墙就像隔墙一样不是支撑体系的一部分。

In Deep³ courtyards, the boundaries and layouts of architecture was identified by courtyards, the roof solution is the only question left. Chinese ancient architecture structural system had been found very clearly, as the modern post-and-lintel system, beam and columns supporting the thick roof deck system, the wall just as separation screen was not part of supporting system.

 © ShengLiang Su

(三)升良苏

考虑到中国南方地区温暖的雨天气候，人们比室内空间更多地停留在外部空间中。因此，悬空屋檐成为一个重要的元素，因为它是一个很好的避雨和遮阳的直接阳光，但保持通风。我们希望这种覆盖可以是轻的，看不见的，所以真正的建筑聚集在庭院里，躲在深不可测的屋顶上。

Architect considered the warm rainy climate in southern regions of China, people stay in exterior space even more than interior space. So the overhang roof eave became an import element, since it is a nice shelter that keeping out rain and shading of direct sunshine, but keep ventilation. We want this kind of covering could be light and invisible, so the real architectural massing hiding in courtyards through deep overhang roof.

 © ShengLiang Su

(三)升良苏

为了区分建筑形式和施工体系上的覆盖和分隔，功能集中采用砖混结构，屋顶采用钢结构。屋顶由两个弹壳板组成，并拢在一起形成窗户朝北，以增加通风和采光。

For distinguish covering and separation both on architectural form and construction system, the functional massing are using brick-concrete structure, roof is using steel structure. The roof consists of two shell plates joggled together to form the windows face north to increase ventilation and daylighting.

优秀的视觉效果必须来自于结构的精确性。为了使悬挑屋盖显得特别轻巧，我们尝试了一些特殊的结构和施工设计，以达到保证保温效果不受影响的目的。

The excellent visual effects must come from structural accuracy. In order to have the huge overhang roof looks especial lighter, we did try some special design for structure and construction, to achieve the goal with make sure not losing the effect of insulation system.

 © ShengLiang Su

(三)升良苏

水塘花园的面积原来是现有房子后面的一个小鱼塘。经过改造和扩大，池塘已经连接到东侧的水道。对于整个庄园，只有东侧向水景开放，没有围墙。中国传统园林的特点是内向和封闭，但我们希望庭院能够从周围环境中得到互动和呼吸，阅读从水景、景观、甚至上下文中发出的呼吸节奏。

The area of water pond garden original was a small ground fish pond behind the existing house. After refit and enlarge, the pond already connects to the water channel on the east side. For this whole estate, only east side open to the waterscape without bounding wall. The characters of traditional Chinese garden are introversion and sealing with clear boundaries, but we want the courtyards could get interaction and breathe from the surroundings, reading the breathing rhythm sending from the waterscape, the sights, even the context.

 © ShengLiang Su

(三)升良苏

屋顶上没有排水管，是故意设计的，接地石英岩有几个缝隙，露出美丽的鹅卵石。在阳光明媚的日子里，鹅卵石可能不会尖叫来吸引游客的注意，但如果你幸运地在雨天参观了这个庄园，你会看到一个令人惊叹的画面。雨水从屋顶上的排水孔排出，然后掉到用鹅卵石铺成的缝隙里。这种自然的结合(包括雨和重力)和人工设计将形成一个雨旁连接屋顶和地面通过一个美丽和温和的方式。

There is no drain down pipe from the roof which was designed on purpose, the grounding quartzite were cut with several gaps, to expose the beautiful cobblestones. The cobblestones may not scream to gather notice from visitors in the sunny day, but if you have the luck to visit this estate during a raining day, there would be an amazing image presenting for you. The rain water drain down from the drain hole set on the roof, and drop off into the gaps paved with cobblestones. This corporation of nature (both rain and gravity) and artificial design would form a raining paravent connecting the roof and ground through a beautiful and gentle way.

 © ShengLiang Su

(三)升良苏

我们已经习惯了这条平坦而笔直的道路，几乎忘记了在山间的小径路是如何上下起伏的。行人实际上与我们的身体有关，它是人类和大自然之间的中间表面，是我们通过眼睛和脚接触到的。这条路是通过人们的步行而形成的，所以我们应该回头看看，改变我们将要经过的道路。园林是修饰的自然，可能没有很强的自然边界和人工创造。

We already got used to the super flat and straight road, and almost forgot how up and down, fade in and out of the trail road through the hills. The pedestrian actually relate to our bodies, it is the median surface between human being and the nature that we were navigated through eyes and touched by feet. The road was created though people’s walks, so we should look back to our feet, and to modify the way we are going to pass. The garden is the modified nature, there are may not the very strong boundaries from nature and artificial creation.

 © Su Architects

(三)苏建筑师

在古代，中国园林建筑是由园林大师为实现理想的居住空间而设计的仙境，这是建筑从字面描写到所要建造的艺术作品的实现。同时，作为现代世界的一部分，我们也有同样的问题要问自己，我们的仙境是什么样的生活条件？这个问题是指导整个项目设计和建设过程的核心线索，只有这样才能得到明确的答案。

In the old times, Chinese garden houses were kind of wonderlands designed by garden masters to achieve their idealist living spaces, this is the realization of architecture from literal description and art works to be constructed. In the meanwhile, as part of modern world, we have the same questions to ask ourselves, what kind of living condition would be our wonderlands? This question is the core clue leading the whole design and building process of this project, the answer wouldn’t be clarified until it be done.

 © ShengLiang Su

(三)升良苏

该项目建成后，当我们看到一幅中国古代绘画作品“东山四珠图”时，我们发现了设计理念与实践的共鸣。700年前形成的活生生的形象，对今天的实践产生了无声的转化影响。绘画中的特殊秩序、要素，甚至建筑原型，都反映在我们的作品中。

After this project was built, once we saw a Chinese Ancient art painting named “the Dongshan Sizhu diagram”, we found the resonance of design concept and practice. The living image made 700 years ago had a silent transforming influence of the practice today. The special orders, key elements, even the architectural prototype in the painting were all reflected to our work.

 © ShengLiang Su

(三)升良苏

作为现代人，当我们创造我们的花园时，我们不可能像古人一样，因为所有的生活条件和环境都发生了变化，我们知道摩天大楼，我们知道花园别墅，我们知道生活在大自然中，但当我们惊讶于我们脑海中隐藏在一幅古画中的理想主义生活空间时，我们把这看作是一次回家的礼物之旅。

As moderns, when we create our garden, we could not like ancients, since all living condition and environment had changed, we know about skyscraper, we know garden villa, we know living in nature, but when we were amazed by the crush that we saw the idealist living spaces potentially in our minds which hiding in an ancient painting, we treat this as a gift trip back home.