KoyaHouse by Alain Carle Architecte Inc.

非常感谢 Alain Carle Architecte 将以下内容授权gooood发行。更多关于他们：Alain Carle Architecte on gooood.
Appreciation towards Alain Carle Architecte for providing the following description:

灵活性与功能性
Temporality and program

项目坐落于蒙特利尔劳伦地圣索维尔镇(Saint-Sauveur)，是当地房地产开发计划的一部分。项目所在社区位于蒙特利尔远郊，既坐拥优美的山区自然环境又享有便捷的区域城镇设施，因此吸引了很多居民来此定居。他们甚至将自己的父母以及子女都接到这里一起生活，享受天伦之乐。

The site is part of a real estate development on the approaches to the town of Saint-Sauveur in the Laurentians. This area is in Montréal’s second ring of outlying communities, where the occupants have chosen to settle to combine a lifestyle in a natural setting (in the mountains) with the conveniences of a small regional town. They have also chosen to make their project multigenerational, by allocating spaces for grandparents and their children.

▼项目远观，viewing the project at distance © Raphael Thibodeau

项目的设计方Alain Carle Architecte Inc.事务所曾于2019年在拉瓦尔大学建筑学院举办的装置展览“ L’Empreinte – Le Parloir”中，提出了一种空间临时性的概念，而Koya住宅的设计就是这种概念的延伸与落实。同样的设计原则也在该事务所的另一个住宅项目“ True North”中有所体现。

The Maison Koya project proposes a variation on the concept of temporality of the work set out in the presentation of the installation project L’Empreinte – Le Parloir (The Footprint – The Parlor) presented in the Hors Catégorie section this year. It presents an offshoot of this principle in the control universe, an application also found in the True North project we present the same category.

▼项目概览，overall of the project © Raphael Thibodeau

由于加入了时间的概念，住宅空间的设计因此变得具体而有趣了起来。在本项目中，空间性质的改变、家庭成员的组成、居民在住宅中的位置都是建筑师所关注的问题。这些因素都会随着时间的推移而变化，空间也随之发生改变。

There is thus a temporal relationship, which poses an interesting problem for the design of this residence’s spaces. We are interested in the changing nature of the program, the family composition and the residents’ location in the spaces that are bound to change over time within the complex.

▼场地主入口，entrance of the site © Raphael Thibodeau

印记：土壤中铭刻的时间
The Footprint: Inscribing the time in the soil

设计围绕着这种时间关系，构建出一种因地制宜的居住模式，使项目摆脱了郊区住宅的刻板印象。住宅由两种主要材质构成，分别为代表“永恒”的混凝土与代表“短暂”的木制元素。住宅如浮雕一般静静地伫立于场地之上，而场地中的两条主要交通流线构成住宅的主轴。错落有致的混凝土挡土墙、室外露台与过渡楼梯在场地上构建出一个全新的人工地形，同时也构成住宅结构与内部空间的基础。深层地热钻孔体现出项目的可持续发展理念，以低调方式解决了住宅的能源需求，而不是将技术指标生搬硬套到设计中。

The project instead revolves around this temporal relationship, by structuring a mode of implementation related to the topographical features rather than to a logic of single-family row housing, typical of suburban areas. The project’s morphology materially distinguishes the more permanent elements of the residence, in concrete, from the more ephemeral components in wood. Like a sculptural bas-relief, the main traffic axes on the site become the two axes of composition of the complex. Different concrete retaining walls, landings and transitional stairways install a new topography on the site, a conclusive structuring for what happens next. Deep geothermal boreholes “anchor” the composition in sustainability and address the energy needs metaphorically rather than in strictly technical terms.

▼错落有致的混凝土挡土墙、室外露台与过渡楼梯，iDifferent concrete retaining walls, landings and transitional stairways © Raphael Thibodeau

三个木制体量围绕着全新的人工地形组织起来，形成灵活有序的节奏以适应未来可能会变化的住宅性质。这三个木制体量悬挑在混凝土结构上方，好像处于一种不稳定的状态，并分别指向相反的方向。这种设置将Koya住宅与传统的郊区独栋住宅区别开来，后者的设计仅注重正立面与北立面的表达，但忽视了侧立面的美观。本项目则与之相反，旨在寻求建筑与周边环境之间更加全面更加开放的关系。

Three wooden volumes are then deposited on the exterior of this new topography to accommodate the changing nature of the program. They are cantilevered on the concrete structures, in an unstable situation, and point respectively in opposite directions. Thus, this complex is detached from a conventional composition of the suburban single-family home, which often has a very distinct expression between the front and rear facades, to the complete detriment of the sides. Maison Koya instead seeks to establish a more open relationship with the site in the broader sense.

▼木制体量悬挑在混凝土结构上方， wooden volumes are cantilevered on the concrete structures © Raphael Thibodeau

▼悬挑细部，detail of the cantilevered wooden volume © Raphael Thibodeau

通过将各个空间与建筑整体协调一致，住宅展现出一种平等而均衡的姿态，空间之间没有明显的分级，这种设计理念宛如对标准化城市规划霸权的批判，对缺乏人性化思考的统一空间安排的反抗，进而强调出生活与空间的关系。丰富的锯齿形空间形态与小型室外凉亭，将景观与室内外空间相互交织，从而形成对景观的多样化解读，化解了场地结构与景观的单一性。

By configuring a formal coherence with the whole, and not establishing any marked hierarchy in relation to the place, we establish a critical posture regarding the hegemony of urban planning standards, similar from one city to another, which finally dictate uniform spatial arrangements, trivializing the relationship between life and space. The morphology here instead attempts, by multiple sawtooth patterns and small outdoor subspaces, to establish a diversified reading of the landscape, regardless of the structure of the lots or a single landscape component.

▼立面与屋檐细部，detail of the facade and eaves © Raphael Thibodeau

▼错落的屋檐勾勒出天空，The strewn eaves outline the sky © Raphael Thibodeau

变革：全景视野
Alterity: the problem of the panorama

事实上，偏好单一景观视野(作为主要观察者)的设计手法似乎证明了一个反复出现的建筑问题，这是将建筑视为“对象”的结果。从这个角度来看，这种空间的设计是在缺乏对现实生活的思考下进行的，在所有的模糊性和复杂性中，使一种风格(即规范)的方法合法化，剥夺了空间形式的灵活性与可变性。再者，设计的核心不在于将“模糊”的东西风格化，而在于接受现实生活中的无限可能与每个项目之间的差异。

Indeed, the idea of preferring a single point of view on the landscape (as the dominant observer) seems to attest to a recurring architectural problem, the outcome of a thinking that favours the building as an “object”. In this perspective, the spaces are designed in the absence of reality as it is offered, in all its ambiguity and impurity, legitimizing a stylistic (i.e. canonical) approach instead of an approach based on the alterity of the form. Once again, the issue is not to work with ambiguity for the sake of ambiguity, to make it a “style” per se, but rather to accept the share of alterity offered by the infinite configurations of reality.

▼大面积的玻璃将环境引入室内，Large areas of glazing bring the environment into the interior © Raphael Thibodeau

▼底层外立面细部，exterior detail of the ground level © Raphael Thibodeau

项目场地与景观设计便是基于上述理论。尽管原始场地是根据典型的市政路网规划出来的，但是其周边的景观组成却是独一无二的。场地呈一个大而平缓的斜坡，从剖面上看呈三段，两端是陡峭的坡面而中间则由一段平台过渡。站在场地的最高处可以远眺到圣索维尔山的全景。除了壮丽的山脉全景外，建筑师还希望为住宅营造出更丰富的景观视野，使建筑与景观之间形成多元化的关系。

One characteristic of the site was that even though it was defined according to a typically cadastral route, the landscape components were truly singular. A large gently sloping plane, constituting an intermediate plateau between two steep slopes, one of them looking out on a panoramic view of Mont Saint-Sauveur. Despite this spectacular aspect, we wanted to free the project from a spatial composition that would only prefer this panoramic point of view, so as to engage in another type of relationship with the landscape, a plural relationship.

▼不同材质的室外台阶，Outdoor steps with different materials © Raphael Thibodeau

▼台阶细部，details of the steps © Raphael Thibodeau

合理的空间流线
Legitimacy of movement

住宅有多个入口，每个入口之间没有明显的分级。为了保持景观的连续性，这些入口通道与地势较低的场地部分之间形成了一种流动的关系。这种设置体现了建筑师将室内交通流线与室外景观视野平等化的设计手法，使住宅与周边的郊区环境融为一体。
There are multiple accesses to the building without a specific hierarchy. In continuity with the landscape, these accesses have a fluid relationship with the lower spaces, where the indifferentiation of the building’s internal traffic system seeks to engage a non-hierarchical relationship with the landscape (here see the typically suburban context of the neighbouring structures).

▼客厅概览，overall of the living room © Raphael Thibodeau

三个木制结构体量的中心交汇处，构成三代家庭成员的聚会空间。从象征意义的角度来说，这里不仅是一个聚会的“公共场所”，更是整栋住宅的“内核”，经久耐用的硬质材料彰显了空间的“公共性”。该空间也构成了住宅室内交通流线的基础。室内外流线的相互交织，营造出灵活开放的空间体验，同时也为随着时间推移而发生变化的空间配置提供了更多可能性，使住宅进一步满足居住者的发展需求。

Only a central space situated at the intersection of the three wood structures constitutes a place of convergence for the three generations inhabiting the complex. This metaphorically is the meeting place, a “public place” materially inscribed in the permanence of the mineral structure. This is the founding place of the complex, inscribed in movement. This possibility of moving between the internal and external parts of the building engages a type of open use, a possibility of reconfiguration of the occupations of the spaces over time, as if each of the three structures could be reconfigured according to the changes of use.

▼三个木制结构体量的交汇处成为整个住宅交通流线的核心，The intersection of three wooden structures forms the core of the circulation of the house © Raphael Thibodeau

在某种程度上，项目的本质在于将时间的概念嵌入每个建筑结构中，将空间与时间，或至少是对时间的预期相融合。正视建筑与场地之间不断发展变化的关系，也是项目的核心设计理念之一。除此之外，Alain Carle Architecte Inc.的建筑师们认为高品质的住宅空间应该是标准化建筑与理想化设计的媒介。在这样的郊区环境中，Koya住宅以独特的姿态从重复单调的周边建筑群中脱颖而出。

In a certain way, the essence of the project resides in the relationship between the necessity of creating a temporality for every built structure, of inscribing the concept of space in time, or at least in anticipation of time. Moreover, the connection with the territory as a source of alterity (and not of identity) is also at the core of our engagement in practice. Beyond this, we refer to the necessity of designing architecture as mediation of an otherness that is tamed and that influences the very meaning of the thought. In a suburban context like this one, where there is often only repetition and solitude, this critical posture has become essential.