Screen House Alain Carle Architecte

2014-09-08 01:00

架构师提供的文本描述。这一项目的背景限制位于湖滨，使我们能够探索与感性考虑相适应的工作可能性。狭窄的深度，网站出现了几个挫折限制(旁边的湖泊，溪流，街道等)。因此，可建造的区域有点狭窄和不规则，尽管如此，这还是提供了一个设计一个项目的机会，超出了典型的“时尚”住宅的戒律。布局方面的困难也促进了在提出概念时与业主的讨论，因为在这里不存在理想化形式的问题。相反，该网站强加了一种无预谋的概念方法，锚定在可能的，而不是在那里。

Text description provided by the architects. The contextual constraint of this project, located on a lakeshore, enabled us to pursue the exploration of the possibilities of work geared to perceptual considerations. Narrow in depth, the site presented several setback constraints (next to a lake, stream, street, etc.). The buildable area was therefore somewhat narrow and irregular, which nonetheless offered the opportunity to design a project outside the typical precepts of “stylish” residences. The difficulty with respect to layout also facilitated discussions with the owners during the presentation of the concept, because there could be no question here of an idealized form. On the contrary, the site imposed a non-premeditated conceptual approach, anchored in the possible rather than what was there.

 Main Floor Plan

主平面图

因此，该项目经历了一个漫长的酝酿过程，在这个过程中，几何复杂性在现场得到严格的验证，以确认或拒绝关于所产生的知觉质量的某些数据。这实质上包括堵塞与街道的关系，同时从住所内和街道上改善湖景，将视线留到过去的地方，标志着原木司机沿着湖走的小径。

The project therefore followed a long gestation process, in which the geometrical complexity was scrupulously validated in situ to confirm or reject certain data regarding the perceptual quality that would result. This essentially involved blocking the relationship with the street while enhancing the view of the lake, both from inside the residence and from the street, by leaving sight lines to past places marking the trails taken by the log drivers along the lake.

 © Adrien Williams

阿德里安·威廉姆斯

就像屏幕一样，复杂建筑的形状围绕着一个“铰链”空间，这是一个由弯曲空间而产生的几何空隙：人们同意把它作为进入建筑物的主要通道。这个地方构成了住宅唯一的主要缺口，从环绕湖面的道路上可以看到。

Like a screen, the resulting shape of the complex is articulated around a “hinge” space, a geometrical void resulting from bending the space: it was agreed to make this the main access to the building. This place forms the residence’s only major breach, visible from the road circling the lake.

 © Adrien Williams

阿德里安·威廉姆斯

这种小的内部庭院打开了街道，创造了一个过渡的相邻的空洞和建筑的界限，本着同样的精神“切割”的“莱斯马莱”项目。它的框架接收，最重要的是，创造了一个透明度，揭示了一个“选择”的景观湖通过两个玻璃墙的厚度。围绕着这个中心点，在机翼的两个主轴的交界处设置了一个螺旋楼梯，使两层楼之间在一个既复杂又丰富的“观点”的几何交汇点上进行交流。

This kind of small inner courtyard opens onto the street and creates a transition between the neighbouring void and the construction limits, in the same spirit as the “cutouts” of the “Les Marais” project. It frames the reception and, above all, creates a transparency that reveals a “chosen” view of the lake through two glazed wall thicknesses. Around this central point, a spiral staircase is set at the junction of the two main axes of the wings, allowing communication between two floors at a geometrical meeting point that is both complex and rich in “points of view”.

 © Adrien Williams

阿德里安·威廉姆斯

在室内，一系列白色的“空间物体”占据了地板的中心区域，就像各种形状的大型家具。他们“封锁”该空间，而不是将其分隔开来，在建筑物内提供不同的路线选择，并基于同样的理由，从多个角度看待住宅及其附近的景观。

Inside, a succession of white “space objects” occupies the centre of the floor areas, like large furniture in a variety of shapes. They “block” the space instead of compartmentalizing it, offering different route options within the building and, by the same token, multiple points of view of the landscape of the residence and its vicinity.

 Basement Floor Plan

地下室平面图

该项目的物质语言追求的概念“层”从过去的经验。一个回收砖信封被涂成黑色，以显示其作为一个封闭，一个中立的视觉屏幕的质量。然后在这个信封中制作剪贴画，以显示适合居住的区域(包括内部的小庭院)，这与客户规定的方案组成部分是分开的。这些“残存”的地方是由于对形体的连续操纵而产生的，并且，通过它们非预谋的方面，有可能成为项目中最重要的地方，那些将容纳占用者思考的时刻的地方。

The project’s material language pursues the concept of “layers” from past experience. A recycled brick envelope is painted black to reveal its quality as an enclosure, a neutral visual screen. Cutouts are then made in this envelope to reveal the habitable areas (including the small inner arrival courtyard), separate from the programmatic components prescribed by the client. These “residual” places result from successive manipulations of the form and, by their non-premeditated aspect, potentially become the most significant places of the project, those that will accommodate the occupant’s moments of contemplation.

 © Adrien Williams

阿德里安·威廉姆斯

在某种程度上，这个项目可以是试验产生的“尝试”的综合，从而导致提出另外两个项目。它适用于一种概念方法，在这种方法中，几何构图的规则不再倾向于理想化，而是倾向于对形式进行实验。通过推广，这种方法可以提到重新定位架构经验的必要性，这是关于我们环境的未来的辩论的核心：已经存在的，已经可见的。

To some extent, this project could be the synthesis of “attempts” resulting from experimentation, which led to the other two projects presented. It fits around a conceptual approach, in which the rules of geometrical composition no longer tend to idealization but to experimentation with form. By extension, this approach could refer to the necessity to reposition the architectural experience at the core of the debate on the future of our environment: what is already there, what is already visible.