架构师提供的文本描述。Solduno景观是位于瑞士南部洛加诺历史中心郊区的一个街区。我在离这里几步远的地方长大，居住在一个20世纪初资产阶级宅邸和20世纪60年代砖砌共管公寓的折中地带。今天，大多数20世纪早期到中期的建筑，已经让位于最近的匿名建筑。委托我们工作的工程师相信，即使在这种相当枯燥的环境下，一个杰出的项目也不会过时。我们接受了这个想法，珍惜机会，兴建一个现代化的住宅和商业屋，以配合近期的辉煌，但却融合在邻近地区的架构中。城市项目对我们来说是一种和解行动，是过去和现在之间的一种调解。对一个地点的解释，它的形式和气氛。

Text description provided by the architects. Landscape Solduno is a neighbourhood on the outskirts of the historical centre of Locarno, southern Switzerland. I grew up a few steps from here, in an area of eclectic early 20th century bourgeois mansions and brick condos from the 1960s. Today most of those early-to mid 20th century buildings, have given way to more recent anonymous edifices. The engineer that commissioned us, was persuaded that even in this rather dull context, a distinguished project would not be out of place. We have embraced the idea, cherishing the opportunity to build a modern residential and commercial estate, in tune with the luster of a recent past, and yet merging in the fabric of the neighbourhood. City projects are for us an act of reconciliation, a mediation between past and present. The interpretation of a site, its form and atmosphere.

 © Marcelo Villada

(Marcelo Villada)

这座城市和三角洲的地块介于两个截然不同的战线之间。一边是开阔的自然，另一边是城市。面对南面的坡地，通往马吉亚河三角洲的树林，北面是一条繁忙的街道，交通繁忙。这是最后一批可以在两边插入两排建筑物的地方，因此是一个过渡空间。我们关心的是创造一个开放的综合体，在其设计中整合相邻建筑的空旷空间和正面，特别是里诺塔米大厦。

The city and the delta The plot is between two distinct and contrasting fronts. On one side open nature, on the other the city. Facing south the sloping grounds leading to the groves of the Maggia river delta, on the north a busy street with heavy traffic. This is the last lot where two rows of buildings can be inserted on both sides, therefore a transition space. Our concern was to create an open complex, integrating in its design the empty spaces and fronts of the adjacent edifices, in particular the Rino Tami building.

我们所设想的一个街区有三座建筑：一座位于瓦伦纳大道上的城市街区，两座独立的小塔，面向马吉亚河和群山。建筑物之间的空隙和空隙，将建筑群与全景、塔米的砖墙建筑和相邻建筑物的封闭花园连接起来。

A neighbourhood We envisioned three buildings: an urban block on via Varenna, and two freestanding minute towers facing the Maggia river and the mountains. The interstices and empty spaces between the buildings, connect the complex to the panorama, Tami's brick construction and the enclosed gardens of the adjacent buildings.

 © Marcelo Villada

(Marcelo Villada)

规划典型的三层楼。这个庄园的空间特征是受该地区少数现存的旧别墅的启发，以及对那些被拆毁的别墅的记忆。我们确实设计了两座狭窄的塔楼，每层都有一套公寓，这让人想起了20世纪初米兰特有的资产阶级公寓-一栋皮亚尼(楼里的别墅)的类型。这一做法使河和山的景色，面向瓦伦纳的建筑，把一个过渡空间变成一个统一的综合体。

Plans Typical floors 3rd floor. The spatial character of the estate was inspired by the few still existing old villas in the area, and the memory of the ones that were demolished. We did set to realise two narrow towers with one flat on each floor, reminiscent of the typology of the villa a piani (villa on floors), characteristic bourgeois apartments in early 20th century Milan. This approach granted river and mountain vistas to the building facing via Varenna, turning a transitional space into a unifying complex.

 © Marcelo Villada

(Marcelo Villada)

 Floor Plan

我们从4楼开始，而不是开始在平面图上工作，而是从一层到另一层规划三种不同的高度：厨房2.31米，卧室2.62米，接待室2.93米。每个单位都有不同的配置，无论是在平面图还是在部分，创造了多样化的个人环境。一些接待室面向内部法庭，另一些则是河流；有些位于温室内，另一些则提供面向三角洲的演播室空间。

Typical floors 4th floor Instead of beginning the project working on the floor plans, we started with the section, planning three varying heights encasing into each other from floor to floor; 2.31 m for the kitchens, 2.62 m for the bedrooms and 2.93 m for the reception rooms. Each flat features varying configurations, both in floor plan and section, creating diversified individual environments. Some reception rooms are facing the internal court, others the river; some are placed inside the conservatory, and others offer studio space facing the delta.

 © Marcelo Villada

(Marcelo Villada)

 Floor Plan

横截面-完全缺乏走廊所提供的流体空间，允许从一根柱子到另一根柱子上居住在平面上，从内部完全感受到建筑物的真实尺寸。即使是被设想为外部空间的温室，也可以变成老式别墅风格的温室。面对河流的建筑物的正面，暗示着空间的铰接式内部组织(平面图、空间和高度的调整)，而不是它的影印。

Cross section The fluid spatiality given by a total lack of hallways, allows to live the flat from one pole to the other, fully perceiving from the inside the true dimension of the building. Even the loggias, which were conceived as external space, can be turned into a conservatory in the fashion of old villas. The facades of the buildings facing the river, hint at the articulated interior organisation of space (the modulation in floor plans, spaces and heights) without being its mere photocopy.

 © Tessa Donati

Tessa Donati

由于纵向剖面的合理使用，只有三种窗口类型和尺寸，我们实现了表现力的统一，尽管情况千差万别。而面向城市街道的建筑，无论是在平面图还是在立面上，都呈现出更为线性的带状结构。这是我们对街道流量的概念反应，这是由Via Varenna的单向系统给出的。在一层全玻璃的地面上，我们开发了一条完全封闭的街道，面向前景，就像一个巨大的屏幕。

Longitudinal section Thanks to the rational use of only three window types and dimensions, we achieved an expressive unity, despite the great variety of situations. The urban street facing construction instead, presents a more linear structure in bands, both in floor plan and facade. This was our conceptual response to the street flow, given by the one-way system of via Varenna. Over a fully glazed ground floor, we developed a totally closed street facing prospect, like a monumental screen.

 © Marcelo Villada

(Marcelo Villada)

立面的概念，我们希望用砖块来加强连接到邻近的里诺塔米建筑，但借助21世纪的技术提供了当代的重新诠释。在与负责数字编程的ETH分拆公司Rob AG和来自瑞士Pfungen的Keller AG合作下，我们开发了一个由机器人组装的模块化外观。每个模块的砖块向内或向外弯曲，让人联想到老板。

Facade Concept We wished to use brick to reinforce the link to the adjacent Rino Tami building, but with the help of 21st century technology delivered a contemporary reinterpretation. In collaboration with ROB AG -a ETH spin off responsible for digital programing- and the firm Keller AG from Pfungen, Switzerland, we developed a robot assembled modular facade. The bricks of each module bend inwards or outwards, reminiscent of bossage.

 © Nicola Roman Walbeck

尼古拉·罗曼·沃尔贝克

砖实心胸仰角“像素拼贴”超级砖块提醒像素，形成正面的形象。他们的规模是精心选择的，以使组合，以适应比例的每一个建筑物的脸。Rob在数学上将生产模块参数化，而Keller则使用来自Jura的粘土在沙漠沙荫下开发定制砖。应用随机生成的面板组合在三个建筑的每一个表面，我们创造了一个砖块拼贴不顾窗户和日志。

Brick solid bossage elevation “Pixel patchwork“ Super brick blocks reminding of pixels, form the facade's image. Their scale was chosen carefully to enable combinations adaptable to the proportions of each of the building's faces. ROB mathematically parameterized the modules for the production, while Keller developed custom bricks in a desert sand shade, using clay from Jura. Applying the randomly generated combination of panels on each of the three building's faces, we created a brick patchwork regardless of windows and loggias.

 © Marcelo Villada

(Marcelo Villada)

从这个实心立面中切割框架，然后我们按照不同的逻辑，即由框架和窗口的交替决定的逻辑，切割已经计划好的开口。由于这两个过程是相互独立的，由此产生的外观模式和关系是完全不可预测的。

Cutting the frames in the solid facade From this solid facade we then cut the already planned openings, following a different logic, namely the one determined by the alternation of frames and windows. Being the two processes independent from each other, the resulting facade pattern and relations were totally unpredictable.

装配图纸用单一砖块编织的面板，公司凯勒最终细分了各种元素在进一步的面板的形状和大小，遵循进一步蒙太奇的逻辑。在各种面板中，有连接砖，将拼凑成的砖层编织在一起。最后，整个立面位于不锈钢支架和钩子上，这是以前从未探索过的过程。

Assembly drawings with single bricks weaving the panels The firm Keller finally subdivided the various elements in further panels of varying shape and size, following a further montage logic. Among the various panels, there are junction bricks that weave together the patchwork brick layer. Finally the whole facade sits on stainless steel brackets and hooks, a process never explored before.

 © Tessa Donati

Tessa Donati

三维波萨奇高程模拟研究最后外观有纺织品装饰性质，如磨损织物的砖已被切割，以适应开放的窗户。整座建筑让人想起窗帘在微风中的膨胀和收缩。

3D Bossage elevation simulation study The final appearance has textile ornamental qualities, like fraying fabric where the bricks have been cut to accommodate the openings for the windows. The whole building reminds of a curtain swelling and contracting in the breeze.

结论该项目与CàBianca并行，但差异不大。如果一个主题是一个排序网格的精确性，另一个主题是探索不精确和缺乏对齐作为表达潜力的可能性。日益增长的经济压力决定了最后期限的缩短，以及建筑成本的压缩；尽管瑞士的精确度很高，但也是手工精度下降的原因。我们把市场的逆境变成了一个创造性的工具，在我们的设计中吸收了建筑工地上与手工技巧相关的不精确之处。执行上的困难是在项目中定义细节和反细节。墙壁、开口和水平从不对齐。即使是砖块围护也不是共面的，有时在窗户上凸出。事实上，内部和外部之间没有线性对应。这个门面可以说是完全武断的、风景如画的、风度翩翩的，就像一个装饰的棚子。砖格覆盖或揭示了下面是什么，不管是抹灰墙还是窗户。

Conclusion This project was born parallel to Cà Bianca, but they could not differ more. If one thematises the precision of an ordering grid, the other explores the possibilities of imprecision and lack of alignments as expressive potential. The growing economical pressure determines shrinking deadlines, and a compression in construction costs; is also cause of a growing loss in manual accuracy, in spite of highly prized Swiss precision. We turned the adversity of the market situation into a creative tool, assimilating in our design the imprecisions connected with manual skills on the building site. Execution difficulties were to define details and anti-details in the project. Walls, openings and levels are never in alignment. Even the brick encasement is not coplanar, at times protruding over the windows. In fact there is no linear correspondence between interior and exterior. The facade could be considered totally arbitrary, picturesque and mannerist in the style of a decorated shed. The brick grid covers or reveals what lays beneath, disregarding whether plastered wall or window.

CàBugnada证明，一个正在进行合理发展和逻辑过程的项目能够产生非正式的、出乎意料的和令人震惊的结果。

Cà Bugnada proved that a project undergoing rational developments and logical processes, can produce informal, unanticipated and astonishing results.

Architects Buzzi Architetti

Location Solduno, 6600, Switzerland

Category Apartments

Project Team Francesco Buzzim, Britta Buzzi – Huppert, Marta Comaschi, Matteo Inches, Luca Nocerino, Davide Scardua, Mattia Martinelli

Project Year 2015

Photographs Marcelo Villada, Tessa Donati, Nicola Roman Walbeck