Karuizawa Tunnel O. F. D. A.

2016-12-26 22:00

 © Hiroshi Ueda

(C)上田浩史(Hiroshi Ueda)

架构师提供的文本描述。这是一项在Karuizawa的度假屋项目。该项目位于Karuizawa火车站的南面，它的北侧与当地的一条街道接壤，而另一边则被邻居的房产所包围。在项目开始之前，可以看到东邻的别墅。南方的一座别墅几乎藏在树后。在西侧还没有建造任何建筑物。客户的一个重要要求是尽量让周围的建筑远离他的家。经过无数替代设计的检验，完成的建筑有一个扩音器的形状，它的开放面向南方。

Text description provided by the architects. This is a vacation home project in Karuizawa. The project site sits on the south of Karuizawa train station, its north side borders on a local street, and the other sides are bounded by the neighbors’ properties. Before the project started, there was a good view of a neighbor’s villa to the east. A villa in the south was almost hidden behind the trees. No building had yet been built on the west side. An important request from the client was to keep the surrounding buildings out of sight from his home as much as possible. After examinations of numerous alternative designs, the finished building has a megaphone shape, with its opening facing toward the south.

 © Hiroshi Ueda

(C)上田浩史(Hiroshi Ueda)

选择这种形状的原因之一，与上文所述的家庭对景观的考虑有很大关系，事实上，从一开始，我就想研究一个隧道状的北面入口和南面的洞口。

One of the reasons to have chosen this shape has a lot to do with the consideration to the view from the home, as mentioned above.  As a matter of fact, from the beginning, I wanted to investigate a tunnel-like shape with an entrance to the north and the opening to the south.

 © Hiroshi Ueda

(C)上田浩史(Hiroshi Ueda)

建筑是一种固定在地面上的不可移动的无机物体。它不同于植物和人体等有机物质，甚至不同于可移动的无机物体，比如一件家具。它们之间的区别类似于记录图像和活图像之间的区别。活生生的图像更新鲜。随着它们的不断变化，我希望我的建筑作品能保持这种新鲜感，这个想法让我把建筑看作是一种框架，将风景、居民或家具作为现场形象。这是我六年前在一本名为“建筑作为框架”(Architecture As Frame)的书中所写的。

Architecture is an immovable, inorganic object fixed to the ground.  It is different from organic matters such as plants and human bodies, or even from inorganic objects that are movable, such as a piece of furniture.  The difference between them are similar to that between a recorded image and a live image.  Live images are fresher, as they constantly change.  I wanted my architectural works to maintain this freshness, and this idea lead me to regard architecture as a frame that frames the scenery, residents, or furniture, as live images.  This is what I wrote in a book titled Architecture as Frame about six years ago.

 Ground Level

在建筑作为框架的思想发展过程中，我受到雕塑、绘画和小说的影响，其中之一就是村上春树的小说。在他早期的作品中，故事是在封闭的世界中发展起来的，但在后来的小说中，在他的世界里，为了建立与其他世界的联系，他创造了各种各样的漏洞。一个象征性的例子是“风鸟纪事”中的一口井。它充当着传送者的作用，主角从他所生活的世界移动到另一个世界。实际上，在这本小说中，双方的世界都比井本身更有意义。

In the process of developing ideas about architecture as frame, I was influenced by sculptures, paintings, and novels in which I sensed similar motifs.  One of them was a novel by Haruki Murakami.  In his early works, stories developed inside his closed world, but in later novels, various holes were created in his world to establish connections with other worlds.  A symbolic case is a well in The Wind-Up Bird Chronicle.  It functions as a transporter, with which the main character moves from the world he lives to a different world.  Actually, in this novel, the worlds on both sides have more significance than the well itself.

 © Hiroshi Ueda

(C)上田浩史(Hiroshi Ueda)

在这个项目中，我想建立一个大框架-在这个例子中，一个像隧道一样的结构-从北侧的一个入口，一个大屋顶，到南面面向绿色的洞口。这条隧道就像村上春树小说中的井，当居民从城市到达时，运送他们到一个充满大自然的世界。

In this project, I was thinking about creating a big frame – in this case, a tunnel-like structure – that goes from an entrance on the north side with a big roof, to the opening in the south facing greenery.  This tunnel is just like the well in Murakami’s novel, a transporter to take the residents to a nature-filled world when they arrive from the city.