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“烟囱”住宅/dekleva gregoric architects
2017-09-01
斯洛文尼亚 洛加泰茨


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项目名称:“烟囱”住宅

次名称:以烟囱为设计元素的住宅

地址:斯洛文尼亚,洛加泰茨

建筑设计工作室:dekleva gregorič 建筑事务所

项目团队:Aljoša Dekleva u.d.i.a., M.Arch. (AA Dist); Tina Gregorič u.d.i.a., M.Arch. (AA Dist); Vid  Zabel stud.arch., Primož Boršič m.i.a

客户:Andrej Dolenc

总占地面积:830平方米

建筑面积:145平方米

可使用面积:205平方米(106平方米基层面积+99平方米地下室)

项目施工日期:2012年

项目完工日期:2016年

摄影师:Flavio Coddou

录像:Flavio Coddou


project name: Chimney House

subtitle:chimney as an element of typological transformation

location: Logatec, Slovenia

Architectural office: dekleva gregorič architects

project team: Aljoša Dekleva u.d.i.a., M.Arch. (AA Dist); Tina Gregorič u.d.i.a., M.Arch. (AA Dist); Vid  Zabel stud.arch., Primož Boršič m.i.a

client:  Andrej Dolenc

site area:  830 m2

build up area: 145 m2

net area: 205 m2 (106 m2 ground floor + 99 m2 basement)

project date: 2012

completion date: 2016

photographer: Flavio Coddou

Video: Flavio Coddou



以烟囱作为设计元素的住宅。 这座房子的设计以当地普遍的建筑结构体系为基础。它依据传统建筑形态学,参考了当地住宅标志性的三角形屋顶,并充分考量了建筑的体量和材料因素。而且,“烟囱”住宅还体现了以客户需求为本的住宅改造方式。


Chimney as an element of typological transformation. The design of  the house is primarily based on the rules of local architecture. It respects the morphology of the traditional built context, referring to the prevailing gabled roof type of the house and respecting its volumetric and material parameters. On the other hand the Chimney house marks typological transformation generated by the users’ specificity. 



这座乡村住宅的主人是一对夫妻,设计师在厨房设计了一个多功能柴炉,这对他们的私人和公共生活起到了重要的作用。位于火炉中央的烟囱体现了房子的整体设计概念,也由此发展出在特别的横截面里,由中心向两边展开的布局。屋脊线从中心向两边推开,形成了一块连续的天窗,它贯穿了整个房子的线性体量,为所有的关键区域带来了头顶采光。


The kitchen, with a multifunctional wood stove, plays the vital role in the private and social life of a couple living in the countryside. Stove’s centrally positioned chimney determines the concept of the house informing the centrally aligned layout of spaces within the specific cross-section of the house. The ridge of the roof is pushed apart creating a continuous skylight running throughout the house’s linear volume and providing top light for all the crucial spaces. 



这座建筑位于乡村的边缘地带,在材料上深色的木制立面与旁边的谷仓相协调,但是它独特的空间体量又与周边的街区有很大不同,创造出了与附近一座16世纪教堂的历史对话。


Positioned on the borderline of the village it clearly relates to the adjacent wooden barn with the dark wooden materiality, but with the new distinctive volumetric identity moves deliberately away from its vernacular neighbour and curiously associates with the nearby 16th century church creating a dialogue between the two.



可以看出,涂油的落叶松板是建筑的室外材料,呼应了本土谷仓的传统装修方式。特意打造的次级木质屋顶同深色的外立木板体现了设计的连贯性。建筑的外墙设计为一圈厚墙,整合了多个仓储空间、次级厨房以及小型的“可居住”窗龛—这些精心设计的窗龛控制着光线的射入,有能望向周边环境的开阔视野。建筑带有的互动功能能够承载各种活动。室内的设计材料呼应了居住者的触觉,所有与人体接触的表面为过油处理的橡木,而屋顶结构则采用了钢筋混凝土,彰显出木质模板工程的印记,这一点增强了室内封闭空间中的纹理连贯性。


Oiled larch boards completely define the materiality of the outside relating to the traditional finish of the vernacular barn. Deliberate secondary wooden roof cladding provides the continuity of the dark wooden materiality of the facade cladding. The building’s envelope is developed as a thick wall integrating multiple storage spaces, secondary kitchen, and small ‘inhabitable’ window niches that carefully curate incoming light and expanding views to the surroundings. Interactive capabilities allow for an array of activities. Material definition of the interior responds to haptic abilities of inhabitants: oiled oak is used for all the surfaces that can be reached and touched by the human body, whereas the structure of the roof is in reinforced concrete showing the imprint of the wooden formwork that provides for the continuity of the texture of interior envelope. 



在室内抬头看去,从材料内部包线处到屋顶,你会发觉头顶上方不断变化的天空也成为了这所房子日常的一部分。


Rising the gaze, starting from the material inner envelope and moving towards the zenith, one can discover and observe ever changing condition of the sky that becomes part of everyday life in the house.



在“烟囱”住宅里,你可以很快的找到斯洛文尼亚的当地特色、现代建筑物的特点以及当地的手工艺等等。但是,上面提到的都不是最重要的,最有趣的是,单一原型架构元素成为了这个房子设计的中心主题并影响了整体设计的空间概念、感觉以及房子的体量。


“In The Chimney House, one could easily find references to the Slovene vernacular and critical regionalist modern architecture, local craftsmanship etc. But these references aren’t as essential, as the most interesting question that poses itself is how a single archetypal architectural element became the central theme of the house and how this influenced the spatial concept, perception and the volumetric articulation of the object. 



“建筑中的建筑部件和技术部件往往是分离的,其技术部分总会被看成是一种平庸的必需品,甚至被当做表达“干净”的建筑理念的障碍。在这个项目中,“技术”则变成了一项挑战,是项目的最为重要的根基之一。历史上,烟囱与火炉是建筑中最早出现的技术元素,为人们带来温暖、光和热乎的食物,因此也成为了家的中心。按以前的观点说,烟囱和火炉慢慢发展成了厨房与餐厅,从而形成了主要的居住空间……在某种程度上可以说,住宅的原型是由烟囱的外轮廓变化而出的。” 


Architecture is often ‘separated’ into architectural and technical components, the technical aspect of which is usually understood as a banal necessity, or even an obstacle in expressing a ‘clean’ architectural idea. In this case the ‘technical’ aspect becomes the challenge and one of the most important bases of the project. Historically, the chimney is one of the first technological elements which appeared in architecture, along with the fireplace – the source of warmth, light and food preparation became the centre of the home. The chimney with its ‘fireplace’ gives meaning, in an archaic way, to the kitchen and dining area - the central dwelling space. … The volume of the house is, in a way, of an archetypal shape, transformed by the outline of the chimney.”




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