DS House by Olivier Dwek Architectures

Pursue the initial equilibrium

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Appreciation towards Olivier Dwek Architectures for providing the following description:

在现代的定义中,对称是两侧图像沿中轴一一对应的一种关系,但最开始,如维特鲁威所言:“均衡是由建筑细部本身产生的合适的协调,是由每一部分产生而直至整个外貌的一定部分的互相配称。”定义中并没有提及两侧的对称。在希腊语中,summetria被解释为均衡和尺寸。从远古时代开始,由于对平衡性的敏感和对稳定性的追求,人类在建造时,一直在运用双侧的对称,大至金字塔、寺庙和教堂,小至花瓶、两面燧石器、基碑。但同时,过于完美的对称也会让人感到厌倦。瑕疵、意外和差异才能激起人的情绪波动。这座让人印象深刻的住宅的立面,便反映了一种对庄重的追求和对差异化的渴望之间的张力。这座庄严的建筑由各种不同的元素组成,其中有些部分并没有建筑学上的功能,但仍如雕塑般伴随着彼此。一系列的镂空和突起赋予了建筑生命力,与立面上自然石材从灰色到米色的微小差异产生了共鸣。

Although we now think spontaneously of symmetry as being the perfect replication of two sides around a central axis, originally, to cite Vitruvius, “symmetry is a proper agreement between the members of the work itself and relation between the different parts and the whole general scheme”. There is no mention of bilateral symmetry. In Greek, summetria quite simply means “proportion” or “measure”. But since ancient times, sensible to balance and stability, mankind has built edifices that adopt the rules of bilateral symmetry: pyramids, temples, cathedrals, etc., along with vases, bifaces and steles. Yet too perfect symmetry induces boredom. Emotion leaps out from imperfections, the unforeseen and discrepancies. The façade of this imposing residence reflects the tension between a quest for majesty balanced with a desire for difference and variation. The solemn construction is composed of various elements, certain of which have no architectonic function but sit alongside one another like autonomous sculptural entities. Animated by a series of voids and projections, the façade resonates with nuances ranging from grey to beige, characteristic of the natural stone.

▽ 建筑外部,external view ©Serge Anton

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我们必须要再进一步,理解建筑核心的逻辑关系。经过入口处通透却带有仪式感的路径,踏过如同悬浮在平静的水面上的日本踏石,推开威严的氧化黄铜大门,毫无抗拒之力的,就被卷入了住宅的中心。轴线,核心,一层层的光线,透过两扇玻璃门还能看到花园的景观。注意力在各种不同的材料、纹理和建筑在水池中的倒影间往复。建筑似乎和威尼斯建筑师卡罗·斯卡帕设计的奎利尼·斯坦帕里亚基金会有着数不清的共通之处。

But we have to go inside to understand the internal logic of the house. The entrance has an air of a rite of passage, we cross the Japanese stepping stones that seem to float above a flat surface of water to push open the impressive oxidised brass door, before feeling irresistibly drawn into the nerve centre of the home. An axis, a core, a cascade of light, a visual link between two glazed doors that open theatrically onto the garden. The eye rebounds between the alternation of materials, textures and reflections of the architecture in the pools; it is rather like walking through the Fondation Stampalia Querini, created by the Venetian architect Carlo Scarpa.

▽ 建筑内部,interior view ©Serge Anton

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