太岳院子 – 造币局民宿,山西 / 三文建筑

乡土与时尚并存

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非常感谢 三文建筑 / 何崴工作室 予gooood分享以下内容更多关于他们3andwich Design/He Wei Studio on gooood
Appreciation towards 3andwich Design/He Wei Studio for providing the following description: 

 

场地,曾经的红军银行
The Site: Once the Red Army bank

韩洪沟老村曾经是抗战时期太岳军区后期部队所在地,项目所在的老院子曾经是当时的银行,这为项目平添了几分传奇的色彩。

The old village of Hanhonggou used to be the site of the later troops of Taiyue Military Region during the Anti-Japanese War. The old courtyard where the project is located was once a bank, which added some legendary color to the project.

▼项目鸟瞰,overall view of the project

此处位于村庄尾部,位置私密、幽静,北侧是山坡,南侧朝向原来的泄洪沟渠,视线相对开阔。原址上有三个并排但独立的院落。院落格局规矩,正房二层,形制是沁源地区典型的三开间,一层住人,二层存放粮食和杂物。厢房一层,因为年久失修,大多数已经破损或倒塌,很难一窥全貌。改造前,三个院落已经闲置多年,原住民早已迁到新村居住,此处产权已经移交给村集体。

Located at the end of the village, the location is private and quiet. The north side is the hillside, and the south side is facing the original flood discharge ditch, with a relatively open view. There are three independent courtyards on the original site. The courtyard pattern is regular, the main rooms are two-storeyed, and the shape is typical three-bay rooms in Qinyuan area: People live on the first floor, and grain and sundries are stored on the second floor. The wing-rooms are single-storeyed, most of which have been damaged for long years out of repair. So, it’s hard to have a whole impression of the original architecture. Before the transformation, the three courtyards had been idle for many years, and the aborigines had already moved to the new village, where the property rights had been transferred to the village collective.

▼改造前场地现状,site before renovation

 

布局,打通院落,重构空间
Layout: Open up the Courtyards and Reconstruct the Space

新功能决定原来彼此隔绝的三个院落格局必然会被打散、重组。民宿不同于民居,它需要公共服务区域、前台、客房和后勤部分,且客房要有一定的数量,服务要有便捷性。设计的策略分为几个步骤:首先,对原有建筑进行评估,对保存良好,可以继续利用的房屋进行保留、修缮;对已经无法继续使用的建筑进行拆除。然后,拆除3个院落之间隔墙,将场地连接为一体,重新组织入口和交通流线。再后,根据新场地景观和功能组织,新建单体,与保留建筑一起重构场所。

The new function determines that the original pattern of three isolated courtyards will be broken up and reorganized. Homestay is different from residential, it needs public service area, front desk, a certain number of guest rooms and logistics, and service convenient is necessary. The design strategy is divided into several steps: first, after the evaluation of the original buildings, the houses that are well preserved and can continue to be used are preserved and repaired, and the buildings that can no longer be used are demolished. Then, the partition walls between the three courtyards are removed to connect the site into one, and the entrance and traffic flow lines are reorganized. Then, according to the landscape and functional organization of the new site, a new monomer building is built to reconstruct the site together with the reserved building.

▼设计生成,generation diagram

完成后,原正房与新厢房的空间关系仍然被保留,正房两层、高,位置不变,新厢房一层,处于从属地位。但空间格局并不墨守原貌,利用新建的厢房,空间的流线和室外空间得以重构,同时利用现代的形式和新材料,新建和老建筑形成一种戏剧性的对话关系。

After the completion, the spatial relationship between the original main rooms and the new wing rooms is still preserved. The main rooms are two stories high and the position is unchanged. The new wing rooms are on the subordinate position. However, the spatial pattern does not stick to the original appearance. By using the newly built wing room, the streamline and outdoor space of the space are reconstructed. At the same time, using modern forms and new materials, the new and old buildings form a dramatic dialogue relationship.

▼改造后项目顶视图,top view of the building after renovation

▼从溪流处看向民宿,view to the homestay from the creek

 

建筑,天井、露台,土坯砖、水刷石和瓷砖
Architecture: Patio, Terrace, Adobe Brick, Granitic Plaster and Ceramic Tile

建筑的设计延续了布局的逻辑。正房或被保留修缮,或按照原貌复建,它们在空间中居于显眼的位置,形式的地域性宣告了民宿与场地文脉的关系。入口院落的正房是民宿的前台,后面两个正房是客房。正房二楼不再是存放杂物的空间,它们被改造为客房使用,但立面的传统格栅形式被保留,回应了沁源地区传统民居的风貌。原建筑的土坯砖被继承,根据传统工艺新制作的土坯砖墙既唤起历史的记忆,又极具装饰感。

The architectural design continues the logic of layout. The main rooms are either preserved and repaired, or rebuilt according to their original appearance, occupying a prominent position in the space. The regional nature of the form declares the context relationship between the homestay and the site. The main room in the entrance courtyard is the front desk of homestay, and the two main rooms behind are guest rooms. The second floor of the main rooms is no longer a space for storing sundries. They are transformed into guest rooms, but the traditional grid form of the facade is retained, which reflects the style and features of traditional residential buildings in Qinyuan area. The adobe bricks of the original building are inherited, and the new adobe brick walls made according to the traditional technology not only evoke the memory of history, but also have a sense of decoration.

▼入口院落,entrance courtyard

▼保留原有院门形成新旧对比,contrast between new and old through preserved original courtyard door

▼不同的外立面材料形成丰富的肌理,different facade materials forming rich textures

新厢房采用平顶形式,更抽象、更具现代性,又为民宿提供了更多、更丰富的室外空间(二层平台)。为了保证一楼客房的私密性,新建客房设有属于自己的小院或者天井,建筑朝向小院或天井开大窗,形成内观的小世界。

The new wing rooms adopt the flat roof form, which is more abstract and modern, and provides more and more abundant outdoor space (platform on the second floor) for homestay. In order to ensure the privacy of the guest rooms on the first floor, the newly-built guest rooms have their own courtyards or patios. The building opens large windows towards the courtyard or patio to form a small world of internal view.

▼新厢房采用平顶形式,旋转楼梯成为空间焦点,new wing rooms adopt the flat roof form, rotating stairs becoming visual focus in space

▼场地中的树被保留,成为庭院景观中的重要元素,original tree on site preserved as important landscape element in courtyard

▼民宿屋顶平台,roof platform of homestay

建筑外立面没有使用乡土的材料,而采用了水刷石。这既是对80年代,也是对建筑师自身回忆的一种表达。灰白的碎石肌理和老建筑的土坯墙形成柔和的对比,不冲突,但有层次。彩色马赛克条带的处理,既是对斯卡帕(Carlo Scarpa)的一种致敬,也对应着乡村瓷砖立面的命题。建筑师希望借此引起对乡村瓷砖立面的一种反思,不是简单的批判,而是理性的思考,以及想办法解决。

Instead of local materials, the building facade uses granitic plaster. This is not only an expression of the memories of the 1980s, but also of the memories of the architect himself. The gray gravel texture and the adobe wall of the old building form a soft contrast, with no conflict but a sense of depth. The treatment of color mosaic strip is not only a kind of homage to Carlo Scarpa, but also corresponds to the proposition of rural tile facade. The architect hopes to arouse a kind of reflection on the facade of rural tile, not simple criticizing, but rational thinking and solution finding.

▼民宿外立面转译传统民居特征,translation of traditional residential features on facade of homestay

▼水刷石、青砖、土坯墙形成不同质感的外立面,granitic plaster, green brick, adobe wall forming facade of different textures

▼框景,framed view

 

室内,亦土亦洋
Interior: Corny and Trendy at the Same Time

从设计逻辑上,室内是建筑的延续。建筑师希望营造一种乡土与时尚并存的感觉,既能反映山西的地域性,又能符合当代人的审美和舒适性要求。

From the design logic, the interior is the continuation of the architecture. The architect hopes to create a sense of coexistence of local and fashion, which can not only reflect the regional characteristics of Shanxi Province, but also meet the aesthetic and comfort requirements of contemporary people.

▼透过巨大的玻璃窗看向室内,view to the interior through large glass windows

客房空间的组织根据客房的面积和定位布置,符合当代度假民宿的需要。新建筑客房天花使用深色界面,让空间退后;地面是灰色的纳米水泥,在保证清洁的基础上,给人一种酷酷的时尚感;墙面为白色,保证了室内的明亮度。老建筑客房天花保留原建筑的天花形制,木质结构暴露;地面是暖色调的实木地板或仿古砖,给人温馨舒适感。墙面为黄土色的定制涂料,给室内氛围增加怀旧感,也符合当地民居特色。

The organization of guest room space is arranged according to the area and location of guest rooms, which is in line with the needs of contemporary holiday homestay. In the new building, the ceiling of guest rooms uses dark color interface to make the space back. The ground uses gray nano-engineered cement, which gives people a cool sense of fashion on the basis of ensuring cleanliness. The wall surface is white, which ensures the indoor brightness. The old building’s guest room ceiling retains the original building ceiling shape, with the wooden structure exposed. And the floor uses warm-toned solid wood floor or antique brick, giving a warm and comfortable feeling. The wall is painted with loess color, which adds nostalgia to the indoor atmosphere and conforms to the local residential characteristics.

▼天井的设计增加了空间的层次,design of patio increasing the level of space

▼透过玻璃船与室外交流,isual communication between indoor and outdoor through glass

▼传统风格的室内空间,interior space in traditional style

▼原木、土墙和手绘天花传递了浓郁的乡村气息,logs, walls and hand-painted ceiling conveying a strong rural flavor

▼二楼大客房室内,interior of grand guest room on 2nd floor

床的处理有几种不同的方式,包括:炕、标准的床和地台。老建筑的一层客房中采用炕,二层由储藏空间改造的客房采用标准的床,而新建的客房则多为地台。这样的处理既满足了不同使用人群的入住体验,地台的使用也便于灵活组织房间的入住形式,在大床、标间之间转换。

There are several different ways to treat the beds, including Kang (heatable brick bed in North China), standard bed and platform. Kang is used in the guest rooms on the first floor of the old building, and standard beds are used in the guest rooms on the second floor which are transformed from storage space, while most of the newly-built guest rooms are equipped with platform. Such treatment not only meets the occupancy experience of different users, but also facilitates the flexible organization of room occupancy form, and the conversion between king room and standard room.

▼延用北方的炕作为民宿的床,traditional heatable sleeping platform in North China used as bed for homestay

▼新建客房采用地台,newly-built guest rooms equipped with platform

▼卫生间,toilet

在两种“对抗”的室内风格基底上,为了提高设计的整体性,家具和软装选择了相同的风格。毛石、实木、草本编织、粗布等乡土材料被大量使用,但它们又经过精细的挑选、搭配和加工,呈现出一种“粗粮细作”的状态。颜色也直接影响了室内的最终效果,不同的房间使用不同的主题颜色,也与建筑的外观颜色相对应。坐垫、地毯、壁饰等软装,使用了浓郁和鲜艳的色彩,它们作为空间中的跳色,活跃了气氛。

In order to improve the integrity of the design, for furniture and soft decoration the same style is chosen. Local materials such as rubble, solid wood, herbaceous braided fabric and coarse cloth are widely used, but they are carefully selected, matched and processed, showing a state of “finely cooked coarse grain”. Color also directly affects the final effect of the interior. Different rooms use different theme colors, which also correspond to the appearance color of the building. Cushion, carpet, wall decoration and other soft clothing with rich and bright colors, enliven the atmosphere as jumping color spots in the space.

▼室内局部,part of the interior

▼夜景,night view

▼总平面图,site plan

▼首层平面图,first floor plan

▼二层平面图,second floor plan //

名称:造币局民宿
地点:山西省沁源县沁河镇韩洪沟村
业主:沁源县人民政府
建筑、室内、景观设计:三文建筑(www.3andwichdesign.com
主持建筑师:何崴、陈龙
项目建筑师:梁筑寓
设计团队:桑婉晨、曹诗晴、刘明阳
项目顾问:周榕、廉毅锐
驻场代表:刘卫东
设计时间:2019年4月-7月
建成时间:2020年8月
场地面积:960平方米
建筑面积:540平方米
摄影:金伟琦,三文建筑

Name: The Mint Bureau Homestay
Location: Hanhonggou Village, Qinyuan County, Shanxi Province, China
Owner: People’s Government of Qinyuan County
Architecture, interior and landscape design: 3andwich Deisgn / Hewei Studio (www.3andwichdesign.com
Principle architects: He Wei, Chen Long
Project architect: Liang Zhuyu
Design team: Sang Wanchen, Cao Shiqing, Liu Mingyang
Project consulting: Zhou Rong, Lian Yirui
On-site Representative: Liu Weidong
Design period: April – July 2019
Completion time: Aug. 2020
Site area: 960sqm
Building area: 540sqm
Photographer: Jin Weiqi, 3andwich Design

More:三文建筑 / 何崴工作室更多关于他们3andwich Design/He Wei Studio on gooood

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