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Foreword

減少錯誤產生,就算成功 自己能力不足,不敢自訂太嚴苛標準來要求自 己。小心說好每一句話,紮實踏出每一腳步,客 觀的分析判斷之後,再做出符合最大公約數的抉 擇,儘量減少錯誤產生,我認為就算成功了。 雖說允許錯誤,但絕不容許一錯再錯,檢討反 省變成是事後的重大課題。謹慎的行事風格之下, 難免淪陷優柔寡斷的泥沼中,如何從中取得平衡 點,卻又是另外一個嚴肅的課題。兩年多來一直 以這種態度來面對每項會務,慶幸安然度過每次 考驗。 回顧過往,展望未來的公會定位,不僅僅是高 度,廣度皆有相當程度的延展,未來的服務團隊 需以更宏觀的視野,寬闊的胸襟來提升格局。相 信在一群素質優秀,可謂地表最堅實團隊來相輔 佐,就算是偶有逆境,也必能處之泰然、迎刃而 解,我從不懼怕擔心現實體制的改變對本會有任 何負面的影響,強化自身體質,理智面對局勢, 堅持既定路線,勇敢承擔責任,下一個階段未嘗 不是本會的蛻變契機。 介於卸任前這段時間,陸陸續續接受到許多好 友的慰勉,除了感謝,有時捫心自問是不是自已 不夠賣力,自覺沒有你們所形容的辛苦,遠比當 初接任前預想的要輕鬆。事實上答案很清楚,因 為我有一群伙伴在幫我,兩年多來文煌一直認為 自己運氣很好,人助加上天助,無往不利。文煌 已經完成在公會的階段性服務,感謝蒼天庇佑以 及所有幫助過我的貴人!也祈求天祐公會,祝福 各位!

台中市室內設計裝修商業同業公會 理事長


理事長

廖文煌 Liao, Wen-Huang 名譽理事長

盧春銘 Lu, Chun-Ming 編輯組常務理事

吳文君 Wu, Wen-Chun 編輯組理事

廖文富 Liao, Wen-Fu 林志明 Lin, Chih-Ming 企劃組常務理事

許進城 Hsu, Chin-Cheng 企劃組理事

許盛鑫 Hsu, Sheng-Hsin 蕭東均 Hsiao, Dong-Jyun 公關組常務理事

李燕堂 Lee, Yen-Tang 公關組理事

洪崧敏 Hong, Song-Min 鄭羿誌 Cheng, Yi Chih 林季緯 Lin, Ji-Wei 會務組常務理事

蔡震隆 Tsai, Chen-Long 會務組理事

林吉茂 Lin, Chi-Mau 李仲立 Lee, Chung-Li 葉明原 Yeh, Ming-Yuan 常務監事

游裕芳 Yu, Yu-Fang 監事

徐炳欽 吳信壹 楊 中 吳昭昱

Hsu, Pin-Chin Wu, Hsia-I Yang, Chung Wu, Chao-Yu

會務顧問

何錦榮 王嘉助 陳星華 陳國華 蔡承學 徐明乾 陳國輝 陳瑞坤 劉易鑫 莊燈泰 雷嘉峰 滕毓峰 陳泰治

Ho, Ching-Jung Wang, Chia-Chu Chen, Sing-Hua Chen, Kua-Hua Tsai, Cheng-Hsueh Hsu, Ming-Chien Chen, Kua-Hui Chen, Jui-Kun Liu, Yih-Shin Chuang, Teng-Tay Lei, Chia-Feng Teng, Yu-Fong Chen, Tai-Chih

台中市室內設計裝修商業同業公會 The Taichung Association Of Interior Design & Decoration 地址:台中市西區五權路 1-67 號 14F-3 14F.-3, No.1-67, Wuquan Rd., West Dist., Taichung City 403, Taiwan (R.O.C.) 電話:+886-4-23751312

0800-435130

秘書處:謝淑梅 HSIEH, SHU-MEI 吳郁涵 WU, YU-HAN 傳真:+886-4-23752251 網址:www.taidd.org.tw Facebook:www.facebook.com/taidd.org 電子信箱:taidd400@ms36.hinet.net


發行人 / 社長 Publisher /President

林淑華 Lin, Jessica 副社長 Vice President

蘭星輝 Lan, Sing Hui 執行特助 Executive Specialist

蘭姵儀 Lan, Katherine

行銷業務部 Advertising&Marketing Department 發行所 Publishing House

廣告總監 Advertising Director

謝忠興 Hunk, Shieh

宇思文化事業有限公司

廣告經理 Advertising Manager

Yu Si Culture Enterprise Co Ltd 信箱 Email:yusz798@gmail.com 網址 Website:Yu-si.com yusipublisher.wix.com/temp1

廖喬蝶 Liao, Coco

美術總監 Art Director

廣告專線 Advertising Line:+886-4-22424028 +886-939-798686

張倩綺 Chang, Chien-Chi 美術編輯 Art Editor

台北 Taipei:11460 台北市內湖區成功路三段 76 巷 29 號 7 樓 7 F. , N o . 2 9 , L n . 7 6 , S e c . 3 , Chenggong Rd., Neihu Dist., Taipei City 11460 電話 Telephone:+886-2-27997723 傳真 Fascsimile:+886-2-27997753 台中 Taichung:40688 台中市北屯區松文街 29 號 29, SongWen Street, BeiTun Di trict, Taichung City, 40668 電話 Telephone:+886-4-22424028 傳真 Fascsimile:+886-4-22411231

美術部 Art Department

劉雅婷 Liu, Ya-Ting 詹絜雲 Zhan, Monica 特約攝影 Contract Photographer

劉俊傑 Liu, Chun-Chien

發行部 Circulation Department 發行協理 Circulation Director

編輯部 Editorial Department

林秀芳 Lin, Nicole

總編輯 Editor-in-chief

法律顧問 Legal adviser

曾泉希 Tseng, Quan-Xi

揚塵綜合法律事務所

企劃編輯 Plan Editor

林宇文律師

詹絜雲 Zhan, Monica 特約作者 Contract Writer

王雨欣 林珮芸 高湘寧 游明憲 彭朝聖 謝雅涵 蘇聖文 鱟裔敦倫

印刷 Printing company 基盛印刷工廠 Ji-Cheng Print Workshop

本期創作團隊 Architects, Designers and Artists NO.61

WINTER 2015 a quarterly magazine Designers' Concept Note

ART+COM Studios Antonio Jimenez Torrecillas David Chipperfield Architects Edoardo Tresoldi emA Arquitectos Firmdale Hotels Innauer - Matt Architekten LuxuryLogico Pitsou Kedem Architects Urban Architecture Office VIPP 本期協同選案 Co-ordinate

彭朝聖

封面作品

The VIPP Shelter by VIPP

經銷總代理 Distribution Agencies 聯灃書報社 電話 Telephone:+886-2-25569711

訂書專線 Ordering Hotline:+886-4-22424028 訂書傳真 Facximile:+886-4-22411231 聯絡人 Contact Person:發行部 Issue Department 定價 Price:新台幣 NT180 元 訂書請匯: 合作金庫 昌平分行 2033717136082 宇思文化事業有限公司

TAIDD No.61 2015.12.5 出版 中華郵政中台第 2120 號 執照登記為雜誌交寄 【本刊版權所有 • 非經授權不得轉載或複製】


Contents 20

ABE Hous e Tokyo / Urban Architecture Office

無機中的有機住宅 32

Haus Fü r Ju li a Und Bj ör n Aust r i a / Innauer - Matt Architekten

景中有築 築景共融 42

C AS A G B C h i l e / emA Arquitectos

隱踞,丘之宅 52

C ro s by St re e t Hotel Ne w York / Firmdale Hotel

街區現形 繁簡折衷 62

Sy mphon ie C iné t iqu e B e rli n / ART+COM Studios

一首以科學蜜釀的現代詩 70

80

T he V I PP Shelte r C op e n h agen , D e nm ark / VIPP

隱匿亦展示,VIPP 林中庇護所

S qu are C omp osit ions Pe nt hous e Tel Av iv, Is ra el / Pitsou Kedem Architects

無重力白色地景 90

Mur a l l a Naz ar i e n el A lto A lb ai c i n Gran a d a, Sp ain / Antonio Jimenez Torrecillas

雄偉城塞,穿梭時空

Square Compositions Penthouse © Pitsou Kedem Architects(www.pitsou.com)


Contents 98

Va lent i no Ne w York Fl agsh ip Store Ne w York / David Chipperfield Architects

砌灰尚石.范倫鐵諾紐約旗艦店 106

Incipi R ome, It a ly / Edoardo Tresoldi

用鐵絲網的浮世顯影,去證明冷淡世界 110

Luxur yL og ic o × He r mès Taip e i / LuxuryLogico

機械裝置重引時尚脈理 118

宇思文化 ×Tom Dixon─燦色流光之夜

120

公會活動

122

會員名錄

126

廠商名錄

130

Nespresso─時尚咖啡機成就生活非凡品味

Haus Für Julia Und Björn © Adolf Bereuter, Dornbirn(www.innauer-matt.com)


ABE House Location:Tama - shi, Tokyo Site area : 109.83 m2 Building area : 43.81m2 Total floor area : 87.8m2 Structure:steel frame 3 stories Principal use:private residence

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01 從都市尺度層面思考,ABE 住宅的 空間策略,儘管外觀和周遭有些不 同,卻使得安靜、陳舊、單調的舊市 容,帶來區域氛圍轉變的新契機。 02 量體的弧形門扇開口,白日是一窗一 世界,夜晚滿溢出的是家的溫暖與關 懷。

02

均質中必要的變化,堅守日本建築空間本質的純粹,跳脫一般窠臼的枷鎖,為衰老 的市容,增添了生命新的可能與永續的機會。

無機中的有機住宅.ABE HouseABE House 文字:謝雅涵 圖片:© Urban Architecture Office(urbanofficearchitecture.com)

優雅力道環抱市容

美 國 知 名 建 築 師 Colin Rowe 著 作《 透 明 性 》《Transparency》 中 曾 提 及 — 「 定 義 上 」 現 象 層 面 的「 透 明 性 」 : 空 間 與 時 間(space-time)、 共 時 性 (simultaneity)、 互 滲(interpenetration)、 交 疊(superimposition)、 矛 盾 (ambivalence),拓展了實體空間秩序卻不互相破壞視覺空間感受,剛好可以用 來理解 UAO 事務所在 ABE 住宅案中挑戰既有市容的合理性,無機均質的市容中 Profiles About Urban Architecture Office.INC UAO 株 式 會 社, 日 本 東 京 一 級 建 築 士 事務所,由主持人 Mari Ito 成立於 2009 年,是東京的國際建築事務所,工作內

多了有機的變化性,對老街區產生全然不同的新風貌。 UAO 事 務 所 找 出 了 兩 個 關 鍵 —Massive 和 Elegant 的 設 計 概 念,Massive 作 為 UAO 事務所表達尊重原居住區「被環抱」的在地美感,將其化作原則之一, 相信延續在地所蘊藏的人文美學精神和喜好習慣,能為接下來的轉變帶來契機。

容 涵 蓋 建 築 與 城 市 規 劃、 室 內 設 計 和

Elegant 作為設計原則之二,表明儘管不見周遭類似的建築元素出現在此設計案

文 化 分 析。Mari Ito 建 築 設 計 師 曾 從 事

上,但仍讓這個轉變產生的新生命能優雅的植入這個老居住區,就如日本隨處可

於 荷 蘭 Atelier Kempe Thill architects and planners,隨後回到日本開始一展 長才,處處展現對都市樣貌和環境議題 的關心,屢獲佳績,為近期新銳之秀, 其 中 作 品 日 本 小 松 科 學(ScienceHills Komatsu)備受矚目。

以遇見的神社,設計師們花了很大的心力試圖讓居住區的居民們能欣然接受這樣 的轉變。Massive design 和 Elegant design 貫穿於整個設計策略與形式的操作原 則,挑戰突破既有建築切分和界定清楚的面積容積比例、內部與外部之間與實際 機能的傳統格局,實現了重新組構空間的多元視覺與空間經驗。

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Context The site is a stereotypical Japanese residential district in the suburbs of Tokyo. Houses are densely packed

分散留白的智慧

設計師將既有型態較為完整的容積,切分成不同大小的三個量體、三維向度錯

with gardens along their southern side. This once

落放置,並旋轉角度使基地的四個轉角保留出來,增加了許多灰色空間,並且將

bustling residential area is now showing its age. It is a

最高的量體放置於前端的臨路側,私人的戶外空間不再只是平行街道與建築的界

district built on silence and unimaginative regulations.

線,猶如 UAO 事務所的初衷,認為將戶外空間只是單一的坐落在南側是比較可

In order to change this town a new stimulus was needed. Massive & Elegant

惜的生活方式,因為這樣使得陽光、空氣、美好的院內風景只獨厚了南側。 因量體高低錯落交織組構而成的內外平面布局中,都可以看見其光影隨著季節

To transform this tedious old town into a bustling,

轉換而變化,在建築中畫上了光陰歲月的時間感也寫上了詩意。從外部來看,轉

stimulating and sustainable residential neighborhood,

角的保留與建築量體因錯落與旋轉造成的剩餘空間,自然而然因大小位置不同多

we focused on two key words: the somewhat threatening "Massive" and the winglike "Elegant." "Massive" conveys a presence that will transform the

了各種的新的可能,如停車空間、不同性格和高度的私人花園、精彩的入口意象 和造型焦點的戶外階梯等等,這樣的設計策略自然產生的「留白」與「灰色」空

landscape of the town. "Elegant" expresses a beauty

間,能使居住者除了生活於更寬敞的空間外,並豐富了生活的情境。內部空間也

that is sure to be embraced by any of its longtime

呼應著整體造型策略,不同程高適切的區分了使用機能,值得一提的是,內部或

residents. We believe that maintaining the appeal of a town calls for a design that can bring about transformation. Massive design As when dividing up the design protocol of an old town, we positioned the highest volume to the front. This volume will turn the preserved old streets into a completely different landscape.

是內外之間的高低差,配合人體尺度的豐富變化,下沉的客廳空間,高度接近戶 外的地面的同一視平線,以不同的高度與姿態和窗外的大自然互動,這樣的空間 觀點,也帶出了前述的 Massive design 和 Elegant design 原則中的日本在地人文 傳統空間美感與使用者的生活習慣。 由外而內或是由內而外不同視角閱讀此設計案,拱弧門窗與通道串連,使得各 個獨立的室內空間擁有了流動性,並且增加室內的不同程度的採光與窗外風光, 特地保有混凝土原味樸實的質感,凸顯出建築物的純粹與乾淨,展現靜謐中的生 命力,營造出無機垂直水平線條中的有機對比,遊走其中,「別有洞天」,增加 了空間的層次。垂直空間策略的安排上則採取室內外各有一種調性的樓梯,因為

03 主入口灰空間的設定,區分內外領 域,同時輕巧框景出往昔在地的人文 風景。

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質感特殊造就了個性鮮明的室內樓梯,在原味混凝土建築體與弧形窗納入的戶外 花園自然背景中,摺疊出步步高昇的黑色折線,明示室內空間向上的延伸。


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04 因量體錯落產生室內高低差,混凝 土構造從玄關地面轉成廚房處理檯 面的高度,並藉由混凝土牆和白漆 牆,形成不同質感的拱門空間,亦 直接界定過渡區與私領域。

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06

05 拱弧門窗與通道串連,使各獨立空間 擁有流動性,並引入室內不同程度的 採光與風景。

Elegant design

06 混凝土建築體與弧形窗納入的自然背 景中,室內樓梯摺疊出的黑色折線, 明示向上延伸的動線。

consistent with those around it. Like the shrine in a Japanese town, for example. We aimed for a design

There are buildings so beautiful that they fit into a town, even if the elements of its design are not that would be happily welcomed by the town's residents. Its simple materials and select ornamentation conjure up images of traditional Japanese beauty. Passing time and seasons combine with complex planar shapes to create beautiful shading. Margin pocket From the beginning we believed that houses with gardens only positioned on the south side are not good places to live. The reason being that light, wind and scenery can only be enjoyed to the south side. On the other sides there is nothing more than a cramped space. Can we not live more abundantly, more spaciously? So we proposed the "Margin pocket." A family home, with the parents and their two children. We built a house where they can enjoy their love of the outdoors by looking out from any room. Rather than thinking of the garden as the leftover space, the various rooms always enjoy a fun connection with small "Margin pockets," which are dotted around the entire site. In plan view, the 3-story housing is made up of three volumes, each facing in a different direction. In order to build the "Margin pockets" within the site, we connected the varying sizes of the three volumes in an irregular configuration. Like a traditional Japanese house, this creates a single building with multiple roof ridge lines. Japan's original residential streetscape was different to today's, with a depth as seen from the road that varied from house to house, the roofs of several buildings visible at the far end of the garden. With that composition as our motif, we divided up the volume of the buildings to give depth to a densely packed residential streetscape.

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07

07 下沉高度接近戶外地面視平線的客廳 空間,帶出日本人文傳統生活美感之 空間觀點。

1 Entrance 2 Living 3 Kitchen 4 Dining 5 Car Parking 6 Work Space 7 Bed Room 8 Terrace 9 Room 10 Lavatory 11 Bathroom 12 Rooftop

08 拱型門窗打破一般對於單層空間中的 束縛,使空間流動不僅是平面亦是垂 直。

5 3 4

Road

2 1

GROUND FLOOR

8 6

9

7 9 10

FIRST FLOOR

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SECOND FLOOR

12 11

ROOF PLAN


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10

09 頂樓房間旁的畸零弧門廊道,以洞狀 格架作為具穿透度的隔坪。

1 2 3 4 5 6 7 8 9

10 混凝土構造在此宅中產生無機幾何中 的有機多變功能,從牆體、地板、配 合人體尺度而形成的塊體家具,純粹 而樸實。

Dining Lavatory Bathroom Rooftop Kitchen Living Workspace Bed Room Room

4

9

3

2

7

8

1 5

A-A SECTION

6

B-B SECTION

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Haus Für Julia Und Björn Architecture:Innauer - Matt Architekten Location:6863 Egg, Austria Floor Area:148 m2 Site Area:845 m2 Photographs:Adolf Bereuter, Dornbirn

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01 取材自當地的雲杉為材料,以格狀形 式包覆建築物的立面。 02 基地的高低差巧妙成為建築設計上的 亮點,使玄關與公共空間配置在不同 的平面樓層。 03 靠近客廳一側的陽台則擺放了桌椅, 作為一個室內與室外中介的活動區 域。

東向立面

02 南向立面

西向立面

北向立面

03

景中有築 築景共融 Haus Für Julia Und Björn 文字:蘇聖文 圖片:© Adolf Bereuter, Dornbirn(www.innauer-matt.com)

山色蔥蘢,宅隱自然

艾格鎮,位於奧地利西部近德瑞邊境的區域,為山勢綿延的翠綠地景所構成,此 Profiles

地人口多集中在山區內的縱谷,高聳山脈上的皚皚白雪,常綠草地上點綴的蔥蘢針

About Innauer - Matt Architekten

葉林與錯落的二、三層木造農家,偶然出現的湖面一抹靛藍,共譜出典型中歐農村

Innauer - Matt Architekten 建 築 事 務 所

與世無爭的恬適景色。

位在奧地利西部貝曹地區,由兩位年輕 建 築 師 Markus Innauer 與 Sven Mat 組 成,在設計理念上,他們意圖透過追求 將傳統設計中的純粹帶入設計中,使建

HAUS FÜR JULIA UND BJÖRN 位處於優越的地景環境中,設計師在建築量體與 外觀的設計上,試圖融入明亮、簡潔,在粗曠中帶有細緻的氛圍。首先,以傳統單

築能融入周遭地景,進而美化環境。在

純的長方型圈定整體建築物的體量範圍,用取自當地森林的雲杉為主要材料,淺色

其 眾 多 設 計 中, 強 調 綠 地 與 林 景 的 保

的雲杉被以木格柵的形式構成格狀結構,作為建築立面的包覆,並以近 45 度大角

留,旨在探究如何透過強化材料特質的 形式,順應氣候與地貌紋理,設計出符

度傾斜的斜板作為屋頂層的處理,除了產生低調、簡約的外觀以融入周遭的鄉間地

合在地的建築空間形制。

貌之外,也順應當地氣候,使空間本身成為舒適、宜居的生活場域。

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T

he new house, clamped between a lime tree and

天地甯覆,內外相傍

a walnut tree, comfortably completes the small

hamlet in which it is situated. Due to the inclination and the narrow nature of the premises, the clear layering of the building follows the contour lines and makes use of the sloping ground. The entrance of the building is located on the first floor,

guided by laterally entering light a staircase leads to the ground floor. Here, the living area spans across

建築物位處一斜坡上,基地周圍沿著山間小徑些許民宅錯落,兩側各有一株菩 提樹與胡桃木矗立其中,順應地型傾斜的高低落差,建築師將建築物的兩個樓層 建立在高低兩側的水平面上,巧妙的運用地勢產生兩層樓板皆連結外側土地的設 計。臨路的一側位於二樓,入口玄關即設置於此,走入玄關,再藉由雲杉格柵牆 面所交織成而成的梯間,沿著側向光源的引導步下樓梯,進入位於地面層的公共 空間。

the whole building – eating, cooking and living. Two terraces open up under lime tree towards the east

地面層含括了客、餐廳與廚房,為一複合的大型公共場域,不同的使用區域以

and walnut tree to the west. A capacious window

大型的中央暖爐作區隔,以滿足使用者在用餐、下廚與各種生活起居上的使用。

with a bench offers a spectacular view of the village beneath and the surrounding mountain scenery. A

公共空間的兩側為大小不一的兩個臨地陽台,藉以將建築物旁的菩提樹與胡桃木

stove divides the living area in the middle. The efficient

納為近景,透過陽台與巨大的落地窗,將下方村落與周遭的壯麗山景納入室內空

wood burning stove functions both as production of

間的視覺範圍內,並以此打破建築物內與室外環境的隔閡。

hot water as well as heating. On each floor, an enclosed service zone emphasizes

私密的住居空間位於二樓,在玄關後方的長型區域內,迥異於開放式型態的公

the longitudinal alignment of the house. The walled

共空間設計,住居空間採取了一種更密集的空間組織方式。室內隔間對應室外的

zone distinguishes the living area from the ancillary

建築材料,同樣以質地堅硬的在地雲杉製作,搭配由淺灰色系手作混凝土組成的

rooms. Its spatial depth is visible in niches and relieflike protrusions. All furnishings and floors made from

牆面,形成一種冷調、俐落的現代感。設計師為了解決住居場域內密集室內空間

solid spruce, taken from the woods nearby, these

產生的促狹感,特別打開頂層的屋頂斜面,使空間由二樓的套房延伸至屋頂層,

elements alternate with hand-made plaster surfaces,

以此產生垂直向度的空間挑高效果,並將斜屋頂內的閣樓空間作妥善的運用,使

produced on-site from light grey marble powder.

之形成類似於藝廊的獨特場域。

Contrary to the spaciousness of the ground floor, the private retreats on the first floor are more densely organized, and a gallery-like extension to the roof, make the small rooms astonishingly generous. The appearance of the house goes beyond what is merely practical. A lattice structure comprising of wooden rails encases the entire building. Although it functions as weather protection, it’s more a dress, carefully woven, both concealing and revealing at the same time. However, because the house is built in the countryside, the decoration is intentionally discreet but does not lose anything by the fact that the house is clearly structured, has a steep roof and structural elements such as roof cantilevers.

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04 開放的用餐空間與廚房外側即為大陽 台,可觀覽群山環繞的美景。 05 北側立面為主要出入口,長型格局分 置為玄關、衣帽間與樓梯等暫留性功 能空間。

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二樓平面圖 1 入口玄關 2 車庫

3 儲藏室 4 衣帽間

5 工作室 6 臥房

7 主臥房 8 衛浴

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06 室內公共場域以雲杉與混凝土構成,形成一種冷調、俐落的現代氛圍。 TAIDD


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07 客廳與餐廳之間以大型中央暖爐作為區隔,以此滿足使用者的生活需求。

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08 由木格柵樓梯拾級而下,延續玄關處的雲杉材質,進入一樓的公共場域。 TAIDD


09 二樓的居住空間朝建築物下方的村莊開窗,可飽覽臨近的田園風光。 TAIDD

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10,11 住房內透過垂直向的挑空,開啟與 斜屋頂內閣樓的對話,除了增加視 覺上的尺度,也實際擴展可使用的 空間。

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閣樓平面 1 車庫頂層空間 2 畫廊工作室

3 臥房頂層空間 4 挑空

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一樓平面 1 廚房 2 東側陽台

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3 儲物間 4 廁所

5 餐廳 6 客廳

7 西側陽台 8 酒窖

9 洗衣房 10 機房


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CASA GB Project:2015 Architect:emA Arquitectos Principal:Orlando Etcheberrigaray P. Project Team:José María Candia L.、Raimundo Salgado S. Location:Mantagua / V Región Chile Surface:223.0 sqm + terraces Construction:Sebastián Gandarillas V.(www.sisg.cl) Materials:Metal frame, rusted steel cladding, tongue and groove pine outside painted black. Some inner liners in tongued bleached white lead type. Exterior walls with oak paneling. Photography:Marcelo Cáceres(www.marcelocaceres.com)

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01 黑色塊體被連續性的黑色微幅曲線輕 襯著,聳立在一片樹海之上。 02 於西北側外環黑色木格柵開了大門。 03 南側露臺以L型環構透明屋舍,由此 方位可眺望遠海之景。

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Profiles About emA Arquitectos 成 立 於 2010 年, 由 智 利 建 築 師 Orlando Etcheberrigaray P.(1968, Chile, 1996 年 畢 業於 Architect / Universidad de Chile.)與 Klaus A. Matuschkathe 共同創立,兩人合作 至 2013 年,現由 Orlando Etcheberrigaray

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P. 獨自主持 emA Arquitectos,主要發展 方向為實踐可持續性的建築設計。 曾 於 1997 ∼ 2008 年 任 職 於 Undurraga Devés Arquitectos(www.undurragadeves. cl),期間作為其團隊的主導設計,參 與過的案子有聖地牙哥市政大樓 Edificio Consistorial de Las Conde 以 及 智 利 公 立 博 物 館 Museo de Artes Visuales MAVI Museum 等等項目,此外,於該事務所工

隱踞,丘之宅.CASA GB 文字:曾泉希 圖片:© emA Arquitectos(www.em-a.cl) © Marcelo Cáceres(www.marcelocaceres.com)

作期間亦負責國際公共關係及出版事務。

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A

fter designing a series of projects in the

踞丘面海之宅

form of weekend houses we developed one

designed as permanent residence. We decided to apply the same structural system of the previous projects which allowed us to reduce construction

基地位於智利的 Mantagua 區,距離著名的 Concón 海邊僅有八公里遠,屋主從 原本的聖地牙哥市區搬離至此,為的是擁有更幽靜的生活質量;便利工作通勤,鄰

times associated with a more complex program

近小孩未來上學的校區,尤其此地介於 Mantagua 濕地與 Ritoque 沙丘之間,兩區

(bigger areas and more rooms). Besides traditional

皆屬自然保護區,賞鳥、遠足等接觸大自然活動成了居民的日常。

program of a family house one of the owners wanted to do his work partially from home, so part

住宅立於 Mantagua 區的邊緣,丘陵略伏之地,高低差的微丘踞臨了可遠眺大海

of the new requirement was to incorporate a small

的廣闊視野之所,浩浩沙丘也成了拉開地景的前哨,在如此敞天地闊的環境裏,建

office with an independent access. The house’s commission arises once the owners make the decision to leave the city of Santiago and live by the coast, looking for a better quality of life. They settled in Concón a quiet place that would allow them to be in a natural environment, outside of the city but close enough to commute to their workplaces and to

築師利用既有的基地條件,順坡建構了一棟長條形屋舍;地面從北側斜向南側,另 一面則從東側斜向西側,沿著屋舍四周的緩坡,塗黑的松木成列圍塑起的木格屏柵 比鄰街道,遠看與建物二樓的立面材質構成一氣,像是一漂浮的黑色塊體被連續性 的黑色微幅曲線輕輕襯著、包籠著,默聲聳立在一片樹海之上。 emA Arquitectos 建築團隊表示,連續幾年設計了幾棟度假小屋之後,接下來想

the future school of their children.

發展的是永久性的獨棟住宅,不同於度家小屋規格的是;獨棟住宅沿用之前已經架

Mantagua, a small neighborhood 8 km from Concón,

構造好的系統,以減少再去型塑結構的程序,而把時間用在發展更多的區域規劃與

was the place chosen for the house. The site is located on top of Mantaguas’ wetland and Ritoque’s dunes, both protected natural areas and great places for outdoor activities such as kayak, bird watching and

室內空間設計,尤其在本案裡,擁有良好的腹地條件,在設計面上,可將裡外空間 做ㄧ融合性的手法,此外,一般傳統的屋主需求只要在住家內劃分出一小塊作為工 作空間之用,本案需求則是在屋內設計一間獨立的小型工作室。

hiking. The home sits on an edge site of Mantagua; towards

出入複軸

an area of steep gorges that allows a significant distant from other constructions and to extended the views towards the sea and the dunes landscape. The site of the house along with the distribution of the living areas, allow the house’s social spaces to be at the edge of the site (at the beginning of the steepest), where boldos and peumos (native species) demarcate the edge of a balconied terrace oriented to the southwest. The house design is based in two volumes;

房子立於沙丘上最陡峭的端點,軸線由此展開,以兩個方形塊體的疊聚作為空 間單位;ㄧ長量體為兩層樓格局,坐東朝西,主要整合了上下樓層幾個空間功能, 如廚房、臥房、浴室、工作室,南側垂直接續一短量體作為客、餐廳及露臺空間 之用,由此方位可眺望遠海之景,借此敞開之勢,沿著透明的方形屋舍拓展出去 的戶外露臺以L型環構,屋舍內外的連通性,僅以玻璃微隔界分。 順著原有的基地斜坡,設置了三個出入口,在西側偏北的外環黑色木格柵開了

the main one organizes almost all the venues. The

個大門口,由此進入沿著草坪踏上木梯,可進入第一個入口。設計師在此作了個

second one is perpendicular to the main volume and

轉折,往右設置ㄧ橡木板材做成的木廊道,上有突簷,下有架高半披露的木作地

it assembles living areas, dining room and terrace spaces that frame the views to the Pacific Ocean and to the dunes of Ritoque. Siding of the house is dark. Black painted wood (second floor) and rusted steel (first floor) contrast with the interior rooms in soft colors.

板,沿此盡頭的端點,是另一扇門。平行於木作廊道前,做了一個戶外斜坡道, 一則作為壟高的花台使用,一則作為第三道出入口,由此入室之後同時可通向一 樓左(室內)右(玻璃盒子)空間,以及上二樓階梯的閥軸。 上下兩層樓的材質表現各異,一樓立面包覆以暗橘紅色的金屬鐵鏽,二樓則是 漆黑的松木直列成陣,俐落簡潔的包覆著西側立面(大門方位)的長形水平開窗, 並於左右兩個端點設計了玻璃凸窗,成為整個黑色立面中的亮點。東側立面則以 七個大小不等的開窗橫排錯落,白天黑夜,汲取自然光入室,使得室內相對於外 覆的黑色圍幕,在原有色彩柔和的設計下明亮愈顯。

04 橡木板廊道呈L型彎折,上有拉簷, 下有架高半披露的木作地板,盡頭的 端點是另一個出入口。

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05 戶外斜坡道末端,接續一個壟高的花台。

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06 東側立面有七個大小不等的開窗橫排錯落,白天黑夜,汲光入室。 TAIDD


東向立面

南向立面

GROUND FLOOR

FIRST FLOOR

SECOND FLOOR

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07 南側作為客、餐廳及露臺空間之 用,屋舍內外的連通性,以大面玻 璃微隔界分。

08 客、餐廳與廚房整合在一動線上, 兩面採光。

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09 一樓立面包覆以暗橘紅色的金屬鐵鏽,二樓則是漆黑的松木直列成陣,包覆著西側立面的長形水平開窗。 TAIDD


西向立面

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Crosby Street Hotel Location:SoHo, New York City, U.S.A. Floor:11 Rooms:86 suits Interior Design:Kit Kemp Architects:Stonehill & Taylor Architects Outdoor Space Design:Kit Kemp, Goode Green(N.Y.C.) Environmental Design:Veridian Energy & Environmental Client:Tim and Kit Kemp – Firmdale Hotels

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01 接待大廳以藝術家 Peter Clark 的裝 置藝術 dog collage 為主視覺。 02 建築外觀以延伸至天花的大面積格狀 落地窗延續 Crosby Street 街道中既 有的倉儲風格。 03 設計師 Kit Kemp 採用庶民藝術與織 品,以清新手法融合現代與古典。

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Profiles About Kit Kemp 由 夫 妻 檔 Tim 與 Kit Kemp 共 同 創 立 的 Firmdale Hotels 集 團, 於 倫 敦 市 中 心 擁有 7 家風格各異、屢獲殊榮的豪華旅 館,Kemp 夫婦認為旅館應該是有生命

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的 事 物 而 非 沉 悶 的 機 構。Kit Kemp 女 士身為集團的設計總監,曾表示自己是 受到各種旅館經營者及室內設計師在庶 民藝術與織品的創作上所啟發,擅長以 清新手法將現代與古典融合,運用不同 色彩和圖案紋理,混搭年代相異的藝術 品,在過去 20 年中不斷創作出多變且 令人印象深刻的設計,曾以 Haymarket Hotel 獲 得 Andrew Martin International Interior Designer of the Year(2008) 與 House & Garden Hotel Designer of the Year。

街區現形 繁簡折衷 Crosby Street Hotel 文字:彭朝聖 圖片:© Firmdale Hotels(www.firmdalehotels.com)

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he ground floor blends wood, metal, glass and

藝術即景的引介

stone. Wide grey oak floorboards sit alongside

soaring metal framed windows and doors which provide abundant natural light. The lobby is dominated by a dramatic 10 foot high Jaume

Crosby Street Hotel 是倫敦 Firmdale Hotels 集團首度跨越大西洋,於紐約曼 哈頓成立的第一家精品旅館,基地位於 Crosby 及 Lafayette Street 之間街廓,

Plensa steel sculpture as a human head created

Firmdale Hotels 將著名的奢華歐式風格與傑出悠久的世界級酒店服務引入 SoHo

from letters of the alphabet. The hotel’s drawing

區;設計總監 Kit Kemp 為本案構思 40 種設計方案用於 86 間獨立客間及套房

room is a host of color mostly in deep pink and grey and is characterized by deep patchwork sofas,

(suites),建築外觀以延伸至天花的大面積格狀落地窗延續 Crosby Street 街道

organic objects in wood and large oil paintings

中既有的倉儲(warehouse)風格,11 層鋼構建築則委由紐約事務所 Stonehill &

by artist Francois Bard. Wherever you look, Kit

Taylor Architects 設計。

Kemp’s eclectic collection of modern art is evident whetherit be an interesting Peter Clark dog collage in the reception or mixed media pieces by Justine Smith and Jack Milroy. The ground floor interior is softened by a tranquil view looking out onto a spacious leafy garden which has a tall organic tree sculpture at its heart and lanterns suspended from above. The Crosby Bar is adjacent to the lobby. It is a vast space with high ceilings that stretches from

進入酒店後,明亮的接待大廳以兩位現代藝術家,Peter Clark 的裝置藝術 dog collage 與 Jaume Plensa 十英呎高的大型鋼雕作品布置得細膩精緻,除了風格多 樣的客房之外,酒店亦提供下列各式空間:地面層有專屬房客的奢華會客聽、滿 布綠意與有機雕塑的後花園、大廳北側平行於基地縱深穿透建築的 the Crosby Bar 餐酒館及位於建築西向端點鄰接 Lafayette Street 的戶外庭院,地下層有三間 可隨需求合併的多功能私人用餐室暨會議廳,一間 99 席先進專業的私人放映廳 位於舞台中心,設備齊全的健身房與供應當季瓜果時蔬的屋頂農場花園。

Crosby Street right through an entire block to Lafayette. It too has wide grey oak floorboards

異國混搭的折衷視景

and a long pewter bar which is watched-over by a wooden sculpture of an oversized Dodo bird. Chairs and banquettes are covered in chic fabrics that range from bright stripes to

Kemp 在室內設計中發揮其不拘一格、兼容並蓄的特長─地面層以木材、金屬、

subdued deep greens. Each chair has been

玻璃及石材混合交織,大廳、餐酒館與房客會客室以淺灰色木製地板及白色天花為

individually appliquéd with an orange felt cut-out

基調,牆面和家具搭配適宜的顏色,再以豐富的藝術作品作為空間亮點。採光極佳

of a different mythical creature. The art is varied and ranges from a large French brasserie style

的客房採用簡化的維多利亞樣式為空間架構,傢俱、椅墊和床背版以不同花色的紡

painting to African ASAFO flags, a Peter Clarke

織品包覆而形成風格各異的空間主題,牆面及地板搭配能襯托主題的色彩,再佐以

collage in the shape of a bull and collection of

或古典或現代不同紋理圖樣的窗簾,最後置入合宜的物件—各式燈具、藝術品,據

vintage Bakelite telephones. There are original

此設計出 40 種不同風格的客房。

50’s ceiling lights in a multitude of bright shapes and colors stretching along the bar and ending in a constellation in thecentre of the room. The bedrooms and suites are spacious and light each with high ceilings and large oversized warehouse style metal windows many with

Crosby Street Hotel 延續 Kit Kemp 獨特而多變的英國式樣,進一步開拓出精密複 雜且越臻成熟的設計概念,強烈反映其獨一無二的藝術品味─利用對比色彩、繽 紛的圖樣與紋理、各類工藝品以及古典或現代的藝術品互映之下、形成一種特異的、 當代的「折衷主義」(Eclecticism)式混搭風格;本案在環境保護與永續議題上,

spectacular views of the downtown skyline.

透過長期投入於構築工法的努力而滿足了所有嚴格標準,獲得由美國綠建築協會所

They are individually designed with a host of

頒發的 GOLD LEED 認證,成為第一家獲此殊榮的紐約市旅店。

varied interior design schemes some with bold color and pattern, and others more tailored and neutral. Each has a tall head board, sleek modern furniture and specially designed lighting. Sumptuous fabrics give way to chic wallpapers, and beautiful antiques site beautifully alongside custom designed pieces throughout. Descending the oak stairs from the lobby leads into a series of private event spaces. It moves through a boldly colored open reception area with bright Peter Rocklin paintings into the most sumptuously designed private dining and meeting rooms with fabric covered walls and beautifully upholstered seating and ceiling lights. Centre stage is the most glamorous room of all - a private cinema which has 99 orange leather Poltrona Frau chairs and walls padded in a violet wool.

04 大面細框玻璃窗格做為隔間,將視覺 與動線導引至內部。

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相對於建築外部融入周圍環境,簡潔素雅的三段式磚面 warehouse 樣式,Kit

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05 大 廳 裝 置 著 藝 術 家 Jaume Plensa 十英呎高的大型鋼雕作品,破除一 般飯店空間的制式擺設。

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06 Kit Kemp 獨特多變的英國式樣,在 Crosby Street Hotel 進一步延展出複 雜並越臻成熟的設計概念。

07 採用簡化的維多利亞樣式為空間架 構,傢俱、椅墊和床背版以不同花色 的紡織品包覆,形成風格各異的臥房 主題。 08 運用對比色彩、繽紛的圖樣與紋理、 各類工藝品以及古典或現代的藝術品 互映之下、形成一種特異的折衷主 義。

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09 臥房以古典或現代不同紋理圖樣的窗簾等傢飾布料搭襯,並置入合宜的物件:各式燈具與藝術品。 TAIDD


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Symphonie Cinétique SYMPHONIE CINÉTIQUE — THE POETRY OF MOTION, 2013 in MADE(a creative platform located in Berlin, Germany)The

在來不及想像的當下,理智的側席似乎永遠都坐著一首詩,視覺的耕讀有時更 像是被寡母帶大的艱苦成長,靈感來自於一方追索,也來自於一方缺憾。以視覺 去招攬詩的外貌,可能是一種假因、假果,找尋靈感的示愛姿勢,趨近於跌入一

exhibition project focuses mainly on the cor-

個恍惚的時空,當語言墜入千噚大海,詩到底是一種浮游、一種澎湃,還是兩處

relation and interaction of three elements:

閑愁的西樓美人?一切也僅能憑著藝客們的過敏體質去度過怔忡的時代夢境。

reflection, sound and movement. Symphonie Cinétique narratively interrelates the three elements, and brings out their inherent, almost mystic harmony. The result of this process is an artistic synthsis, a unique spatial experience. At the premiere, Ar nalds performed the Symphonie Cinétique live on piano and tablet. This fascinating interplay between music, light and movement served as a prelude to the exhibition.

一首以科學蜜釀的現代詩 Symphonie Cinétique 文字:鱟裔敦倫 圖片:© ART + COM Studios(www.artcom.de)

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01 《 Infinite Cube 》將垂墜球體集中在同一時空,設計運算以塑造擴張流體。變動反射、偶發介入產生的錯覺迷航,將有限空間幻化成無限參謁。


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Profiles About Joachim Sauter / ART+COM

About Ólafur Arnalds

身兼媒體藝術家和設計師雙重身份的

出生於 1986 年的丹麥年輕作曲家,在當

Joachim Sauter,是柏林藝術學院碩士,

代樂壇是頗受矚目的樂曲創作人,專輯發

亦曾在柏林德國電影與電視學院研習。工

行之前他曾經擔任過樂團鼓手,也為電影

作最初專注於數碼技術、內容、形式和敘

編寫配樂。作品具有簡單而純粹的滲透力

事方面的實驗和研究。1988 年與其他藝

量,曲風受到先古典主義、環境音樂與極

術家、設計師、科學家和技術人員合作創

簡主義的影響。在空靈、憂傷、美麗的背

辦了 ART + COM,目標是探討數位新科

後,擁有一股溫暖的陽光直達心靈,深具

技在藝術與設計領域的應用。

療癒作用療作用。

Joachim Sauter 獲獎無數,包括奧地利“林

Ólafur Arnalds 的曲子每每都由鋼琴,大

茨電子藝術大獎”、“洛杉磯互動媒體大

提琴,小提琴,和鼓的演奏組合而成,風

獎”、“Prix Pixel INA”大獎、電影與電

格多變,有時候會夾雜一些電子類的東

視互動英國學院獎等。作品曾在巴黎龐畢

西,但聲音準確而溫柔,似乎每個聲響都

度中心、阿姆斯特丹市立美術館、悉尼當

能自己踏實的存在。在他網頁上有這麼的

代藝術博物館、漢堡岸口館 Deichtorhallen

一段話:「音樂是不是單行道,這是一個

Hamburg、維也納藝術中心、威尼斯雙年

談話,聽眾的角色和作為藝術家一樣重

展、東京 icc 互動藝術中心、洛杉磯蓋蒂

要。 那麼,在這裡你可以找到我身邊的

中心和德國卡爾斯魯爾媒體藝術中心等多

一切。而你自己的呢?」

處展出。

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02 《 Tri 》三角鏡在兩個支軸旋轉的三維流動結構中垂直移動,天花板燈光和反光三角形投射地板漫成雙關疊影。


詩意的結構發展,依傍聲光的論述

音樂修補著視覺的理性感知,不管定型與否,現代都是一種無可奈何的奈何, 「動作」是一種時間的存在,眼睛在時間中沒有悖論,驚奇擴充著語法,有時連 衝突都是一種姿態。從此詩的聲律、型式便是既古老又摩登的時間、地點、顏色 和光的共同蓄積。內容與和諧編排的光譜產生心靈運動,「光雕刻」的這種“行為” 彷彿給出了詩的另一條路。 當科學游喚著論述的芻議,人文在動力學中抽剝形式,光的折射依循著樂音在 天花板和地板之間的空間徘徊,不管獨白或者敘述,抒情的節奏、音韻在動力的 鏡像體運動之中,都給了我們一個獨特的空間與靈感體驗。 無疑的,冰島作曲家 Ólafur Arnalds 與 Joachim Sauter 和 ART+COM 的合作, 是一種錯覺擴充的線索梳理,將抽象動人的光芒架構在媒材與樂音的旋轉門中合 併,動能與光給了詩另外一個支點,於是詩意與科學的玄妙結合竟如謠言的必要, 贈予了荒涼的城市一本全新的曲譜。

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03,04 《 Delta Phi 》以散焦方式,在鍍 鉻表面作 3D 的銑洗和計算,表 面隱藏的希臘字母編碼,協助產 生清晰的反射,Phi 是一種符號 的 通 光 量,Delta 表 示 變 化 和 運 動。

符號與空間的型態,算計心靈的意義

黑暗中和諧多於衝突的頻譜,有如連綿押韻的詞句,模糊了自然與人工之間 的疆界,音樂修補的視覺感知在空間的理性裡被淡淡的推動,抒情的物理運動讓 SYMPHONIE CINÉTIQUE 在柏林美術館的首展,巧妙地呈現出每一段交響曲的空間 符號與意義: 《 Delta Phi 》以散焦的方式,在鍍鉻表面作 3D 的銑洗和計算設計,物件表面隱 藏的希臘字母的編碼,協助周圍空間產生清晰的反射,Phi 是一種符號的通光量, Delta 表示變化和運動。 《 Resonance 》是藉由光和鏡像體的運動安裝,每個物件的字母編碼不斷的變 化運動模式,讓移動光源架構,脈動著物理空間的擴大、合併,產生抽象的動人光 芒。《 Infinite Cube 》是空間集中在同一時間膨脹的運動裝置,依據計算的敘述, 塑造成抽象形狀的繼承流體。真實與反射產生的空間作用,在錯覺的迷航下將有限 的空間幻化成無限的參謁。《 Tri 》是垂直移動部分的裝置,三角鏡的組合圍繞在 兩個支軸旋轉的三維流動結構,在黑暗中加強天花板燈光和反光三角形投射地板相 互作用,漫成雙關的重疊的影子。《 Manta Rhei 》結合精心策劃的光與動力雕塑, 它模糊了自然與人工、生命和無生命之間的界限物理運動。從和諧裡看出更多衝突 的頻譜,不斷變化的形式喚起動畫對具象擁有一定程度自治權的揭示。

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05 《 Resonance 》光和鏡像體的互動裝置,每個物件的編碼不斷變化運動模式,使得移動光源因架構產生抽象光芒。


S

ymphonie Cinétique — The Poetry of Motion is a kinetic composition that exploits the poetic

synergy of music and mecha­n ical motion in a space. It was conceived in an intense collabo­ ration between Icelandic musician Ólafur Arnalds and Joachim Sauter / ART+COM. These works are part of Symphonie Cinétique : Delta Phi is based on the principle of caustics — the way light refracts on water. The chromeplated sur face was computationally designed and 3Dmilled. Encoded into its facets are hidden Greek letters, which become legible in the surrounding room with the help of reflected surface light. Phi is the sign for luminous flux. Delta stands for change and movement. Resonance is a kinetic instal­lation made of light, movement and a mirrored body. Its ever changing multiplexed pat­tern of movement is literally coded in hardware. The abstract, moving light architecture merges with, expands, and adds a new dynamic to the actual physical space. Infinite Cube is a spatially concentrated, but at the same time expansive, kinetic in­stal­la­tion. The spheres follow a computational narrative that moulds them into a fluid succession of abstract shapes. An optical illusion extends the apparently clear spatial confines of the installation into infinity. Viewers are also reflected in the installation, and their presence adds an additional layer to the in­ter­ play of real and reflected space. Tri is a kinetic installation composed of triangular mirrors that move vertically and rotate around two axes in a com­p lex choreography of flowing threedimensional structures. Their physical movement is enhanced with ceiling lighting and an interplay between the reflective triangles and the dark, overlapping shadows they cast on the floor. Manta Rhei combines choreographed light with physical movement for a kinetic sculpture, which blurs the bound­aries between natural and artificial, animate and inanimate. Manta Rhei can perform a wide spectrum of patterns ranging from harmonious to more conflicting. The changing ‘behaviour’ evokes the impression of an animated object with a certain degree of autonomy.

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VIPP SHELTER Location:Copenhagen, Denmark Chief Designer:Morten Bo Jensen Area:55 sqm Project Year:2014 Heating:Fireplace ( Spartherm, Various 2L-100h-4S ),

隱匿亦展示,VIPP 林中庇護所 The VIPP Shelter 文字:詹絜雲 圖片:© VIPP(www.vipp.com)

corner glass Ventilation:Mechanical ventilation Water:120 liter hot water tank Insulation:250mm glass wool acc. building usually meant for vacation homes. Protan folio mounted underneath the metal facade / roof Weight:25 tons.

具傢飾品牌,為了尋找一處讓現代人遁逃的異度空間,將展示店直接置入 森林中,環繞著山光水色的居所空間,每一個角落,每一件傢俱的配置,

Dimensions in m (H/L/W) :3 (6) / 11 / 6.

都顛覆了展示賣場既定的買賣意圖,以全然實品屋的概念,引人進入夢想

Living Space Distribution:family / living room 40 m2, hall

與理想的生活情境。當然,如果你太喜歡,可以連同屋子整個買下它。

3m2,bathroom 6m2, 6m2 attic Basement:12-point foundation

Profiles About VIPP VIPP 創始於 1939 年,目前擁有全系列 的傢具傢飾項目,小到金屬零件、五金, 大到櫥櫃,大多以金屬鋼料為主要材料, 設計的線條簡單俐落。亦常以小物件的精 巧設計獲得大眾的喜愛,例如:垃圾桶與 洗衣籃。《 The VIPP shelter 》獲得 2015 丹麥創新設計獎的提名,以及 2015 英國 雜誌 wallpaper 年度設計獎。

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怎樣的展示空間可以讓人如臨其境,更貼生活現實一點? VIPP 全系列傢

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01 VIPP 的新展示空間概念,將居家實體空間範式移植至森林中。


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02 林中小屋以兩個相同的鋼鐵空間單元疊層組成,立面前後與上層皆採自然光。


簡樸的逃逸幽居

此案位於哥本哈根浩渺的郊區,靜波池畔映著森 樹環繞、枝葉橫豎的天際之間,如心所嚮往的遠囂 之地。丹麥設計品牌 VIPP 打造了一處遁世離群的 幽居,並以回歸人類基礎生存需求為初衷概念,即 為「shelter 庇護所」的含義,因 VIPP 擁有多年對 於居住典型分析與製造的基礎,從無到有,從物件 至空間,去形塑一個完整而理想型態的住家,是此 品牌與眾不同之處,同時,我們挑戰所有過程中所 面臨高科技技術,首席設計師 Morten Bo Jensen 如 此表示。VIPP 庇護所由兩大兩小的組合元件構成兩 個樓層,空間面積只佔 55 平方公尺,配有水電設 施,室內由小至大的家飾與配備均由 VIPP 設計團 隊出品,墨與灰的顆粒摻雜質地,在各細節當中內 斂而爍亮。此庇護所就如同渡輪、飛機等大型物件, 並非移動式住房,而是在無邊無際的環境下,形塑 出包攬功能性與舒適體驗的空間。

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虛實景緻錯落輪替

VIPP 擁有七十五年運用鋼鐵建材的經驗, 在庇護所的外觀與結構上更完滿展現,時而 相融於迷濛暮色顯晦沉穩、時而與周遭風景 相投出鮮明對比,鋼骨環抱穿透性極佳的玻 璃立面,使得內外空間以一幅幅畫作無縫接 合。除了衛浴空間以外,廚房、用餐區、起 居室與臥房皆保留大面落地窗,讓人毫無保 留地浸透在瞬息萬變的天候當中,設計師特 別在閣樓主臥房頂端開設天窗,仰天觀星不 再奢侈,日出而作、日落而息也成為最自然 的生活型態。無論處於何種季節,VIPP 庇 護所也具備調節性質,冬天時節,點燃置於 室內中央的火爐可將暖氣四散,黑色的結構 鋼體也能聚熱以減低耗能;夏令時分,則藉 由通風代謝空氣中的溫熱感。

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03 廚房設備與壁爐是 VIPP 經典產品,置入外敞朗內幽暗的場域中,顯其質感。


04 一長面的落地玻璃以採光納景,用餐空間清朗通透。

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V

ipp is upscaling its classic accessories and recent kitchen and bathroom

modules to build shelters. The driving ambition of the Danish company means that you can now match your kitchen and its accessories to your nature retreat. The result is a modern escape, powerful in its simplicity yet packed with exquisitely conceived details. A 55m2 steel object emerges in a rugged landscape framed by naked trees and a silent lake that mirrors in the sky frame window facade. The shelter stands as a solid rock in sharp contrast to its surroundings. Yet, with its steel frame embracing the large glass surfaces (skyframes), the rock becomes transparent and transforms into a shell projecting the landscape into the interior. The landscape is purposely framed, turning it into the predominant element of the interior space. A shelter in its original sense has connotations of basic living serving a merely functional purpose and attending to our primal need of having a roof over our head. The starting point of the Vipp shelter is going back to basics; back to nature with basic functions defining a dense, compact space yet wrapped in the Vipp DNA with a clear aesthetic coherence and use of solid materials. In this way, the shelter becomes a tool that facilitates a nature escape. “The objective was not to make a house or a mobile home. Vipp is rooted in the manufacture of industrial objects, so the term shelter is a typology that allows us to define this hybrid as a spacious, functionally

generic, livable object”. – Morten Bo Jensen, chief designer in Vipp. The Vipp DNA unfolds in every details and the company’s favorite material since 1939, steel, is a recurring element cutting across the shelter

06

frame and exterior facade, the kitchen modules and down to its accessories. As there are very few objects within the space, it was critical that their design and materiality work well with the minimal interior finishes. Favoring function over form while making sure all products are part of the same recognizable family is a recurring theme in Vipp’s product development and also a primary objective for the development of the shelter. As a result, the sensation of a contiguous space carefully thought out to the last detail is what welcomes you in the Vipp shelter.

05 臥房設置在上層空間,無遮蔽的採 光,讓晨昏自然啟動人們的作息。 06 起居室以類和室空間設計,於臨窗 狹窄空間,顯其靜謐氛圍。 07 衛浴空間特以白色金屬材質打造檯 面,與玻璃隔屏共構冷冽感,亦與 其他空間區隔分明。

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08 整座屋子以低彩度的材質建置,輕輕嵌進樹林裡。


The simple steel grid structurally supports the two level space, where only

leaves, the building’s black exterior absorbs sunlight and with the fireplace, there

the bathroom and bed loft is shielded from the main living space. Within the

is a reduction in fuel consumption”.

transparent shell, nature is omnipresent yet with a physical blindage that provides shelter from the extreme winters in the north. The geometry is distributed with short distance to window frames accentuating the sensation of nature’s proximity from each angle in the shelter blurring the distinction of indoor outdoor space.

The perfect getaway retreat should by definition be remote, smart but spartanious and surrounded by breathtaking nature. On top of this Vipp has added the criteria of simplifying the process of creating your own getaway. When buying the Vipp shelter you buy into a design approach where choices have already been made

Vipp takes on an analog approach in creating an operational living space that

based on a long experience within processing of solid materials with a defined

works and therefore begins with function. “If you are cold you heat up the fireplace

aesthetic idiom. Designers and engineers have made the necessary deselections

centrally positioned in the shelter for an equal distribution of heat; if you are warm

and defined the construction and material requirements. Prefabrication was an

you slide open the parallel windows to create natural air-condition. By locating the

essential criteria in the construction meaning that the installation process can

house in the deep deciduous woods, we are able to take advantage of the leaves

happen within a couple of days without an elongated process on a construction

as sun shading in the summer months. In the winter, when the trees lose their

site.

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Square Compositions Penthouse Location:Tel Aviv, Israel Design and built:2012 – 2015 Total floor area:400 SQM Program:single family house Design team:Pitsou Kedem , Hila Sela In charge architect:Hila Sela Styling for photography:Eti Buskila Photography:Amit Geron

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01 入口層為挑高的室內空間。 02 客廳側牆是無重力白色地景的起點。 03 線性光源由方塊升降錯位的縫隙中灑 出。

02

Profiles About Pitsou Kedem Architects 主 持 建 築 師 Pitsou Kedem 畢 業 於 英 國 AA 建 築 聯 盟(AA Diploma RIBA Part 2,1999),2002 年與夥伴們成立 Pitsou Kedem Architects, 事 務 所 位 於 以 色 列 經 濟 重 鎮 特 拉 維 夫(Tel Aviv, TLV.),主要執業項目涵蓋私人住宅建 築規劃與室內設計、商業空間整體規劃 以及空間物件設計;有鑑於其卓越設計

03

能力,開業以來屢屢獲獎肯定,例如於 2012 年贏得“Ot Haizuv”建築類與室 內設計類共三座大賞,以及 2014 年“Ot Haizuv”雜誌建築類年度大賞。知名作 品 包 括 Taizu asian restaurant、Ramat Gan House 2、Renovation of Jaffa apartment、 義 大 利 精 品 設 計 傢 俱 品 牌 B&B 於特拉維夫的旗艦店以及德國頂級 廚具品牌 Bulthaup 展示中心。本案負責 建築師為 Hila Weiss sella,畢業於以色 列理工學院(B.Arch. Technion – Israel Institute of Technology )。

無重力白色地景 Square Compositions Penthouse 文字:游明憲 圖片: © Pitsou Kedem Architects(www.pitsou.com)

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F

our consecutive cor ner apar tments in a

拓樸的白─持續的變與不變

b u i l d i n g i n t h e Ts a mer t Complex in Tel

Aviv have been combined into one spacious apartment. The interior design is simple and consists of two public levels that also contain two private levels. The apartment's entrance is through the lower level, which contains the kitchen, dining area and a large double sized living area. The entire level is also surrounded by a balcony. In a similar fashion the

位在特拉維夫轉角的現代公寓,原為四個連續居住單元,加以整併後的平面呈 現L形配置,轉角中央處設置通達閣樓的電梯,約 130 坪室內空間分布於四層樓 層,於閣樓及入口層均為廚房餐廳起居一應俱全的公共空間,夾在中間兩層為私 密空間,公共層上下分離之配置即隱含同時舉辦多種社交活動的可能性。 拓樸的(Topological)空間框架涵義為連續變化下維持不變的性質,自入口層 挑高的客廳牆面,以白色為基調的矩形框架隨著柱體升降此起彼落變化,好似鋼

penthouse floor is designed as an upper living area

琴鍵輕快地彈奏著,餐廳側面以鋼片框架構成整面展示書牆,錯置的檔板與輕薄

with a large salon overlooking the balcony and a

的白色烤漆鋼材使其巨大卻不失輕盈。大小不一的方形拼接延伸開來環繞至天花

swimming pool and a kitchen and bathrooms. The effect is of two different and separate living levels

及地板後,彷彿置身在多稜角柱體中的無重力空間,持續地利用升降碎化後的陰

that make possible a range of social activities and

影與光線迷惑觀者,隨著自然光灑入一路延伸至上方二層工作區平台。此壯觀的

interactions at one and the same time.

白色扁平地景雕塑伴隨陽光因時間推移,產生持續變化的樣貌而有了生命,由白

Between the two public spaces, we find the private

色面引領穿梭在各個挑空平台間,一種觀察者與被觀察者角色不斷切換的動態亦

areas - bedrooms and work areas that also have their

持續發生著。

own, private outside spaces. The physical connection between the spaces is made possible by the use of elevators and stairs. These are designed as a pathway that looks out over the seemingly ever-changing design - a topological

動態場域的對偶詩句

位於工作區與梯間側的垂直霧面玻璃單元區隔了公共與隱私,師法日本和紙拉門

framework in white that seems to rise and fall,

以彈性分割來強化整體的策略,使光線不因空間機能劃分而喪失穿透性,亦藉由明

following and enveloping the internal walls, floors

暗來建立內與外的互動關係。室內地面與家具色調選擇以單色且含蓄深沉的顏色為

and ceiling bringing together the facets of the prism into a deceptive and gravity free space composed of

主,使空間氛圍得以趨於穩定,入口公共層灰黑大理石地面及深色低調的餐桌椅,

patches of white and shade. A patchwork of clearly

在與白天陽光穿透柔軟落地紗簾形成碎形矩形立面上光影印記,或晚上藉線性光源

defined lines, like a plant creeping up a clear trellis.

造就具有張裂戲劇性的方陣白色平面,形成一動一靜的鮮明對比。 銜接二層至三層的樓梯天井空間,烤漆鋼板構造的樓梯與清透的玻璃扶手與中央 懸掛吊燈相映成趣,漸層迴旋的燈飾在極簡空間元素襯托下活潑了起來,我們拾級 而上,伴隨棒狀忽明忽暗的光線來到閣樓層,推開落地玻璃後,室內輕盈活躍的白 色空間與湛藍的戶外露臺終於合為一體,閣樓以露天泳池為中心配置完善的備餐空 間,在此仰臥在沙發遙望特拉維夫天際的星光,或舉辦夏日閣樓派對時,均可自單 元獨立出來而不會與其他空間相互影響,一種持續在變與不變的生活模式至此成為

04 動態的白與沉著的黑。

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可能。

FIRST FLOOR


04

SECOND FLOOR

THIRD FLOOR

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06

07

05 廚房中島上方交錯拼接的方形吸 頂燈。

06 由鋼梯連結入口層與挑空夾層工 作區。 07 廚具面材以白色純淨為主要基 調。

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08 由三層通往主臥的廊道上望向下方工作區。

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09 主臥室衛浴簡約黑色洗面台與白色浴缸。 TAIDD


10 主臥室入口門隱藏在起伏的方形白牆中。 TAIDD

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11

11 漸層迴旋的燈飾懸掛在二層至四層 樓梯中央 。 12 由閣樓層室內空間望向室外露臺及 泳池。

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The envelope's panels are emphasized to bring out the white from its neutral, flat boundaries into the space’s monolithic effect - like a piece of sculpture that catches and presents the space. This nullifies the need for any additional design elements other than those that light and accompany the space. These include the lighting elements, which provide natural light, and the staircases, also designed as a white prism that is both flat and expanded. The topographical white is further enhanced by the


08

12 09

large, orthogonal glass walls that cast a myriad

similar fashion movement and views in the space

space is full of fragments of naturally appearing

rays of light differing in their shade and brightness.

are also emphasized by the work areas and sitting

light and shade in yellow and grey hues that appear

areas that are placed by the stairways as terraces

as a compact, stable and uniform unit. Despite it

that both observe and are observed.

being almost completely exposed on all its sides,

Next to them, we find a wall of linear translucent glass panels that act as a Japanese rice paper room divider that identifies the space without

The careful selection of materials and hues is also

cutting it off from the totality. The use of glass

evident in the apartment's other elements such

also adds and emphasizes the white, creeping

as the floors and the furniture - monochromatic,

framework and adds an additional dynamic created

reserved and deep - that surprise the viewer as

by the people moving through the space. In a

they envelope the light and the brightness. The

the invasion of the outside urban environment is seen in a restrained, organic and non-threatening fashion.

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Muralla Nazari en el Alto Albaicin

Profiles

Developer:Foundation Albaicin, Granada

About Antonio Jimenez Torrecillas

Location:Alto Albaicin, Granada, Spain

Antonio Jimenez Torrecillas 生 於 西 班

Architect:Antonio Jimenez Torrecillas Technical Architects:Maria Jesus Conde Sanchez, Miguel Angel Ramos Puertollano Partners. Michele Panella, Alberto Garcia Moreno, David Arredondo Garrido, Loiacono Michele, Manuel Guzman Chestnut (Engineer), Miguel Dumont Mingorance, Miguel Rodriguez Lopez, Gustavo Romera Clavero, Erwan Blanchard, Majlis Vignau Consultants:Emilia Garcia Martinez, a graduate in Geography, Nicolas Torices Abarca degree in art history, Carlos Miso Esclapes, archaeologists sculptor Daniel Campos Lopez, Eusebio Alegra Paricio , Builder, Environment and Vegetation Construction manager:Amaya Navarro Oteiza Photos:Vicente del Amo, Jesus Torres Garcia, Alberto Garcia Moreno, David Arredondo Garrido Project Year:2002 - 2008

牙卡斯蒂利亞─拉曼恰自治區的埃林 (Hellín, Albacete), 建 築 師 同 時 也 是 大學教授。著眼於具公共性與社會性之 建築修繕更新,其尊重歷史融合前衛簡 約的建築風格深深影響了格拉納達的城 市景觀,1992 年起便以社會住宅與古蹟 修復屢獲建築大獎之肯定,著名作品如 獲得 2007 年芭芭拉卡波欽(International Biennial Barbara Cappochin Achitecture Prize) 景 觀 大 賞 的 Muralla Nazari , 或

2

Total area intervention:66538 m

是利用當代玻璃材料與原始遺跡並呈

2

Built area:56.7 m

的 DalBat Showroom, 於 2008 年 贏 得 Saloni de Arquitectura 室內大賞。令人 惋惜的是建築師於 2015 年五月因罹癌 而英年早逝。

雄偉城塞,穿梭時空 Muralla Nazari en el Alto Albaicin 文字:游明憲 圖片:© Estudio arquitectura Antonio Jiménez Torrecilla (www.antoniojimeneztorrecillas.com)

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01 由納斯爾之牆遙望世界文化遺產阿爾拜辛聚落。


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歷史疆域,物換星移

由聖米格爾車道望向對側山丘,便是聞名於世界被稱之為紅堡— 坐落紅土丘陵頂端的阿罕布拉宮、赫內拉利費宮以及雪白的阿爾拜 辛聚落(Alhambra, Generalife and Albayzín, Granada ),我們漫步 在達羅河滋養的肥沃平原上延伸最遠的村落,這裡是西班牙格拉納 達(Granada)的納斯爾之牆(Muralla Nazari),一個 13 世紀時由 摩爾人於伊比利半島創建最後的回教王朝首都邊界,持續保護著帝 國與這塊土地共存共生的子民們。 時至今日,藉觀光而日漸繁榮的城市風景與未經開發的原始自 然景觀並存於此,不久前這兒還是一塊被世人遺忘的處女地,由成 山成堆的垃圾與紊亂錯落堆疊的房屋社區景觀填滿被沖毀的城牆缺 口。修復計畫啟動的核心目的便在於連結牆裡外兩側,企圖鍵結起 城市逐漸擴張而新發展出的聚落地理與裸露在外歷經世代更迭的岩 層剖面與古城牆;此外,格拉納達城市的防衛歷史與社會疆域的景 觀保留亦是須考量的重點。

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02 歲月造成舊城牆的斑剝與新牆石板堆砌錯置的縫隙形成形式與時間上的對比。


03 彷彿穿梭在時空隧道般的內牆通廊。

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04 重建後的納斯爾之牆讓歷史疆界印記 得以延續存在。

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T

he Cerro de San Miguel, opposite the hill where

文化傳統的破與立

the Alhambra and the Generalife stand, is part

of the last stretch of the valley of the River Darro and its fertile plain. This is a landscape that is both in close proximity to the city and linked to it, yet wild and natural at the same time. However, it had become a waste area, virtually neglected, where all kinds of rubbish and rubble were left to accumulate. It is also a point of transition towards the new city, a city made of terraced houses, which, in the midst of this disorder, slightly touches on the incomplete, broken remains of the Nasrid wall. The open space of the Cerro de San Miguel is a link between two territories, a naked slope, which, charged with time and history, joins the city to its surrounding geography. A place that used to represent the city’s defensive and organisational border has changed its significance completely. Nevertheless, it still serves as a guide for an urban model. The project has preserved this landscape, needed for the understanding of the city in the mountainous structure defining it, and it has included a conceptual and physical clean-up of its

積累已久的廢棄物地景最終由龍舌蘭與仙人掌果取代,原聖馬可教堂的牆面亦被保 留下來,連結城牆裡外通道在設計上保留並加以改善,最大的差異在於將鬆軟裸露的 步道鋪上石材以強化步道的堅固性。計畫的第二階段著力於如何保留城牆,以提供視 覺上的延續,使其由阿罕布拉宮文化遺產遙望,歷史上失去的城市疆界得以被保留且 重新被定義:遠處看去,新修葺的屏障維持其線性序列的一致性與色調,近看卻是一 種 14 世紀城牆完全不同的風貌呈現。 被沖毀的納斯爾之牆最終藉由修復的補丁牆面得以再生,為能讓遺留下的歷史得 到最佳保護,新增牆面使用緊貼著古牆卻與其脫開的作法,結構上,以往為抵禦攻城 武器而堅固厚實的牆體已不再需要,設計上巧妙利用空心的內部作為連結兩個歷史聚 落的通道,行走於牆體平行的隧道時,一種彷彿自身與城牆上守衛格拉納達的衛士在 此刻融為一體的感覺油然而生!在嶄新的牆面上,層疊堆砌的花崗石板錯位產生的縫 隙,好似歷史刻意 在石牆上留下的歲月的痕跡,複雜的斑剝方孔是對格拉那達宮廷遺 跡牆面上繁複細緻雕刻的適切致敬,透過方孔窺視城市變遷則是新時代的解構空間體 驗;如此尊敬當地文化傳統的新建築亦證明了建築師得以藉精準的建築手法,引領當 地文化思潮迎向未來。

surroundings.

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As a result, the accumulation of waste was replaced by groups of agaves and prickly pears and the facade of the Ermita de San Miguel Alto [Chapel of St. Michael] was also restored and the communication routes connecting it to the city were improved. This meant restoring the stone pavement in those places where there was one and providing a soft compacted earth path for those areas with no paving and using stone steps for the stretches with the most difference in level. The aim of the restoration of the wall, proposed for the second project phase, is to provide visual continuity (especially from a distance) to the length of the wall, redefining the lost historical border and protecting the original remains. From a distance, the appearance of the new part blends in with the rest, respecting its linear sequence. However, up close, it is clearly different from the original wall, which was begun in the middle of the 14th century. The work done closes the breach in the Nasrid wall as if it were an external patch. It is just as thick, but it does not touch the historic remains, thus ensuring their optimal conservation. Structurally, the presence of a solid mass is unnecessary, so inside there is an empty space. This is the project’s genuinely singular point: a fretted landscape that enables us to walk inside the wall, a mysterious threshold connecting two historically different areas of the city, evoking underground Granada and, at the same time, walkways for guards in defensive complexes. In the new wall, stone slabs have been piled up on top of each other in such a way that they leave a series of small random gaps so that you can view the city from the inside. This contemporary, fragmented and changing focus recreates the sensation of looking through the latticework in the Alhambra. A natural and respectful erection of new architecture next to the old, which in some way guarantees that cities can continue to actively enrich and construct their architectural tradition. The construction 112 cubic metres of granite were piled up as if this were a large storage area: the most conomical large undressed slabs, with a standardised section and length, were placed on a bed under the ground. The high strength mortar holding the slabs together is a millimetre thick. This helps to eliminate the use of perpends and the appearance of a consolidated brickwork construction. The aim is to give the impression of material collected and piled up in order to highlight even more the permanent and historic nature of the Monument.

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05 光廊出入口光線的灑入喚起人們對阿罕布拉宮的空間記憶。


06 城牆呼應阿罕布拉宮內阿本賽拉赫斯廳高挑天花灑入的光線。

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Valentino New York Flagship Store Project Start:May 2013 Completion:August 2014 Gross Floor Area:1,258 m2 Client:Valetino Spa, Milan, Italy Architect:David Chipperfield Architects Principal:David Chipperfield Design Director:Giuseppe Zampieri Associate Director:Giuseppe Sirica Project Architect:Adolfo Berardozzi Project Team:Corrado Bongiorno, Margherita Capra, Tommaso Certo, Andrea Cocco, Salvatore Contaldo, Alessandra De Stefani, Francesco Fusillo, Emmanuele Garau, Tsukasa Goto, Jacopo Irace, Maris Kojuharov, Nicola Lorusso, Eugenio Matteazzi, Marie Mincke, Vincenzo Polsinelli, Michelle Riboldi, Sara Russo Esteves, Paolo Volpetti, Federica Zerbo Local Architect:Tricarico, Wayne(New Jersey), USA Structural Engineer:Eipel Engineering Group, New York, USA, Scl Ingegneria Strutturale, Milan, Italy Services Engineer:Rosini Engineering, New York, USA Stair Engineer:SCL Ingegneria Strutturale, Milan, Italy Facade Engineer:Seele GmbH, Gersthofen, Germany Facade Consultant:Heintges, New York, USA Lighting Consultant:Viabizz uno Project Manager:Studio 3 Architetti Associati, Milan, Italy General Contractor:Michilli Construction and Consulting, New York(NY), USA Site Supervisor:Studio 3 Architetti Associati, Milan, Italy Photography:Santi Caleca

砌灰尚石 Valentino New York Flagship Store 文字:高湘寧、王雨欣 圖片:© Valentino New York Flagship Store © Santi Caleca © David Chipperfield Architects(Drawings)

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01 灰石格紋成為店內視覺圖騰漫佈四周,將裝飾性的層版、嵌板、壁板等覆貼加掛手法減至最低。


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Profiles About David Chipperfield Architects David Chipperfield至今已獲得CBE、RA、RDI、 RIBA等重要建築協會獎項的肯定,1995∼2001 年,同時兼任Staatliche Akademie der Bildenden Künste, Stuttgart建築系所的教授;2012年負責擘 策第13屆威尼斯雙年展,並曾獲Heinrich Tessenow Gold Medal、Wolf Foundation Prize in the Arts、 Grand DAI(Verband Deutscher Architekten- und Ingenieurvereine)Award for Building Culture、Mies van der Rohe Award、RIBA勳章、高松宮殿下記念世 界文化賞(Praemium Imperiale)等殊榮。 1985年成立個人事務所,目前在米蘭、倫敦、上海、 柏林皆設有分部,多元的個案作品亦遍及歐陸與亞 洲,正在進行的項目,包括位在斯德哥爾摩的諾貝爾 獎總部、蘇黎世美術館的新大樓、柏林新國家藝廊 (Neue Nationalgalerie)的翻新、杜哈的豪奢飯店、 韓國Amorepacific化妝品公司位在首爾市中心的辦公大 樓等。其聲譽來自在創造嶄新建築之際,隨時擷採其 中的嶄新意念,精準調合建築、社會、智識三面向。

02 挑高兩層樓大廳,巨石雕塑般的樓梯高聳置頂,大小襯排均勻的磨石子,逐一拼構成灰色量體。

T

he Valentino New York Flagship Store is situated on Fifth Avenue in the former Takashimaya

Department Store, designed by John Burgee and Philip Johnson, which opened in 1993. The 1,100 square metre flagship store (1,400 square metres including basement) officially opened on 1 August 2014. It continues the new Store Concept developed for Valentino by David Chipperfield Architects in collaboration with the brand’s Creative Directors in 2012. By combining old and new, the Store Concept generates a palazzo-like atmosphere, steering away from a showroom approach of a traditional boutique and promoting a more architectural retail format instead. Architectural elements are at the heart of the design concept. Architecture is brought into the store rather than remaining on the exterior alone, thereby reducing the use of superficial decoration and thin panels to create an interior scenography. Architectural features such staircases, walls and columns remain exposed to reveal their intrinsic materiality and complement the items on display. This approach imbues the store with a sense of permanence and purity that reflects the quality of the brand’s products. While the Store Concept has been implemented in numerous locations worldwide, the Fifth Avenue Flagship Store also integrates new developments. The building incorporates a new slim, transparent eightstory façade composed of black steel and aluminium, inspired by some of the city’s modernist icons, such as Mies van der Rohe’s Seagram Building. At the lower part of the façade the vertical bars have a brass finish, while the five upper floors remain black. The brass finish unifies the store front across the three retail levels. Also integrated into the façade system are a lantern, a clock and the Valentino sign – all presented as (brass) elements of the façade.

03 100

TAIDD 標誌性的灰色,水磨石成塊的紋樣使用於樓梯,細粒狀則使用於地坪與牆面。 Valentino


04 錯置拼構的灰色量體,形塑起牆面、隔間及作為整合各樓層的主動線通道梯面,平切層疊出石感如卵的雕塑。

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05 卡拉拉大理石裁磨為矩形展示台,與同一材質的立柱隨興擺置。

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TAIDD 展架為橡木層板以拋光黃銅部件固定於牆面,投射照明燈光準確漫射於空間與商品。


GOUND FLOOR

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霧色椿染時光之牆

第五大道的古典華彩之中,一幢自 1993 年便矗立至今,由 John Burgee 和 Philip Johnson 所設計的 Valentino 零售商店,2013 年改 裝為旗艦店,由 David Chipperfield 主導設計,在外觀,如何度越 於各歷史悠久或新穎酷異的精品名店行列;入內,約略 1100 平方 公尺的展示區,能否如 David Chipperfield 與品牌創意總監的設想, 「以具有建築感的,類宮殿氛圍的空間,取代傳統的展示場域,且 可跳脫一般當前『概念店』的格局構思。」整體概念來自現代主義

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裡,靜置溢顯其高雅頂尖的風姿。 灰石若繾捲之毯,鋪襲天地壁面,入口一片 8×8 米的主視覺牆, 偌大的連續面上以細細的黃銅金屬與淺色橡木層板懸掛,有序的陳 列之法新穎輕巧。灰石格紋成為店內視覺圖騰漫佈四周,將裝飾性 的層版、嵌板、壁板的覆貼加掛手法減至最低,卻在石牆上釘黏以 裝飾性的圓型銅釦,矩陣以列,默顯低調華麗。燈光藏於巨石量體 中,主牆燈具的細緻鋼線從天花板垂降,直接與間接光的錯落照射, 拉出了雅緻線條,亦成流滯風景之ㄧ。

最著名的標的物之一,Mies van der Rohe 與 Philip Johnson 共同設

1 樓主要展示飾品,2、3 樓分別為女裝與男裝部;卡拉拉大理石

計的 Seagram 大廈(375 Park Ave, New York, 1958)8 層樓高的

裁磨為矩形展示台,與同一材質的立柱隨興擺置,橡木層板以拋光

建築,深黑色鋼、鋁混合為輕量金屬材,用作立面的垂直狀條桿,

黃銅部件固定於牆面,或是製作為輪廓精簡修長的陳列家具,天花

蓋覆玻璃帷幕,使古典外觀朦朧透顯於兩種現代質材之後;3 樓以

板隱藏式照明的漫射及白熾燈光的投射,光線柔和而準確的散落於

下則使用黃銅,應搭 Valentino 品牌標誌─風格、質地、顏色、

品牌空間與商品之上,使客人的注意力集中於服飾商品。空間底色

維度遂疊積為時光的層理。

雖統合為 Valentino 標誌性的灰色,水磨石的使用卻巧妙錯置,如 在 1 樓,成塊的紋樣使用於樓梯,細粒狀則使用於地坪與牆面;來

空疏內聚,隱沒量體

到 3 樓,成塊紋樣鋪設於地坪,牆面則沿用細粒紋樣,因此既保持 空間的一體感,同時再度呼應品牌重視細節的精神,是以知曉,無

概念店以建築手法處理室內空間格局,一進挑高兩層樓大廳,超

論服裝或空間所演繹的純粹,內裡皆是繁密往復,微淡而不露的鋒

大巨石般的樓梯高聳置頂,大小襯排均勻的磨石子,逐一拼構的灰

芒,來自某些有意透露的罅空。David Chipperfield 今年於義大利羅

色量體,形塑起牆面、隔間,及作為整合各樓層的主動線通道,顧

馬設計的 Valentino 旗艦店,室內亦以灰石巨塊、水磨石等作為元素

客拾級而上回望底下,樓梯線體轉折有韻,平切、拉曲、隙空、層

題材,並以此詮釋義大利經典的拱形建築空間,如何與精品共攀時

疊出石感如卵的奇異雕塑,不同類型的精品亦在趨步行走的動軸

尚高峰。

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At the entrance, a double-height space houses a monolithic staircase made of palladiana. This staircase connects all the store levels, taking the customers on an ascending tour and allowing them to observe and experience the striking entrance space from the upper levels. This entrance space is made of terrazzo and features a display wall (8 x 8 metres) in which a series of single shelves exhibit different items. At ground floor level, a completely new Accessories Concept is adopted, with terrazzo perimeter walls on which brass and oak shelves are attached for product display. A new range of timber display furniture sits in conjunction with long marble volumes that act both as plinths and furniture. The level above follows the traditional Woman Store Concept:an enfilade of rooms, each with different architectural characteristics, separating different types of merchandise. Each space offers a distinct atmosphere generated by a custom palette of colours, textures, and lights. The architecture is designed to complement the pieces on display, making use of a range of materials (grey Venetian terrazzo with Carrara chippings, timber, marble, leather, carpet and carbon fibre) subdued in colour to focus attention on the collections and also evoke a sense of intimacy. On the top store level, the new Man Store Concept proposes terrazzo walls and palladiana floors. The collection is displayed on oak shelving and hanging elements, which are supported by polished brass fixtures around the perimeter. These features incorporate LED lighting, allowing each shelf or display to be discreetly illuminated. The Man Store Concept offers a consistent experience through unified floor surfaces of terrazzo and palladiana. A series of pure volumes, such as the marble blocks and free standing marble columns, complete the architecture in a similar way to the ground level, where the new Accessories Concept is applied.

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07 空間材料與切割回應 Valentino 品牌標誌:風格、質地、顏色、維度椿染時光之牆。


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Incipit Installation for Meeting del Mare 2015 in Marina di Camerota, Italy. Curated by Simone Pallotta and Antonio Oriente. (photos by Fabiano Caputo)

LIFT

用鐵絲網的浮世顯影,去證明冷淡世界 Incipit 文字:鱟裔敦倫 圖片:© Edoardo Tresoldi(www.behance.net/edoardotresoldi)

Installation for The Secret Garden Party commissioned by Michelangelo Bendandi for SGP 2015.(photos by:Nick Caro Matteo Marchi)

Exhibition ARCHWAY, MILANO, CASA DEGLI ATELLANI - La Vigna di Leonardo Peuterey SS 2016

在浮世中尋求一種身影的意願,不屬於誰的沈默,沿著沉寂的結構與作態,身分有 如理性結構的廢墟。創作者一向擅長揣摩人物的形體、肌理,面孔是他脆弱與穩定 的進行式,人的內在狀態,卻用無限的情思去與現實保持平行的距離。有人說義大 利藝術家 Edoardo Tresoldi 以廢鐵絲網所創建的半透明雕塑作品,看起來就像一座

01 《 Incipit 》揉用鐵絲網的動態情緒, 給出每一塊空間獨特存在,頂層擁有 巨大拱形通道,映現著幾隻飛鳥盤 旋,拍擊著懸浮的透明邊框。

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凝固的靈魂。但言語黯淡,理論體系與夢想體系的導航,在城市的角落繼續遷徙與 紀錄,藝術或許只是意猶未盡的筋脈浮動,失去傾聽的陰影,更像沈默著背後的一 聲嘆息,只為證明世界的冷淡而來。


打開物象之謎,世界仍是一個渺浩的符碼

2015 年的義大利《 Meeting del Mare 》藝術音樂節,場邊出現了

刻意留下的不自然接縫處的種種線索(折疊、摺痕、黏膠……),卻

一座座大型裝置藝術,半透明的鐵絲網遙現光線的撒落,意識與意

還是驚呼其純視覺感官的美麗並接收了它,之後,開始揣測創作者的

象在落日前磨搓,讓人虛實難辨,打造出一個既迷幻又浪漫的藝術

意圖,而我們一連串觀看的反應波流,似乎某程度在回應作品本身精

作品,頓時讓城市變成了一個異想世界。 擅長用鐵絲網編作人體雕塑的 Edoardo Tresoldi,這次不做人體, 而改作了大型的景觀建物。《 Incipit 》高聳的從時間、空間的冷臉 中退出匡迪卡梅羅塔海灘的風景線,飄渺的鐵絲網雕塑就像一個褪 色的記憶,似剛似柔的隨著煙雲變化,端上冷冷的失落傳說。

緻安排的節奏律動。法國攝影家 Noémie Goudal 在既存場景中置入 另一個既存場景(或物件),每一幅畫面是經過適度的位移與拼貼之 後,模糊了主、客體與先後關係序列的手法,作為畫面最終的呈現。 空間中,材質層疊拉出天地左右秩序,也拉出對追思返古必要性的 疑惑─它們興盛毀敗各於何時?我們撫摸歷史鑿痕之時的悵然與 欣喜,鄉愁何所似?而用攝影立面作為開啟另一道空間的旋入之門,

Edoardo Tresoldi 揉用鐵絲網的動態情緒,給出了每一塊空間的獨 特存在,建築作品擁有幾個巨大的拱形通道,頂層的部分映現著幾 隻飛鳥盤旋,愈演愈烈的翅膀拍擊著懸浮的透明邊框,不管有沒有 去向,總是得飛。《 Incipit 》彷如每一格空間都為時間停止、彷如 打開實體建築的物像之謎,處處顯示著一種空靈,卻又以幽靈般的 形式存在。 霎時間,我們以為是為一方自然美景的定格照片,旋即又發現其

也揭示了對遁逃至另一時空的渴望─感官被牽引,情感被吸涉,而 明知眼前是場夢幻的煙幕情境。 人們對絕美畫面的傾倒與期望,是 Noémie Goudal 探索攝影的開 端,論證裡外與虛實、僻靜與隔絕,而同時人們的慾望不斷沿著現實 空間的切割邊緣流淌著。Noémie Goudal 像是在撿拾人類對過去歷史 的棄置、縫補對過去美好時光的輕怠,試圖與現實接合,擺脫時間與 空間的支配,讓幻覺與事實在此時此地友好和解。

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Profiles About Edoardo Tresoldi 羅 馬 藝 術 家 Edoardo Tresoldi 以 雕 塑、

審美的花園派對,映現在藍天的餘額空間

藝術家對城市最敏感的回應,是打開一個內省的閥門,讓每一個人都有一個對

佈景設計和繪畫見長,1987 年出生,曾

情感都有宣洩的機會。以簡單的材質接觸、作品寂寞孤獨的對話,建構一個強大

研 讀 於 蒙 扎 藝 術 學 院(istituto d'arte di

的思維餘韻,這是一種驚人的技能。Edoardo Tresoldi 對於城市被強化與虛化的

monza),2009 年移居到羅馬,開始工 作。作品型態充滿內省與人文情懷,大地 就像是他的實驗室試驗,光與陰影的故事

部分,看起來好似一個夢幻的異想,讓人看不出來是個真實建物的轉化、移情, 還是增加與減少的質量變化,但視覺在虛實的遊走,卻始終美得令人屏息!

透過媒材的透明度,呈現出獨特的沉思和 運動之間的平衡。尤其擅長以工地廢棄的 鐵絲網建構細緻、傳神的人物雕塑,微妙 的面部表情與肢體縐折,獨具清晰與深度

《 LIFT 》的秘密花園派對《 LIFT for Secret Garden Party 2015 》繼續通過鐵 絲網的理性部隊讓我們無語,如教堂般的空透機構,在空與空間之中,糾結人性

的現代人表情煞是令人讚嘆。作品曾在義

透明、純潔的本質,每一個圓圈、拱門都像是眼瞳、情感、動機的停格,讓時間

大利、法國、丹麥、美國、英國等各地展

與空間對話出我們在日常的脆弱與接觸的環境。處與休眠狀況的視覺刺激,沒有

出,是近幾年相當受到矚目的藝術家。

刻意的要結構「聖化」與「虛化」的場景問題,僅是情境與結構彼此烘托,實與 虛相互揣摩。

02 《 LIFT 》如教堂般的空透機構,在 空與空間之中,糾結人性透明、純潔 的本質,每一個圓圈、拱門都像是眼 瞳、情感、動機的停格。

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物像膠著著想像,《 LIFT 》不管是對人提出質疑還是對靈魂提出質疑,在記憶 之門形成之前,我們都只能繼續觀看 Edoardo Tresoldi 用鐵絲網去證明這個冷淡 的世界。


S

culptor Edoardo Tresoldi is known for crafting

mesh. Gigantic figures come to life under the

Sean Kerr, Ruban Yogarajah and the Secret Garden

stunningly life - like figures with sheets of

hands of Tresoldi, with each facial expression,

Party production crew.

wire mesh. Using these same skills, the artist has

clothing wrinkle, and contortion of the body so

created Incipit, a towering installation that recently

realistic that each sculpture looks like a person

appeared at the Meeting del Mare in Camerota,

frozen in action. The Italian artist, who also crafts

Italy. The architecturally - inspired work features

incredible depictions of birds and buildings using

gigantic arched passageways with a flock of birds

his preferred industrial medium, installs his pieces

surrounding its peak.

in particular environments, giving each work a

Tresoldi’s use of the gridded material gives the

specific sense of time and place.

piece a distinctive presence. The thin wire, with its

"Through these figures emerging from wire, I strive

countless tiny squares, makes his massive creation

to capture the relation of the human body to space,"

mostly see through. Against the blue sky, Incipit

Tresoldi says of his work, according to Junkculture.

appears as an ethereal, almost ghostly form, a

"The unimposing transparency of the material is

characteristic that’s intensified thanks to the winged

intended to offer a moment or a memory: as in a

creatures suspended within the transparent frame.

photo or a letter."

It’s as if time has stopped, and the circling birds are a memory of what once was there.

[LIFT for Secret Garden Party 2015] this ambitious and technically challenging project was made

Edoardo Tresoldi constructs stunningly expressive

possible thanks to the faith and support of Freddie

representations of the human form using wire

Fellowes, Ollie Stroud, Nicholas Bartlett, Sy Holden,

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Men’s Universe 創作團隊:豪華朗機工 創作年份:2015 年 完成時間:2015 年 10 月 設置地點:Hermès Bellavita, Taipei 材質:複合媒材 協力製作:絕頂藝術工作室、帝凱科技有限公司 策劃單位:A & M Creative Co. 業主:Hermès 攝影師:Bobby Ho

Profiles About Luxury Logico 豪華朗機工成軍於2010年,由四位 1980年左右出生的藝術家張耿豪、張 耿華、陳志建及林昆穎組成。四位藝術 家以往分別以豪華兄弟及朗機工兩個團 體進行創作,並各自以不同專長在視覺 藝術及新媒體藝術領域展露頭角。其中 張耿豪華主攻視覺、造型雕塑及機械裝 置,而陳志建擅長影像,林昆穎擅長聲 音及概念。以混種跨界為創作概念,作 品風格走向以簡潔乾淨形式表現出輕鬆 意境,取材於自然環境,討論奇觀社會 中的人性思維,希望在極度科技及極 度人文這兩個極端中取得和諧,激發 創意,並利用「音樂、視覺、裝置、文 本」共陳手法,使面向千變萬化,作品 跨界戲劇、電影、舞蹈、建築、流行音 樂、經濟行為。

機械裝置重引時尚脈理 LuxuryLogico × Hermès 文字:林珮芸、王雨欣 圖片:© 豪華朗機工、Hermès

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01 以櫥窗為底景,藉由對不同機械物件的拆解、對位、重置,堆疊出漫遊城市時的場域意涵。


L

uxury Logico consists of the Chang twins and two friends, who pool their diverse skills—

in mechanics, computing, music, theatre design, lighting and photography—and often enlist further help for specific works. They liken their group to a Transformer, a playful entity whose shape can be changed with a few folds and twists. Solar (2010) combines computer technology and old and new approaches to lighting to create a mesmerising artificial sun. Installing it was a piece of performance art in itself. The artists say they made the work both to encourage recycling and to convey optimism about a high-tech future. The background noises, a collage of grabs from the Internet, represent space-age “sounds of silence”: audible versions of X-ray and other signals picked up from deep space, or the empty scrabbling of a modem establishing a connection. Scripting (2011) uses intricately choreographed lights to paint in darkness—a hypnotically moving echo of traditional Chinese calligraphy generated by a computer script. Its sound track is by John Cage. For Project Woodpecker: Treignac (2010), the artists used stop-frame animation to create a jerky movie in which a cellar in an old French house becomes … something else entirely. Which is, in a way.

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02 玩味塊狀零件、微小立方,立體與平面、軟質與堅硬,把領帶從僵固中解放,與樂器一起共鳴。


03 以丈量之器(圓規、三角尺、量角器)度量書套裡文字記索,以象徵跳喻抽象意涵。

輕裝漫遊,城市移軸

20 世紀初德國哲學家班雅明,提出「漫遊者」(Flâneur)一詞,

看似毫無目的地流動,但下意識經由五感、腦波與都市的歷史、文化

指涉生活在城市中的人以獨立、清醒、觀察、擁抱衝擊的眼光,搜集

交融,進行一種「蒐集」(collect)的行動,以探索材質可塑性為隱

異於過往的平凡生活經驗,堆疊出屬於自己獨特的風格、世界觀。以

規則,將漫遊者與城市生活中,地景之間的人文衝撞、激盪之抽象

經營馬具為始的法國精品品牌 Hermès,邀請豪華朗機工於台北信義

感受化為物質架構與呈現。概念開始於一條愛馬仕絲巾的地圖想像,

區 Bellavita 創作櫥窗裝置,以持續多年的「城市漫遊者」為主體,為

豪華朗機工試圖將城市尺度移軸至櫥窗空間,裝置作品以八面櫥窗為

Hermès《 Men’s Universe 》系列賦添藝術內裡,將當季男裝與藝術

底景,經由對不同物件的拆解、對位、重置,呈現多樣的場域意涵,

家擅長的機械裝置交織成工藝、科技的拼貼面貌。 「接到這個計畫時,剛好我們四個人都在不同的城市旅行,如歐 洲、日本、洛杉磯,親身沉浸在不同肌理紋路的城市邏輯。」漫遊者,

堆疊出遊移都市時眾多想像的支脈。在每一作品當中,融入 Hermès 精品,零件的細瑣片段對比著商品的設計線條,使其成為地景中清晰 的焦點。

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04 每一作品中融入 Hermès 精品,零件的細瑣片段對比著商品的設計線條,使其互為虛擬地景中的清晰焦點。


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拆解原件,擬向回像

城市漫遊中不能缺少“單車”的行進路線,作品 擺置看似在水平空間中獨立存在,最終總匯於貫穿 城市的生活渠道,大大小小尺度的架構中,框不住 奔放的企圖野心。帽子、襯衫、褲子、皮帶、圍巾、 手套、皮鞋,大面幅的服飾捨棄工整排列,以皺摺 的隨性與單車零件融合為一。領帶花簇 / 打字機的 巨細靡遺,玩味塊狀零件

微小立方的趣味,立體

與平面、軟質與堅硬,毫不費力展開對話。而領帶 也從僵固中解放擺動,與樂器(長笛、黑管)共譜 一首爵士奏章。IC 電路板的氣味是什麼?顆粒般大 小或圓或方,暫時讓我們忘記它們真正的功能性, 和男士古龍水散發一陣怡人氣息。城市的溫度、高 度、寬度和深度,耐人尋味。錶

相機排列出原型

放射狀的「日晷廣場」,呈現中古時代城市起源於 廣場眾人的聚集。皮夾

尺規映襯出複雜體系中的

簡約純粹,手工皮件的溫潤與尖銳劃一的圓規並列, 創造出動人驚心的戲劇衝突。鞋

LED 利用光和多

元材質的物件,組合成隨著日夜變換的城市天際線。 張耿豪說:「這次合作最大的挑戰是空間緊迫, 過去我們的作品偏向巨幅,但櫥窗有空間限制和散 熱的技術問題,我們必須縝密深思如何在有限的空 間中,表達出跨越時空的概念。」歷經九個月時間, 四位成員共同參與每一件作品,經過各自雙手排列 出的圖像,每一禎背後都有無盡的原創啟發。愛馬 仕向來對於材質的極致追求和精確剪裁的深入研 究,以及對細節的關注讓豪華朗機工衝擊不小。陳 志建說:「Hermès 將每一件服飾當作藝術品看待, 溝通期間提供的 video(主題企劃)很明確的傳達品 牌精神和概念。」 仰望天際線的目眩神迷,剪影般地建築掠影,地 景幡然置換,隨著漫遊者的移動持續演化;城市中 囊括了住宅區、工業區、發電區、施工區以及曖昧 難以定義的領地。如步足於連結古典與未來的橋樑, 放眼時代與工藝的交織之界,物質與精神的並置擴 大對城市的想像。

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TAIDD

05 錶 相機排列出原型放射狀的「日晷廣場」呈現中古時代城市起源於廣場眾人的聚集。


TAIDD

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Profile for Yu Si Publisher 宇思文化事業

Taidd magazine no.61  

Taidd magazine no.61  

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