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設計單位? 衡建筑
項目地址? 中國南京
建成時間? 2024年8月
建筑面積? 33平方米
本文文字由設計單位提供。
朗詩住宅是典型的單間一居室公寓。最小宜居住宅是一個由來已久的課題，關于它的討論從二戰后一直延續到現在。為應對如今城市高密度的居住需求，同時也是在逐利的商業邏輯驅動下，地產開發商推出了各式各樣的小戶型方案，但大約都指向了制式且乏味的體驗。這些公寓通常是一覽無余的，依照各種活動的最小尺度需求平鋪直敘地布置各個功能。理想的單間一居室應接近于“庇護所”這種原初的建筑類型，有限的空間意味著每平方米都要有效地回應住宅主人個體化的居住需求。
Landsea home is a typical one-bedroom apartment. Minimum livable housing is a subject of long standing. In response to today's high-density urban living needs, and driven by profit-driven business logic, property developers have come up with a wide variety of small apartment solutions, but they all point to an approximately standardised and boring experience. These apartments are usually unobtrusive, with the functions laid out flat according to the minimum scale required for each activity. The ideal one-bedroom apartment is close to the original building type of ‘shelter’, where the limited space means that every square metre has to respond effectively to the individual needs of the homeowner.
設計初期，我們將最核心的睡眠空間思考成一個巖石般的盒子置入平面，其余功能圍繞它布置，借由盒子的有機形態劃定出有趣的剩余空間。這一想法受限于公寓層高，并沒達到理想效果。因此，我們嘗試轉換視點，把巖石的概念放大到公寓整體，將其想象成是一處山體，而睡眠空間就仿佛是采石開鑿后留下的巖穴空腔。
At the beginning of the design process, we thought of the core sleeping space as a rock-like box placed into the floor plan, around which the rest of the functions were arranged, with the organic form of the box delineating the interesting residual space. This idea did not work well due to the height of the apartment. Therefore, we tried to change the perspective and enlarge the concept of rock to the home as a whole, imagining it as a mountain, and the sleeping space as a cavity left after quarrying.
“巖穴居住”主題的另一個來源是西班牙雕塑家愛德華多·奇利達（Edoardo Chilida）名為“光之屋”“建筑禮贊”等一系列雪花石膏雕塑作品。與代表東方氣韻的玉石相同，雪花石膏這種媒材兼有輕盈和厚重的特質：同時擁有實在的形態和通透的光感。奇利達挖空“石塊”內部形成空間，光線順著開口照射內部，實體感與透明感并存。雕塑般的外觀有著自然造物的凹凸肌理，內部則呈現人工痕跡的秩序和平整。奇利達作品矛盾但平衡的狀態，是我們想賦予這個住宅空間的精神氣質。
Another source for the cave dwelling theme is a series of snowflake plaster sculptures by Spanish sculptor Edoardo Chilida entitled House of Light, In Praise of Architecture.Like jade, which represents the Orient, snowflake plaster is a medium that combines the qualities of lightness and heaviness: a solid form and a translucent sense of light at the same time. Chillida has hollowed out the interior of the ‘stone’ to create a space in which light shines through the opening, creating a sense of solidity and transparency. The exterior of the sculpture has the concave-convex texture of a natural object, while the interior shows artificial traces of order and flatness. The paradoxical but balanced state of Chillida's work is the spirit we want to give to this residential space.
睡眠區的內部被視作一個巨大的家具來設計，如《書房中的圣哲羅姆》所繪的場景。三面矮墻屏風圍合成一個精神結界，木制地臺將區域抬高，床墊直接置于地臺上，古代隱士們席地而臥的棲居方式有益內心的平和。天花依循矮墻邊界線的正投影向上凹，在視知覺的補形作用下，“巖穴”變得更加可感。同時我們在“巖壁”上鑿出洞口，自然光透過這些洞口和墻頂間的狹縫照射到房間各處。
The interior of the sleeping area was designed as if it were a huge piece of furniture, as in the scene painted in Saint Jerome in His Study .Three low wall screens enclose a spiritual boundary. The wooden floor elevates the area and the mattress is placed directly on the floor, the ancient hermit's habitat of lying on the ground for inner peace. The ceiling follows the projection of the boundary line of the low wall and is concave upwards, making the cave more palpable through the visual perception of the complementary shape. Holes are cut into the rock wall, and natural light shines into the room through these holes and the slit between the wall and the ceiling.
其余的生活必要功能圍繞著睡眠區布置，有管線要求的功能盡可能不做大幅度的調動，以免造成拆改成本的增加。由入口及遠，我們依次布置了開放式廚房和衛生間，櫥柜在尾端作一處彎折，與蜿蜒的路徑相合。此外，我們在矮墻屏風、衛生間隔墻與櫥柜三者夾出的空間中安排了就餐區。
The rest of the necessary living functions are arranged around the sleeping area, and the functions with piping requirements are not drastically moved as much as possible to avoid increasing the cost of demolition and alteration. From the entrance and beyond, the open plan kitchen and bathroom are arranged in sequence. Cabinets are curved at the end to meet the meandering path. The dining area is arranged in the space sandwiched between the low wall screen, the bathroom wall and the cabinets.
受到意大利建筑師翁貝爾托·里瓦（Umberto Riva）“未完成”形式的啟發，我們嘗試在家具設計上跳脫“應有之形”的局限，將定制的大理石圓桌切去一角與隔墻相嵌合，除了樣式更有趣外也節省了空間。
Inspired by Italian architect Umberto Riva's ‘unfinished’ forms, we tried to break away from the confines of the ‘basic form’ in the furniture design, and customised a marble round table with a corner cut out to fit in with the partition wall, making it more interesting and saving space.
休憩區被布置在盡端的靠窗位置，到達此處需循著睡眠區圓弧矮墻繞行，其體驗仿佛是在山間穿行：初極狹才通人，而后豁然開朗。沙發扶手邊設計了一個下翻板的梳妝鏡柜，與窗在一個完整的矩形內拼合，光的反射與透射同時存在，空間也在感知層面上得到了延展。
The living area is located at the end of the room by the window. To reach it, one has to follow the short rounded wall of the sleeping area, which makes the experience as if walking through the mountains. Next to the sofa, a vanity mirror cabinet with downward-facing panels is designed to merge with the window in a complete rectangle, so that the reflection and transmission of light exists at the same time, and the space is also extended on a perceptual level.
住所應該能提供一種慰藉。我們希望能對生活的本質進行歷史回溯，回到最原初的居住狀態，盡可能剝離掉現代化帶來的非必要要素。設計過程中與業主頻繁的溝通也幫助她梳理和審視自己的日常起居，這個過程就是一場生活的練習。
Dwellings should provide a kind of solace. We hope to take a historical retrospective look at the nature of human life and return to the original state of living, stripping away as much as possible the non-essential elements brought about by modernisation. Frequent communication with the owner during the design process also helped her to sort out and review her daily life, this process is a training of life.
完整項目信息
項目名稱：朗詩住宅
設計單位：衡建筑
設計單位聯系方式：www.studiomodum.com
設計團隊：周睿哲、楊竣博、張思羿
施工單位：南京安坭裝飾設計工程有限公司
項目地址：中國南京
建筑面積：33平方米
設計時間：2023年11月—2024年3月
建設時間：2024年8月
材料：大理石、手工磚、胡桃木飾面、馬來漆
攝影：Howie
版權聲明：本文由衡建筑授權發布。歡迎轉發，禁止以有方編輯版本轉載。
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