北京物流信息联盟

东邻 | 作品分享 | A Language of Accuracy 一种语言的精确性

东邻设计 2021-04-03 12:45:01

每晚八点   |   竞赛讯息   |   作品分享   |   关注我们


对城市住宅的新想法

自由,绿色,开放,共享

打造新的住宅概念


作者:Alberto Manzi,Alberto Manzi于2017年毕业于都灵的Polythechnic建筑学院,现在他已经进入了都灵的建筑学硕士课程,并将于明年9月在克拉科夫参加一个交换项目。

Alberto Manzi graduated in Architecture at thePolythechnic of Turin in 2017 and he is now enrolled at the Msc in Architecturefor Sustainabilty in Turin and will start an exchange program in Krakow nextseptember.

该项目考虑了瑞典住房部门的当代危机,因为房地产价格极高。它提出了一个解决方案,让不同的利益相关者联合起来,为社区活动和私人住宅创建一个混合使用的空间。在这种情况下,在注意城市中暗示性的角色的同时,该项目设想了Gothemburg植物园、市政当局和该地区的未来用户之间的伙伴关系。这一联合活动的结果是:从希腊语Emporion(商品和关系的一种相互交换的地方)和自然物开始,由于不同物种的植物在功能和空间设计中发挥了主要作用,它们具有影响光、循环和感觉的质量和空隙。

The project considers the contemporary crisisin the housing sector of Sweden caused by the extremely high prices of realestate. It develops a solution where different stakeholders join together tocreate a mixed-use space both for community activities and private housing. Inthis case, whilst paying attention to the suggestive actors of the citysuggestive, the project imagines a partnership between Gothemburg BotanicalGarden, the Municipality and future users of this area. The outcome of thisjoint activity is EMPORIUM, from the Greek term Empòrion (a portual place ofexchange of goods and relationships) and NATURAE, due to the different speciesof vegetation play one of the main roles in the functional and spatial design,with masses and voids that affects the light, the circulation and the feelings.

公共空间的设计是考虑到植被对全球质量的积极影响。除了空间和情感方面,从技术的角度来看,它也具有重要的意义,因为在考虑到一些方面的问题时,包括了净化的水资源管理、几乎被动的能源平衡、可再生能源的使用、生物质废料处理和气培技术的发展。

The design of the public space is conceivedbearing in mind the positive effects of vegetation in relation to the globalquality of the space. In addition to the spatial and emotional aspects it isalso significant from an technical point of view when considering aspectsfitodepurative water management, the almost-passive energy balance, the use ofrenewables energies, the biomass waste treatment and the aeroponic growingtechnology.


随后,底层作为一种地下木材,在那里,木材的阴影和与水的接触是一种资源,而不是限制利用适合的净化来进行雨水处理的机会。在上层,考虑到不同的功能和水平的光和渗透性:第一层的中等高度植物作为木材,这是植物花园的延伸;位于二楼的香草和香料,与商业用途和绿色植物相连,为三楼共享花园,社区可以生产和分享食物和蔬菜。

Subsequently the ground floor is considered asan underwood, where the shadow and the contact with the water is a resource andnot a limit, allowing for the opportunity of using fitodepuration for thestormwater treatment. In the upper floors the species are considered inrelation to the different functions and levels of light and permeability:medium height plants for the first floor called The Wood, which is an extensionof the Botanical Garden; herbs and spices for the Herbs Garden in the secondfloor linked with commercial purpose and greenery for the third floor Sharedgarden, where the community can produce and share food and vegetables.

在这些空间的后面,有一个结构的概念,其中所有的质量都悬挂在主结构上,这要归功于上部桁架梁,它既可以作为结构元素之间的连接,也可以作为对空间和模块的第一个定义。

Behind these spaces there is a structuralconcept in which all the masses are hanging from the primary structure, thanksto upper truss beams that work both as a connection between structural elementsand as a first definition of spaces and modules.


从模块化的角度出发,以Cedric Price的体验为出发点,将整栋建筑设计成一个模块化的干燥组装的原始基础设施,以改善施工过程,控制成本和时间,同时提升Frihamnen的工业遗产。因此,在中央绿地的东部和西部的所有住宅单位都考虑到两个关键点:

Thinking in terms of modularity and with a clearidea of the experience of Fun Palace by Cedric Price, the whole building isconceived as a modular dry assembled raw infrastructure, in order to improveconstruction processes, controlling costs and time, while enhancing theindustrial heritage of Frihamnen.As a result, all the housing units on the eastand west sides of the central green space take into account two milestones:

第一种方法是用建筑材料如钢框架、聚氨酯板等建筑材料制成的组装方法。这个想法具体是由聚碳酸酯制成的连续的双层温室外立面,它提供了一种透明的固体,并增强了内部和外部空间之间的模糊阈值。

The first one is the assembling approachachieved with raw building materials like steel frames for the structures,polycarbonate and/or polyuretane panels for the walls. The envelope isconceived as a continuous double greenhouse facade made of polycarbonate,giving the idea of a diaphanous and translucent solid and enhancing the blurredthreshold between internal and external spaces.

给所有用户一个“免费”的增量空间的想法是第二个关键点。这个概念是一个空间,由于他们的生活习惯,可能会改变它的使用,以便让他们在情感上和实际地参与到他们自己的感觉中去,从而提高由改变和转变所产生的时间因素,这些变化和变化影响着我们所有的生命周期。空间构想为一个空的双工模块,附在每个住宅单元上,这个空间功能设计为一个温室,它也可以帮助提高建筑的保温性能,并且同样改善建筑的外观。

The idea of giving all the users a ‘’free’’incremental space is the second key point. The concept is a space that maychange its use due to their living habits, in order to allow them to beemotionally  and practically involved intheir own way to feel at home, enhancing the time factor made by changes and transformationsthat affects all our life cycle. Spatially conceived as an empty duplex module,attached to each housing unit, this space is functionally designed as agreenhouse that can also help building heating performances in the same way ofthe facade.


访谈:

Q:是什么影响了您图形的表达?

A: 我对“纯粹主义”的绘画方式非常着迷,在这种绘画中,一切都只能通过简单的线条来表达。我喜欢精确的线权和灰度的校准,因为这个原因,我主要从古代资料中获取灵感,作为手工绘制建筑图纸的手册和手稿。如果我应该把一家现代公司看作是我自己的代表建筑的旗舰,我肯定会说是Baukuh。

Q:Whoinfluences you graphically?

A:I’m really fascinated by the“purist” way of drawing, in which everything can be represented only throughsimple lines. I am fond of the accurate calibration of line weights andgrayscale, for this reason I mainly take inspiration from ancient sources asmanuals and manuscripts where architecture drawings were physically drawn byhand. If I should consider a contemporary firm as a flagship of my own way torepresent architecture, I will say definitely Baukuh.

Q:当您探索这个项目时,是什么定义了项目的表达语言?

A:正如前面提到的,对于“隐藏线”技术的偏好,定义我的语言的主要方面是准确性和细节。我喜欢在我的绘画中插入日常的物体和动作,因为它们给人一种“正常”的感觉。

Q:Whatdefines the language of representation though which you choose to explore aproject?

A:Aspreviously mentioned, with a preference for the “hidden lines” technique, themain aspect that defines my language is the accuracy and detailing. I enjoyinserting everyday objects and actions in my drawing because they give a senseof “normality”.

Q:你的摄影作品在多大程度上影响了你的建筑作品,反之亦然?

A:摄影是接近一个项目的第一步,然而有时是不够的。我花了很多时间坐在一个地方,试着去把握氛围:声音、气味、知觉都很重要,就像那个地方的图像一样。我将假设对空间的完全理解是由所有感官以两种不同的方式来阐述的:理性上,解决问题,找到解决方案;情感上,把一个地方的灵魂作为社会价值,并使之成为一个物体的一部分。

Q:Howand to what extent does your photographic work effect your architectural workand vice versa?

A:Photographyis one of first steps in approaching a project, however sometimes it’s notenough. I spend a lot of time just sitting in a place trying to grasp the vibe:sounds, smells, perceptions are important as images of that place. I willassume that a complete comprehension of a space is made by all senseselaborated in two different ways: the rational one, who solves problems andfinds solutions; and the emotional one, who brings the soul of a place as asocial value and makes it part of an object.


Q:你是否将摄影作为一种手段来记录和研究一个早期的项目?

A:是的,我用照片来重新塑造我的精神形象。我的一个惯用手段是通过拼贴来重新组装照片,以代表我的视觉和我对一个地方、一个空间或一个物体的感受。我想说的是,照片作为代表我们思维的工具很有用。

Q:Doyou use photography as a means to document and research a project in the earlystages?

A:Yes,I use photographs to re-elaborate my mental images. One of my clichés is toreassemble photographs through collages in order to represent my visions and myfeelings about a place, a space or an object. I will say that photographs areuseful as tools to represent our mindscapes.


Q:当你捕捉到这个城市和元素时,你对什么感兴趣?

A:我对这张照片里没有表现出来的东西很感兴趣。就像我之前说过的,有很多非物质的和没有照片的东西。出于这个原因,当我检查一张专辑时,我选择了一些缺失的东西,然后我在上面工作,为了使它清晰,有时是讽刺的,有时是虚假的。这取决于我想要提取的隐藏信息。

Q:Whencapturing the city and elements of this, what are you interested in?

A:I’mdefinitely interested in everything that isn’t represented in that photo. As Isaid before there are a lot of immaterial and unphotographable things. For thisreason, when I check an album, I choose the image in which there’s somethingmissing, and then I work on it, I play with it in order to make it clear,sometimes ironic, sometimes scandalous. It depends on the hidden message I wantto extract.

Q:你对色彩有什么看法?

A:我认为颜色是我们视觉的灵魂,因此我们需要理性地使用它们。我没有在我的绘画和照片中使用太多的颜色,因为它们很难管理。我习惯用一种颜色高亮一个物体,图像,情感,细节,每一种颜色都可能改变,这取决于元素,但基本上我是在黑白图像上工作,然后我添加我需要的颜色。

Q:Whatis your take on colour?

A:Ithink that colours are the soul of our vision, for this reason we need to usethem rationally. I don’t use so many colors both in my drawings and in myphotos because they’re difficult to manage. I’m used to highlit one singleobject, image, emotion, detail with one color that may change every timedepending on the element, but basically I work on black and white images andthen I add the color I need.


 

本文译竞赛信息及文中涉及的图片均来自网络,版权归竞赛主办方和竞赛参加者所有。转载请联系公众号。(如需寻找参赛队友也可以在后台或者文末留言需:参与的竞赛、队友的人数与要求、联系方式小邻会提供给你们帮助哦~)





翻译:Meteora

编辑:Blair、Zeki

美工:Rice、Sugar

支持:东华大学服装与艺术设计学院环境设计系



—————————————————




长按二维码,识别加关注