偶尔，建筑会稍稍偏离自身的本质，靠近艺术的领域，借此创造性的自由来打破常规，为不同、更深刻、更直观的影响创造空间。
Every so often, architecture takes a small departure from itself and sidles a little closer to the realm of art, leveraging a creative freedom to disrupt the algorithm and make space for influences of a different, deeper, more intuitive kind.
坐落在塔斯马尼亚西南部的Koonya由Room11设计，便是一个典型的例子。这个三合一的项目，由三个相互关联但又各自独特的建筑实体组成，既有居住建筑的性质，又具备艺术形式的特质，通过志同道合者的偶然相遇、景观与建筑形态的相互对话，以及勇于冒险的精神，这样的一个项目得以孕育而生。
Koonya by Room11, located in south-west Tasmania, is one such example. A triptych project – three interrelated yet singular built entities, part residential architecture, part art form – has emerged through the serendipitous meeting of likeminded people, the establishment of a dialogue between landscape and built form and a healthy dose of risk taking.
“我们的设计思维从未被界限困住，不受围墙的限制，甚至不受地平线的限制，”托马斯解释道，在客户与建筑师共同拥有相近洞察力的引导下，这一渐进的过程也逐渐展现了出来。它并非局限于围墙，而是超越了地平线的边界，” 托马斯解释道。这一过程不仅仅是受到了空间的限制，更受到了对地点深入理解的影响。”在这样一个丰富的背景下，托马斯意识到客户创造性精神启发了他的方法论。“当你知道某人真正具有创意的时候，你就会拥有更大的探索空间，”他表示，这种情感不仅提供庇护、视野和吸引人的构造，更促使了地点的演变。
Koonya by Room11, located in south-west Tasmania, is one such example. A triptych project – three interrelated yet singular built entities, part residential architecture, part art form – has emerged through the serendipitous meeting of likeminded people, the establishment of a dialogue between landscape and built form and a healthy dose of risk taking.
在这一过程中，大自然强大的力量在坚固的混凝土和玻璃形式中得以反映，Room11将景观的持续律动转化为设计，用以构建、回响和平衡，最终塑造出一个深度避难之所——一个能够让人深呼吸的地方。住宅的设计完全体现了这一情感，以一个从地面凸起的形体，展现出它的力量，给人留下它能够作为深度避难所的印象。而Pulmonum则是一个“纯粹的实验性场所，无永久占用，也是景观中的一个元素”，经历了对意大利古典主义的演变，托马斯承认在建筑上感受到“危险的地方”，而主要的住宅则标志着一个“巨大的转变”。
Somehow, the humming force of nature has been reflected in the rigorous concrete and glass forms, Room11 channelling the unceasing momentum of the landscape’s rhythms and using design to frame, echo and counterbalance it to ultimately shape a place of deep sanctuary – a place to draw breath. The program of the main house has been devised purely for this sentiment, appearing as a volume protruding from the earth in a display of strength that gives the impression of it being able to hold its own as a place of inherent refuge. Whilst the Pulmonum exists as a “purely experimental place without permanent occupation, an item in the landscape,” forged from an evolution of Italian classicism Thomas admits felt like “a dangerous place to go architecturally,” the main house is a “massive departure.”
基于人类对自然美感和力量的尊敬，Koonya的独特之处由一种引人注目的庄严感所勾勒，尽管努力驯服它，但仍然未经过教化，与托马斯广泛的概念方法自然而然地相融。这种特质在一个亭子式的避难所中得以实现（玻璃屋，出现在《The Local Project》第04期），并在景观中成为独树一帜的纪念碑（Pulmonum），最近也体现在主要住宅之中。
Underpinned by a human deference to the tangible beauty and power of nature, the sense of place that lays upon Koonya is defined by a compelling gravitas, uncultivated in spite of efforts to tame it and loosely synonymous with Thomas’s expansive conceptual approach to the project. This has been realised in a pavilion-style retreat (the Glass House, featured in The Local Project Issue 04), an ineffable monument in the landscape (the Pulmonum) and, most recently, the main house.
每座建筑都被一种“斜向而温和的联系”所塑造，这种联系存在于它们之间，也与周围的景观相互交融。建筑形式的选址和定向决策是通过“阅读土地、了解鸟类和动物的觅食路径、水流的走向、树木可能掉落的树枝以及感觉舒适的地方”来确定的。主要住宅与玻璃屋之间存在一种关系，它“主要被景观遮挡，但在经过短暂观察后，便能提供足够的视觉线索，并使其显现出来。与此同时，Pulmonum离主屋约800米，与其海拔高度完全对齐，之间形成一种线性的对话。
Each building has been shaped by an “oblique and gentle relationship” that exists between the three of them and with the landscape. Decisions of where to site and orient the architectural forms have come about by “reading the land and understanding foraging routes of birds and animals, water courses, where the trees might drop limbs and simply where felt comfortable.” The main house shares a relationship with the Glass House, sitting “slightly off the axis with a small amount of observation, mostly obscured by landscape” but offering enough visual cues that it makes itself known. Meanwhile, the Pulmonum is sited 800 metres from the house, aligning precisely with its elevation to create a linear conversation between the two.
Pulmonum如今展现在你的脚下，敞开在你眼前。它让你重新感受到身体存在于这片大地之上。而亭子则恰好相反，呈现出两个水平面，因此两者之间存在着一种疏离的形式关系。然而，这栋房子却有着特定的功能目标，要求在设计过程中与最初的构想更独出心裁。
The decision to submerge one end of the home’s concrete mass in the earth and then progress steadily through to an experience of levitation above it at the other end, Thomas says, was one made to conjure comfort within the experience of being exposed to the might of the landscape. “How do you feel comfortable in a vast landscape? Being buried in the hill. Positioning things to the rear. If the ultimate life of this building is to be projected into the landscape, is that not more exciting as a sequence of experiences if you’ve been buried first?”
从选择窗户位置欣赏风景开始，主要住宅的设计规划在随后的过程中逐渐显现，而这种规划也脱离了传统的住宅布局范式。那种在艺术领域常见的好奇心和创造力更能与周围的土地语言产生共鸣，因此在“在建筑的完美和精确性中创造方法，让你更具个性”这一理念的指导下，托马斯解释道。这一观点体现在将“所有功能投射到后方”的决策中。当决定为每个功能“分配一定的空间以确保其最佳运行状态”时，这一点变得明显。与此同时，建筑形式在后方醒目地凸显出来，大胆地悬挑，最终以玻璃墙收尾，视觉上消融了室内外之间的界限，将家居舒适的基本特质——温暖、遮蔽、干燥——聚焦呈现。
“Making such a stern and direct gesture allowed us to make idiosyncratic and light-hearted addendums to the axial experience,” explains Thomas. It is a cognisant gesture towards explaining a pillar of Koonya’s triptych metamorphosis, one that has emerged as a dedication to understanding the qualities of the site, those elements that reflect the vast spectrum of nature so singular to Tasmania, and then coaxing them from architectural responses that harmonise with them. In this case, three indelible responses, unlike anything that would have occurred anywhere else, have arisen – simply by virtue of the serendipitous convergence of this particular client, with this particular architect and this particular context. The result is three buildings of remarkable specificity, embodying a unique, inimitable and unquantifiable quality more typically associated with a work of art.
项目文案 |
Tiffany Jade
项目摄影 |
Adam Gibson
项目施工 |
Elevate Building Tasmania
室内设计 |
Room11
景观设计 |
Room11
建筑设计 |
Room11
项目工程 |
Gandy and Roberts
成立于2002年的Room11在塔斯马尼亚，以在澳大利亚创造卓越建筑而闻名。对景观的敏感性和专注性是Room11建筑的特点。Room11的主管Thomas Bailey因其精湛的建筑细节而在建筑界备受尊重。他的细节简单易行，并展现出对材料性质的深刻了解，为Room11的实践材料赋予了持久性。这一技巧在备受赞誉的作品中得以体现，如D’Entrecasteaux House、Lighthouse、GASP！、Pine Flat Lodge、Lookout House、The Glass House和Little Big House等，这仅仅是该实践超过100个已实现作品中的一部分。