01. 当代性的院落,飞来的桥
Contemporary Courtyard with Flying Bridge

位于北京怀柔区九渡河镇西北深山鹞子峪沟内的鹞子峪古堡,始建于明代,曾经的军事防御要地如今依然居住着13户居民,当地部门于2007年依照现存制式进行了一次全面的修缮,目前古堡依然较好地保存着原始的文物风貌。作为当代“院落式”的住宅结构——慢院(bridge yard)临近古堡的东北角,是一座完全新建的院落。

The Yaoziyu Fortness, located in the Yaoziyu Ditch in the north-west of the Jiuduhe Town, Huairou District, Beijing, was built in the Ming Dynasty and is still home to 13 families in what was once a military defence site. The bridge yard, a contemporary courtyard-style residential structure, is located in the north-east corner of the fortress and is a completely new courtyard.

▼项目概览:墙定义的空间,Preview: a space defined by walls ©汪剑柃

▼入口立面,Entrance facade ©汪剑柃

几何是关于空间的线、平面以及三维形体的定律。建筑依据地理形态,以几何的体块整体采用三段式平面布局,由北侧的起居、屋顶露台、拥有独立小院的Loft,中部的公共中庭、厨房,以及南侧三间客房构成。基于周遭杂乱的场地环境,外围封闭、向内生长成为设计的主要策略,既解决了住客的隐私性,也使围合的建筑实体进化为自我的内部环境。

▼轴测图,axonometric © nsaaa

Geometry is the law of lines, planes and three-dimensional forms of space. The building is geometrically shaped, with an overall three-part layout of geometric blocks, consisting of a living area, a roof terrace and a loft house with its own courtyard on the north side, a communal atrium and a kitchen in the middle, and three guest rooms on the south side. Based on the cluttered surroundings of the site, the main strategy of the design is to close the perimeter and grow inwards, addressing the privacy of the residents while allowing the enclosed building entity to evolve into a self-contained internal environment.

▼航拍顶视图,Aerial view ©汪剑柃

▼屋顶平台,Roof terrace ©汪剑柃

▼从城墙上看慢院,View from the Great Wall ©汪剑柃

我们希望用具有当代性的思考体系来设计慢院。绕过影壁、穿越曲折通道和敞开的内庭到达主厅或去往各自“厢房”,灵活的空间结构,被提炼出来的北京当地传统民居的动线所串联。但这又和传统建筑不同,受限于南向场地的面积,南北独立建筑通过“桥”的具象构建了有效的连接,住客往返于此,形成动态的、即时的、别有韵味的内庭风景。

We wanted to design the Slow Courtyard with a contemporary system of thinking. The flexible spatial structure is linked by a distillation of the movement of traditional Beijing dwellings, as one moves around the shadow wall, through the winding passages and open inner courtyards to the main hall and the individual chambers. However, unlike the traditional dwellings, the north and south buildings are separated due to the limited area of south-facing ground but effectively linked. Through the figurative bridge, residents could go back and forth between the buildings, which creates a dynamic, immediate and distinctive inner courtyard landscape.

▼充满力量的主入口,The main entrance ©汪剑柃

▼入口的隧道,Entry tunnel ©汪剑柃

▼穿过隧道后看到的桥,View to the bridge from the entrance ©汪剑柃

▼在内院看桥,View to the bridge from the inner yard ©汪剑柃

桥体与朝外的桥护栏由L型的悬臂式结构所构建,而朝内的护栏则以间距格栅的形式体现,虚与实、厚重与纤细的相呼应,创造了一种漂浮于空中的轻盈姿态。桥被故意设计成完全裸露于室外,看上去似乎造成了某种不便,但这正是我们希望的,希望能够让人清晰感受季节的更替和变化,感受长城下居住的那份气概。

The bridge body and the outward-facing parapet are constructed of an L-shaped cantilever structure, while the inward-facing parapet is embodied in the form of a spaced grille, echoing the virtual and the real, the heavy and the slender, creating a lightness of form that floats in the air. The bridge is deliberately designed to be completely exposed to the outside, which may seem to cause some inconvenience, but this is exactly what we wanted, to give a clear sense of changing seasons and the life spirit by the Great Wall.

▼站在loft的桥上看内院 ©汪剑柃
View to the inner yard from the loft bridge

▼雪景下的桥,The bridge in winter ©汪剑柃

▼雪景下的桥和露台,The bridge and terrace in winter ©汪剑柃

西侧邻居家院墙高筑,在适当的区域选择将我们的墙打开,避免两堵实墙带来完全封闭和笨重的即视感,直接将邻院的墙作为我们的景,这种巧妙的顺势而为,我们称之为他借;而所有室内空间则以庭院作为主要景观面,强调庭院在建筑中的重要性,同时积极地鼓励住客于此互动、聚集和分享,这种“以自我为中心”的建造方式,我们称之为自取。

The wall of the neighbour’s house to the west is built high. In the suitable area we have chosen to open up our wall to avoid the immediate impression of total closure and bulkiness that comes with two solid walls. To use the neighbour’s wall directly as our view is a clever way of taking advantage of the situation that we call borrowing. The courtyard is used as the main landscape surface for all interior spaces, emphasising its importance in the architecture, while actively encouraging residents to interact, gather and share in this ‘self-centred’ way of building, which we call self-taking.

▼站在桥上看内院,View to the inner yard from the bridge ©汪剑柃

▼邻居的隔墙和慢院的桥 ©汪剑柃
The neighboring wall and the bridge of the slow courtyard

▼慢院的内院,Inner yard ©汪剑柃

▼从西侧的院子看慢院局部,View to the slow yard from the west yard ©汪剑柃

▼西侧院子内的烟囱和慢院的墙之间的关系 ©汪剑柃
The chimney in the west yard and the walls of the slow courtyard

 

02. 工匠营造,手工的记忆
Artisanal Creation , a Memory of Handcraft

人类对于工业化的依赖已经到了前所未有的程度,从最开始的便利于民已经到了完全依赖的程度,人的双手正逐渐从制作和感知中抽离,变成麻木的只会敲击屏幕和递送食物到口中的工具。这种有意无意识的改变,正在改变着人类的思考和发现世界的方式。我们对此一直保持着警惕和怀疑。因此在这个院落的设计里,我们希望能够有意识地让人们有所回归,通过最基础的建造方式去营造出具有手工感的建筑,让人们来到这里会不由自主的去触摸,去感受,去思考。真正的感受一座建筑,进而去感受自然。

Humanity’s reliance on industrialization has reached an unprecedented level, from its beginnings as a convenience to the people to a point of total dependence, where human hands are gradually being withdrawn from making and perceiving into a numbing tool that only taps on screens and deliver food to the mouth. This is consciously and unconsciously changing the way people see and think of the world. We are always vigilant and suspicious of this. Therefore, in this design we wish to bring people back intentionally. By creating the sense of craftmanship through the very fundamental construction methods, we wish people come here to touch, to feel and to think with their deep heart. To really feel a building and thus nature.

▼从二楼平台看向南侧套房,View to the guest suite from the terrace ©汪剑柃

▼从南边套房向北看,View to the north from the suite ©汪剑柃

▼loft和loft的屋顶平台,The loft building and its roof terrace ©汪剑柃

▼站在内院看起居空间,View to the living room from the inner yard ©汪剑柃

作为室内外主要的饰面用材,水刷石从鹞子峪古堡的建筑遗迹里浮现出来,过去常见的外墙材料而今被渐渐遗忘。这种久经岁月洗礼而历久弥新的材料,在我们看来,是重构场地历史和记忆的不二之选,并希望水刷石的运用能够令建筑融入于自然环境中去。这种看似简单便宜的材料,却需要工人一平方一平方的涂抹上墙和用水冲洗,也因为会用传统技艺的师傅越来越少,墙面的施工持续了三个月。好在最后呈现的效果令人满意。 从室外到室内,从地面到墙体再到天花,一种材料表达了它可以表现的最大化,并强调了建筑向来不是特立独行的个体,它是与场地融为一体的、不突兀却有着独特性格和面貌的“芸芸众生”。

As the main material for interior and exterior finishes, brushed stone emerges from the architectural remains of the Yaoziyu Fortress, which was a common exterior material that is now being forgotten. This material, which has survived the ages, is, in our opinion , the perfect choice for reconstructing the history and memory of the site. The use of brushed stone will allow the building to blend into its natural environment. This seemingly simple and inexpensive material needs to be applied square by square and washed down with water. The work on the walls lasted three months as the number of masters who could use the traditional techniques was decreasing. But the final result was satisfactory. From exterior to interior, from floor to ceiling, a material expresses the maximum of what it can express and emphasises that architecture is not an isolated individual, but one of the multitude that is integrated into the site, not abruptly but with an unique character and appearance.

▼起居空间看向内庭院,View to the inner yard from the living room ©汪剑柃

▼起居空间北面的窗,Windows on the north side of the living room ©汪剑柃

▼起居空间室内南侧,South side of the living room ©汪剑柃

▼起居空间东侧的水刷石墙面,The brushed stone wall on the east side of the living room ©汪剑柃

▼起居空间内餐厅,Dining area ©汪剑柃

▼起居空间内高度的戏剧性变化 ©汪剑柃
The dramatic change of floor height of the living room

▼起居空间去往卫生间的隧道,Way to the bathroom ©汪剑柃

▼起居空间室内材质的关系,Interior materials ©汪剑柃

而坚硬的混凝土墙则有另一番面貌,它首先是建筑的结构,是空间分割的构件,同时又是拥有独特触感的真实材料。我们有意识的对拆去了模板之后的混凝土墙进行筛选,选择性的保留了一部分施工比较理想的墙体裸露出来。一种材料,当你为其注入生动的官能时,它便超越了所有的构成法则,这其中的触觉、嗅觉和听觉特性被全身心的调动起来,使那些只在这一建筑语境中以这一途径才能得到理解和显现的材料体现出唯一性、在地性和适配性的独特意义。材料的真实、延续与当代演绎,也直接的反应了场地与建筑的彼此协调、转换和历史文脉的内在衔接。

The hard concrete walls, on the other hand, have a different look, being first and foremost the structure of the building, the spatial dividing element, and at the same time a real material with a unique touch. We have consciously selected the concrete walls after the formwork has been removed, leaving a selective number of the more ideal walls exposed. A material, when you imbue it with a vivid sense of functionality, transcends all the laws of composition and the tactile, olfactory and auditory properties of this material are fully engaged, giving a unique, local and adaptive meaning to materials that can only be understood and manifested in this architectural context in this way. The authenticity, continuity and contemporary interpretation of the materials are also a direct response to the interplay between site and architecture, the transformation and the internal articulation of the historical context.

▼独立的loft入口,Entrance to the loft ©汪剑柃

▼南侧二楼套房的视野,View from the suite ©汪剑柃

▼南侧二楼套房室内,Suite interior view ©汪剑柃

关于门窗系统,我们则有不同的想法。首先我们摒弃了更加工业化的断桥铝系统,而是采用了现场工人制作的方钢龙骨加竹木板作为围护结构的系统,同时将可开启的功能看作是“门”的延伸,而非窗的功能,避免常规玻璃上开启窗的繁琐做法,使钢化双层玻璃则简化为单一的采光功能,表现建筑立面实与透对仗的纯粹性,从而使具体的构造行之有效的指向功能和美观的结合。手工感的建筑物毋庸置疑的成为了人们营造有形实体的见证。

With regard to the window and door system, we had a different idea. Firstly, we have abandoned the more industrialised system of break-bridge aluminium, and have instead adopted a system of square steel keel with bamboo and timber panels as the envelope structure made by workers on site, while considering the openable function as an extension of the ‘door’ rather than a window, avoiding the cumbersome practice of opening windows on conventional glass, and simplifying the toughened double glazing to a single The purity of the building façade in terms of solidity and transparency is expressed, thus making the specific construction effective and pointing to a combination of function and aesthetics. The handcrafted feel of the building is an undeniable testimony to the creation of a tangible entity.

▼开启和固定的空间构成,The solid and openable component of space ©汪剑柃

▼从loft室内看向小庭院,View to the small patio from the loft ©汪剑柃

▼室内细节,Interior view ©汪剑柃

 

03. 光的容器,阴影之歌
Vessel of Light, Song of Shadows

在传统日式民居的幽暗深处,阴影蜷伏于不同的细微角落,黯然的地面隐藏着起伏的光影;茶器上手工锻造的痕迹微微闪现出金属的岁月光泽;滑动门的木框上约束着半透明的障子纸,柔和的光透过它散射而出,形成一道朦胧的隐约“光墙”。于是,你几乎无法分辨光源的确切时间,在这半晦半明中,光,如此漂亮地反衬和映射了事物的面貌。谷崎润一郎赞颂阴影,而阴影赞颂光。

In the dark depths of a traditional Japanese home, shadows huddle in various subtle corners, the dull ground hiding undulating light; the hand-forged traces of tea ware faintly glisten with the sheen of metallic age; the wooden frame of the sliding door is bound with a translucent paper barrier through which soft light radiates, forming a hazy, vague ‘wall of light’. The light is then almost indistinguishable from the light source. So you can barely tell the exact time of day of the light source, which, in this half-obscurity, half-light, so beautifully contrasts and maps the face of things. Junichiro Tanizaki celebrates shadows, and shadows celebrate light.

▼标准客房内柔和的光,The soft light in the standard room ©汪剑柃

▼loft室内材质的关系,Loft room materials ©汪剑柃

从穿过大门,进入幽暗的通道开始,光与影就在交替和变化着。我们把整个建筑作为一个光的容器在设计,悬浮的桥,矗立的墙都是刻画出阴影的最佳道具,整个庭院随着太阳的移动形成丰富的光影变化,展现着北方建筑的力量。但我们并不单单追求光如手术刀般切割空间,我们利用更深的挑檐和北侧的长条窗去营造如丝绸般柔和的光线和阴影。

From the moment you pass through the gate and enter the dark passage, light and shadow alternate and change. We designed the whole building as a container of light, the suspended bridge and the standing wall are the perfect props to portray the shadows, and the whole courtyard creates a rich variation of light and shadow as the sun moves, demonstrating the power of northern architecture. But we did not just seek to cut the space like a scalpel, we used the deeper eaves and the long windows on the north side to create a silk-like softness of light and shadow.

▼loft室内的楼梯,Staircase in the loft room ©汪剑柃

天然的材料在经过光线的滋润后呈现出更加温暖的质感,即使是质感坚硬的混凝土也会闪着朦胧的光。除去对天然光线的借用,关于人工的光,我们也尽可能的采用最克制的手段,以最低程度的干扰使灯光和空间融为一体。那深幽得让人立刻安静下来的氛围,是我们希望带给所有来客的礼物。

Natural materials take on a warmer quality when nourished by light, and even the hard concrete glows with a hazy light. In addition to the borrowing of natural light, the artificial light is used with the greatest possible restraint, blending the light with the space with the minimum of disturbance. The atmosphere is so deep that it immediately calms the senses, a gift we hope to bring to all visitors.

▼loft室内通高的吊灯,The full-height lamp in the loft room ©汪剑柃

▼标准客房内各种材质之间的关系,Interior details in the standard room ©汪剑柃

 

结语
Conclusion

记得在年初还未完工的时候,我们曾因为项目的推进遇到各种各样的困难,而开玩笑地将其推卸到业主将这个院子取名叫作慢院上来。其实慢院从设计到施工的整个过程恰恰让我们感受到了慢的价值和意义。在这样一个网红建筑遍地,追求本末倒置的时代。去复制一个为摄影而存在的建筑变得极为简单,但创造一个愿意为心而存在的建筑则更加的难能可贵。苏珊桑塔格在她的著作《论摄影》里说过:“今天,一切事物的存在,都是为了在一张照片中终结。”而今天,我们希望慢院能够为打破这个寓言做出一点点努力。

I remember at the beginning of the year when the project was not yet completed, we jokingly put the blame on the owner for naming the courtyard as Slow Courtyard because of the various difficulties encountered in the project’s progress. In fact, the whole process of the Slow Courtyard from design to construction made us feel the value and meaning of slow. In such an era where Instagram architecture is everywhere and the pursuit of the cart is put before the horse. It has become extremely easy to replicate a building that exists for photography, but it is even more valuable to create a building that is willing to exist for the heart. In her book On Photography, Susan Sontag said, “Today everything exists to end up in a photograph.” And today, we hope that Slow House will do a little to break this fable.

▼从东侧巷子里看慢院,View to the slow courtyard from the alley ©汪剑柃

▼夜幕下的慢院,The slow courtyard at dusk ©汪剑柃

▼屋顶平台示意图,Roof terrace © nsaaa

▼起居室和庭院示意图,Living room+ yard © nsaaa

▼一层平面图,Ground floor plan © nsaaa

▼二层平面图,First floor plan © nsaaa

▼立面图,Elevation © nsaaa

项目名称:一山间慢院: 长城下的桥
项目类型:民宿
设计方:nsaaa
公司网站:nsaaa.net
联系邮箱:ns@nsaaa.net
项目设计:2020.12
完成年份:2022,05
设计团队:汪剑柃,潘旖铭,刘长东,黎明婧
项目地址:北京怀柔鹞子峪
建筑面积:248㎡
摄影版权:nsaaa
合作方:马工施工团队,房小松施工团队
客户:北京漫宜创意旅游文化发展有限公司
材料:水刷石,碳化竹木板
品牌:大庄

Project name: A Bridge under the Great Wall
Project type: guesthouse
Design: nsaaa
Website: nsaaa.net
Contact e-mail: ns@nsaaa.net
Design year: 2020,12
Completion Year: 2022,05
Leader designer & Team: Van Wang,Pan Yiming,Liu Changdong,Joanne Lee
Project location: Beijing Huairou
Gross built area: 248 ㎡
Photo credit: Wang Jianling
Partner: Mr Ma Contractor and Mr Fang Contractor
Clients: Beijing Manyi Limited
Materials: Granitic plaster wall,Carbonized Bamboo Board
Brands: Dasso

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