House Pegasus Frédéric Saint

2014-12-20 01:00

架构师提供的文本描述。一对夫妇和他们的孩子选择一片倾斜的土地来建造他们的房子和养育他们的家庭。他们的愿望激发了两种生活方式，引导着三个世界：父母的世界、孩子的世界和第三个共同的世界。

Text description provided by the architects. A couple and their child choose a sloping plot of land on which to build their house and raise their family. Their wishes stimulate two ways of living and guide three worlds: the parents’, the child’s, and a third shared one.

人们最初希望被埋在地下，表示居住在地下基地-飞马座的秘密中的吸引力(指的是上世纪80年代的一部美国漫画)。地下生活总有一种沸腾的品质，一种贯穿于世界各地的完整的社会生活。这里的地球包含了个体，并描述了一个无法计算的质量的浸入。

There is an initial desire to be buried underground expressing the attraction of living in the secret of a subterranean base, Pegasus (referring to a US Comic of the 1980s). There is always a seething quality of underground life, a whole social life which runs through the world. The earth here encompasses the individual and describes an immersion in an incalculable mass.

 © Patrice Menconi

(佩特里斯·门可尼)

另一种欲望在天空中表现出肉体的悬吊。空气和光成为一个连续事件的代理人：事物正在转变，微妙的气氛充满了静止的身体，灵魂以一种忧郁的方式飘荡，而不随物质的变化而改变。消失的概念出现在对这两种欲望的感知中：物质的消失和物质的消失，无论发生什么，为了继续生活。

The other desire displays a suspension of the flesh in the sky. Air and light become the agents of a continuous event: something is in transition, a delicate atmosphere fills the motionless body, the souls drifts in a melancholy way without  changing with the matter. The idea of disappearance appears in the perception of these two desires inscribed on their bodies: disappearance in matter and disappearance of matter in order to go on living come what may.

 Floor Plan

消失线

Vanishing lines

这两种欲望表达了一种新颖的权力游戏：当一种相反的垂直力试图占领大气层时，一个问题来自于向深处推进的力量。建筑以这些性欲碰撞为对象。

These two desires express a novel power play: one issues from a force pushing towards the depths when an opposite vertical force seeks to occupy the atmosphere. Architecture takes these libidinal collisions as its object.

 © Patrice Menconi

(佩特里斯·门可尼)

通过对初始时间图进行混沌处理，第一次连接在定义尚未形成的器官(功能意图)的同时产生。如果器官决定了这些联系，那么这种联系就会产生自然和有机的形式。

By occupying chaos with an initial temporal draft, the first connections are created at the same time as the special features defined organs as yet un-formed (functional intentions).If the organs determine the connections, the connection brings on nature and organic form.

 © Patrice Menconi

(佩特里斯·门可尼)

以这种方式，我们开始接近于制造有机的，弗兰克劳埃德赖特建筑：基因生长由独特的特征决定。

In this way, we start to get close to making organic, Frank Lloyd Wright architecture: genetic growth determined by distinctive features.

有机集

Organic sets

白色的砖块从地上冒出来。地下的器官(起居室)在砖石砌体的经济中被扭曲。在地球的中心，房间被加长并扭曲。楼梯会谈判最轻微的自上而下的起伏，把一切联系在一起，而在群众之间滑落的器官则紧紧抓住这些分布的内部。这个有机整体是完全水密的，它本身就足够了，但是可以支持其他的东西。器官的向下推力意味着它们必须被刺穿，以寻找使黑暗暂停的光。同时，耳朵在声波岩浆中沐浴，在这种环境中，声音和音色的强度变得模糊。第二套有机装置放置在水下部分，并与地面上的白色凸起相对应。它的构成是从属的：作为一个住宅单元回收的集装箱的国际层面遵循由其特定结构决定的堆垛逻辑：八个结构角控制着可居住单元的组合。自力支撑，集装箱设置在地下基础上；不可摧毁的，它们被拆开以获得大开口，物质的存在消失。这种消失的效果是通过分离不同层的表皮来增加的：容器的钢结构，然后是木包层，然后是黑色木结构的悬挂框架，让每一层都共存。如果使用容器表达了一种生态愿望，这种循环就变成了一种诗意的循环：容器的使用超越了其物理和功能特性，赋予了特定的感知一致性，信封和物质失去了一致性，身体也无限期地以同样的方式飘浮。

White volumes of brickwork emerge from the earth. Buried organs (living rooms) are contorted in the economy of the masonry.  In the bowels of the earth, the rooms are lengthened and become contorted. Stairways will negotiate the slightest topographical ups and downs to link everything together, while the organs slipping between the masses cling on to these distributive innards. This organic whole is thoroughly watertight, sufficient unto itself, but ready to support other things. The downward thrust of the organs means that they have to be pierced to look for that light which suspends darkness. At the same time, the ears bathe in an acoustic magma, an environment in which intensities of sound and timbre’d colours become blurred. The second organic set is placed on the submerged part and against the white saliences above ground. Its composition is subordinate: the international dimension of the shipping container recycled as a dwelling unit follows a logic of stacking determined by its particular structure: the eight structural corners govern the combination of inhabitable units.Self-supporting, the containers are set on the subterranean base; indestructible, they are broken up to obtain large openings, and the presence of matter fades. This effect of disappearance is increased by dissociating different layers of skins which form the envelope: the steel structure of the containers, then the wooden cladding, then the suspended frames of the black wooden structures appear by letting each one co-exist. If using containers expresses an ecological wish, this recycling becomes a poetic recycling: the use of the container goes beyond its physical and functional properties to give a particular perceptive consistency.The envelope and the matter lose their consistency, and bodies float indefinitely in the same way.

 © Patrice Menconi

(佩特里斯·门可尼)

对角线

The diagonal

帕伽索斯宫的功能就像地球和天空之间的一个界面，它的两个有机组成部分。它们互相摩擦，每一次从一种安排转移到另一种安排，就会显示出独特的物理特征，而气氛则根据它们之间的联系而相互跟随。巧合的是，这两个系统之间发生了一件新的不可预测的事情：对角线。它标点事件的基础上的综合方法的决定：一个循环的循环，并组织房子的不同房间。这条对角线，飞马屋的“音乐性”，是一条力量线，根据它遇到的特遣队力量影响不同的排列和频率。这个公分母没有形式，只有一种分布的和有节奏的功能，一种功能的普遍存在。一条楼梯，另一条走廊，有时变成一个交叉的房间。

The Pegasus House functions like an interface between earth and sky with its two organic ensembles. They brush against one another and with each shift from one arrangement to the other, distinctive physical features are displayed, and atmospheres follow one another on the basis of their connections. By accident, a new unpredictable thing happens between the two systems: a diagonal. It punctuates events based on a synthetic method of decision: a loop of circulation is imposed, and organizes the house’s different rooms. This diagonal, the “musicality” of the  Pegasus House, is a force line which influences the different arrangements and their frequencies based on the contingent forces that it encounters. This common denominator has no form, just a distributive and rhythmic function, a sort of functional ubiquity. Stairway for one, corridor for the other, sometimes becoming a room crossed.

住在这所房子里有一种紧迫感。帕伽索斯宫以其对外界实验的不平等程度，以这种形式的生活紧迫感：在所发生的事情的转瞬即逝的瞬间，根据变化的速度和节奏，尝试着潜移默化的发展；最温和的遭遇是最艰难、最缓慢、最紧张的。在对新事物的遗忘中，为了寻找悬吊在身体中空中的抽象印象，帕伽索斯宫成了多重“正在发生”的事件，这一事件复制了符号的伟大政策及其意义。

There is a kind of urgency to live in this house. Pegasus House with its unequal degrees of permeability to the outside experiments with this form of living urgency: in the fleeting instant of what happens, imperceptible developments are tried out based on variable speeds and rhythms; the softest encounters the hardest, the slowest the most nervous. In the oblivion of the new, in search of abstract impressions suspended in the hollow of the body, Pegasus House becomes the occurrence of a multiple “taking place”, that of the event duplicating the great policy of the sign with its meaning.