地窖与阁楼——解读波尔多住宅
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摘要
介入加斯东·巴什拉"地窖与阁楼"的哲学思考,从场所营造、空间操作、形式生成三个层面对波尔多住宅进行解读,旨在探讨建筑内在生成规律以及人与空间的关联性。库哈斯建筑哲学的不确定性与复杂性均在波尔多住宅中有所体现,形式消隐于场所、融合于结构、适应于行为,为当代住宅的空间生成与形式表达提供了新的可能。
In terms of the research and study of architectural design, the interpretation and analysis of excellent architectures is an indispensable process. It is impossible to avoid the indepth analysis of classic architectures, for either experienced architects or beginners. The analysis of architecture is a process of review, re-construction, and restoration as well. It is the reductive interpretation that brings us a further understanding of architecture, and thus helps us build a clear framework of design thinking. In the case analysis, we can learn a lot of traces of the design process, which reflects the trajectory of the architect's creation, the design process and the response to the era. Architects not only build the space and place where human beings live and work, but more importantly, make the space full of poetry as well. At the same time, they create the space which make people where live in gain the feelings on the interest of space through their own experience. Building space is both an everyday space for living and a spiritual space of meditation, which is rich in life scenes and full of philosophy.From the perspective of architecture design, the space, form and place are the most critical parts of architecture, and are also the key points to understand the meaning of architecture. Based on the philosophical thinking of Gaston Bachelard's "cellar and attic", which is two important image carriers about human habitat, this paper analyses the Maison Bordeaux from three aspects(place making, space operation and form generation) for the discussion about inherit principle of architectural form generation and the relationship between occupants and space. From the aspect of place making, the villa is among the forest, which makes the visitor to go through a tortuous path to reveal its appearance. The architects emphasize the privacy of the residential building through nature and the path, building the etiquette of residence with the detouring route.Bachelard's "houses" idea of "cellar and attic" is reflected in this building: the dark light and the "cave"-style free walls which is reason of the half-buried floor embedded into the mountain express mystery and unknowingness. It is a place for people to introspect, and the bedroom on the top floor is a realistic place for daily life. It still maintains the privacy of the house in a relatively closed space. Compared with the basement, it is more of a spiritual residence. From the aspect of spatial operation, the house can be interpreted both vertically and horizontally, which not only reflects the horizontal expression of a modern space, but also exists the vertical metaphor in the classical spirit. Meanwhile, it is also the material expression of the philosophy of the "cellar and attic". The transparent interface of the bottom floor, which connecting the interior space with exterior, and the lateral displaced volume of the medium floor as well as the horizontal loop of the top floor reflect the horizontal momentum,while the verticality is interpreted by three sets of vertical paths, the atrium and sunlight. From the aspect of form generation, The house is a threedimensional combination of vertical elements, horizontal elements(wall and slab) and lines(beams, columns, rails and struts). The architect inherits and develops the design method of de Stijl, using the linear composition relationship, the asymmetric mass superposition and the holistic structure to provide a feasible way for the expression of the philosophy of the "cellar and attic".Starting from the daily activities of the owner, the architect uses a pure geometric pattern such as square and circle to paint a contemporary picture of life. The contemporary thinking comes from Koolhaas' s concern for social issues and human nature, which is transformed into an intangible energy and is presented by an "artistic" way. The design of the house is based on human behavior, and is also a solution to "rekindle the hope of life", helping the male house owner who can only rely on wheelchair to move due to the traffic accident. The room-like lift and the freely connecting space are all designed out of the consideration of human behavior—as the master said—I do not want a simple house, I want a complex house because the house will define my world... From the perspective of space nature, the mystery in the cellar space, the horizontal ductility of the middle layer space and the freedom of the attic space, metaphorically the verticality of the tower through the lift—3 x 3.5 meters—the "tower" space where books are stored. With the vertical space movement, the vision of the male owner changes and enjoys the spiritual experience of crossing time and space. The uncertainty and complexity of Koolhaas' s architectural philosophy are reflected in the Bordeaux residence. The form is hidden in the place, integrated into the structure, and adapted to the behavior, which provides new possibilities for the spatial generation and formal expression of contemporary residence.
In terms of the research and study of architectural design, the interpretation and analysis of excellent architectures is an indispensable process. It is impossible to avoid the indepth analysis of classic architectures, for either experienced architects or beginners. The analysis of architecture is a process of review, re-construction, and restoration as well. It is the reductive interpretation that brings us a further understanding of architecture, and thus helps us build a clear framework of design thinking. In the case analysis, we can learn a lot of traces of the design process, which reflects the trajectory of the architect's creation, the design process and the response to the era. Architects not only build the space and place where human beings live and work, but more importantly, make the space full of poetry as well. At the same time, they create the space which make people where live in gain the feelings on the interest of space through their own experience. Building space is both an everyday space for living and a spiritual space of meditation, which is rich in life scenes and full of philosophy.From the perspective of architecture design, the space, form and place are the most critical parts of architecture, and are also the key points to understand the meaning of architecture. Based on the philosophical thinking of Gaston Bachelard's "cellar and attic", which is two important image carriers about human habitat, this paper analyses the Maison Bordeaux from three aspects(place making, space operation and form generation) for the discussion about inherit principle of architectural form generation and the relationship between occupants and space. From the aspect of place making, the villa is among the forest, which makes the visitor to go through a tortuous path to reveal its appearance. The architects emphasize the privacy of the residential building through nature and the path, building the etiquette of residence with the detouring route.Bachelard's "houses" idea of "cellar and attic" is reflected in this building: the dark light and the "cave"-style free walls which is reason of the half-buried floor embedded into the mountain express mystery and unknowingness. It is a place for people to introspect, and the bedroom on the top floor is a realistic place for daily life. It still maintains the privacy of the house in a relatively closed space. Compared with the basement, it is more of a spiritual residence. From the aspect of spatial operation, the house can be interpreted both vertically and horizontally, which not only reflects the horizontal expression of a modern space, but also exists the vertical metaphor in the classical spirit. Meanwhile, it is also the material expression of the philosophy of the "cellar and attic". The transparent interface of the bottom floor, which connecting the interior space with exterior, and the lateral displaced volume of the medium floor as well as the horizontal loop of the top floor reflect the horizontal momentum,while the verticality is interpreted by three sets of vertical paths, the atrium and sunlight. From the aspect of form generation, The house is a threedimensional combination of vertical elements, horizontal elements(wall and slab) and lines(beams, columns, rails and struts). The architect inherits and develops the design method of de Stijl, using the linear composition relationship, the asymmetric mass superposition and the holistic structure to provide a feasible way for the expression of the philosophy of the "cellar and attic".Starting from the daily activities of the owner, the architect uses a pure geometric pattern such as square and circle to paint a contemporary picture of life. The contemporary thinking comes from Koolhaas' s concern for social issues and human nature, which is transformed into an intangible energy and is presented by an "artistic" way. The design of the house is based on human behavior, and is also a solution to "rekindle the hope of life", helping the male house owner who can only rely on wheelchair to move due to the traffic accident. The room-like lift and the freely connecting space are all designed out of the consideration of human behavior—as the master said—I do not want a simple house, I want a complex house because the house will define my world... From the perspective of space nature, the mystery in the cellar space, the horizontal ductility of the middle layer space and the freedom of the attic space, metaphorically the verticality of the tower through the lift—3 x 3.5 meters—the "tower" space where books are stored. With the vertical space movement, the vision of the male owner changes and enjoys the spiritual experience of crossing time and space. The uncertainty and complexity of Koolhaas' s architectural philosophy are reflected in the Bordeaux residence. The form is hidden in the place, integrated into the structure, and adapted to the behavior, which provides new possibilities for the spatial generation and formal expression of contemporary residence.
引文
[1]加斯东·巴什拉.空间的诗学[M].张逸婧,译.上海:上海译文出版社,2009:19-20.BACHELARD G.The poetics of space[M].ZHANG Q J,trans.Shanghai:Shanghai Translation Publishing House,2009:19-20.
[2]朱渊,朱剑飞.日常生活:作为一种设计视角的关注——“日常生活”国际会议评述[J].建筑学报,2016(10):19-22.ZHU Y,ZHU J. Notes on the Symposium"The Everyday—Spatial Design and Spatial Practice with/against Modernity"(2016)[J].Architectural Journal,2016(10):19-22.
[3]徐洁.波尔多住宅[J].时代建筑,2002(6):66-69.XU J.Boreaux House[J].Time+Architecture,2002(6):66-69.
[4]姜珺.波尔多住宅,波尔多,法国[J].世界建筑,2003(2):46-51.JANG J.MAISON a BORDEAUX,BORDEAUX,FRANCE,1998[J].World Architecture,2003(2):46-51.
[5]Koolhaas R,ZAERA A,LEVENE R C,et al.OMA:Rem Koolhaas[J].El Croquis Editorial,Barcelona(Espana),1998:164.
[6]DOVEY K,Dickson S.Architecture and freedom? Programmatic innovation in the work of Koolhaas/OMA[J].Journal of Architectural Education,2002,56(1):5-13.
[7]BOCK I.Six canonical projects by Rem Koolhaas[M].Berlin:jovis Verlag,2015:141-151.
[8]彼得·埃森曼.建筑经典:1950-2000[M].范路,译.北京:商务印书馆,2015:205.EISENMAN P.Ten Canonical Building:1950-2000[M].FAN L,trans.Beijing:The Commercial Press,2015:205.
[9]SIMON U.Twenty Buildings Every Architect Should Understand[M].Routledge.Abingdon,Oxon.2010:111-112.
[10]雷姆·库哈斯,诺曼·福斯特,亚历山德罗·门迪尼.大师的色彩[M].李亮,李华,译.北京:知识产权出版社,2003.KOOLHAS R,FOSTER N,MENDINI A.The Colors of Master[M].LI L,LI H,Trans.Beijing:Intellectual Property Publishing House,2003.
[11]桂鹏,郑炘.风格派的建筑师[J].新建筑,2007(4):86-89.GUI P,ZHENG X.Architects in De Stijl[J].New Architecture,2007(4):86-89.
[12]威廉J.R·柯蒂斯.20世纪世界建筑史[M].本书翻译委员会,译.北京:中国建筑工业出版社,2011:156-157.CURTIS J R W.Modern Architecture since 1900[M].Translation Committee of this book,trans.Beijing:China Architecture&Building Press.2011:156-157.
[13]塞西尔·巴尔蒙德.异规[M].李寒松,译.北京:建筑工业出版社,2008.BALMOND C.Informal[M].LI H S,trans.Beijing:China Architecture&Building Press.2008.
[14]崔潇.谈波尔多住宅——从“异规”到“触底”[J].城市建筑,2014(26):198-199.CUI X.Discussion about Bordeaux Residential Building—From the"Informal"to"Hit Bottom"[J].Urbanism and Architecture,2014(26):198-199.
[15]刘松茯,孙巍巍.雷姆·库哈斯[M].北京:中国建筑工业出版社,2009:47.LIU S F,SUN W W.Rem Koolhaas[M].Beijing:China Architecture&Building Press,2009:47.
(1)加斯东·巴什拉在《空间的诗学》一书中,以诗歌的形象角度阐释家宅这一原型,是从人的心理上阐述住宅对人活动的影响,给人以安稳和幻想的场所。
(2)巴什拉认为,住宅在形象上用地窖和阁楼来表述垂直性,这种垂直性在思想上是由非理性到理性的过程。
(3)库哈斯与业主共同定义了住宅的意义,从人的关怀角度出发,体现当代视角下住宅的意义。
(4)“红蓝椅”由荷兰建筑师里特维尔德设计,是20世纪西方现代艺术设计史上最为创造性的经典作品之一,具有鲜明的风格派特征,体现了一种整体的结构特性。
[2]朱渊,朱剑飞.日常生活:作为一种设计视角的关注——“日常生活”国际会议评述[J].建筑学报,2016(10):19-22.ZHU Y,ZHU J. Notes on the Symposium"The Everyday—Spatial Design and Spatial Practice with/against Modernity"(2016)[J].Architectural Journal,2016(10):19-22.
[3]徐洁.波尔多住宅[J].时代建筑,2002(6):66-69.XU J.Boreaux House[J].Time+Architecture,2002(6):66-69.
[4]姜珺.波尔多住宅,波尔多,法国[J].世界建筑,2003(2):46-51.JANG J.MAISON a BORDEAUX,BORDEAUX,FRANCE,1998[J].World Architecture,2003(2):46-51.
[5]Koolhaas R,ZAERA A,LEVENE R C,et al.OMA:Rem Koolhaas[J].El Croquis Editorial,Barcelona(Espana),1998:164.
[6]DOVEY K,Dickson S.Architecture and freedom? Programmatic innovation in the work of Koolhaas/OMA[J].Journal of Architectural Education,2002,56(1):5-13.
[7]BOCK I.Six canonical projects by Rem Koolhaas[M].Berlin:jovis Verlag,2015:141-151.
[8]彼得·埃森曼.建筑经典:1950-2000[M].范路,译.北京:商务印书馆,2015:205.EISENMAN P.Ten Canonical Building:1950-2000[M].FAN L,trans.Beijing:The Commercial Press,2015:205.
[9]SIMON U.Twenty Buildings Every Architect Should Understand[M].Routledge.Abingdon,Oxon.2010:111-112.
[10]雷姆·库哈斯,诺曼·福斯特,亚历山德罗·门迪尼.大师的色彩[M].李亮,李华,译.北京:知识产权出版社,2003.KOOLHAS R,FOSTER N,MENDINI A.The Colors of Master[M].LI L,LI H,Trans.Beijing:Intellectual Property Publishing House,2003.
[11]桂鹏,郑炘.风格派的建筑师[J].新建筑,2007(4):86-89.GUI P,ZHENG X.Architects in De Stijl[J].New Architecture,2007(4):86-89.
[12]威廉J.R·柯蒂斯.20世纪世界建筑史[M].本书翻译委员会,译.北京:中国建筑工业出版社,2011:156-157.CURTIS J R W.Modern Architecture since 1900[M].Translation Committee of this book,trans.Beijing:China Architecture&Building Press.2011:156-157.
[13]塞西尔·巴尔蒙德.异规[M].李寒松,译.北京:建筑工业出版社,2008.BALMOND C.Informal[M].LI H S,trans.Beijing:China Architecture&Building Press.2008.
[14]崔潇.谈波尔多住宅——从“异规”到“触底”[J].城市建筑,2014(26):198-199.CUI X.Discussion about Bordeaux Residential Building—From the"Informal"to"Hit Bottom"[J].Urbanism and Architecture,2014(26):198-199.
[15]刘松茯,孙巍巍.雷姆·库哈斯[M].北京:中国建筑工业出版社,2009:47.LIU S F,SUN W W.Rem Koolhaas[M].Beijing:China Architecture&Building Press,2009:47.
(1)加斯东·巴什拉在《空间的诗学》一书中,以诗歌的形象角度阐释家宅这一原型,是从人的心理上阐述住宅对人活动的影响,给人以安稳和幻想的场所。
(2)巴什拉认为,住宅在形象上用地窖和阁楼来表述垂直性,这种垂直性在思想上是由非理性到理性的过程。
(3)库哈斯与业主共同定义了住宅的意义,从人的关怀角度出发,体现当代视角下住宅的意义。
(4)“红蓝椅”由荷兰建筑师里特维尔德设计,是20世纪西方现代艺术设计史上最为创造性的经典作品之一,具有鲜明的风格派特征,体现了一种整体的结构特性。