法肯堡莊園，特溫特，荷蘭

建筑設(shè)計(jì)：阿德·德弗里斯建筑事務(wù)所

1 外景/Exterior view

2 鳥(niǎo)瞰/Look down from above

這個(gè)家族的幾代人在位于特溫特省的奧特馬瑟姆市附近，昔日的“法肯堡莊園”原址，建造了相當(dāng)現(xiàn)代化的鄉(xiāng)村別墅。整個(gè)家族及其乳牛場(chǎng)均參與勾勒了當(dāng)?shù)氐奈幕坝^。沙地、木制的堤岸、灌木籬墻、兩棲水池、白蠟樹(shù)與露營(yíng)地，一同構(gòu)成了這幅或叢林或舞臺(tái)風(fēng)格的文化景觀。河谷橫穿過(guò)這棟別墅，丁克爾河也流經(jīng)此處。建筑師阿德·德弗里斯選擇了這片風(fēng)景作為這棟鄉(xiāng)村別墅的起始。

一條沙地小徑被厚重的本特海姆砂巖墻環(huán)繞，仿佛一面屏風(fēng)，蜿蜒通向別墅。沿著這條沙路，它的盡頭是一扇巨大的正門。門內(nèi)是高9m的入口大廳，穿過(guò)它便是別墅的中心地帶——餐廳。如同這片風(fēng)景上的一座斜坡一般，樓梯通向藏書(shū)室及帶壁爐的景觀客廳，最終止于一間最受喜愛(ài)的臥室：高挑寬敞，能欣賞遼闊的風(fēng)景。雖然這棟別墅具有鮮明的場(chǎng)景感，但并未讓人感到突兀。陽(yáng)光經(jīng)由高窗灑入，帶來(lái)不斷變化的多樣景觀。這讓別墅內(nèi)的住戶感受到房子已自然而然地融入周圍的環(huán)境之中。

木結(jié)構(gòu)和混凝土是別墅的核心。當(dāng)?shù)夭牧系倪\(yùn)用為該建筑奠定了正確的基調(diào)，而手工制作更為其錦上添花。本特海姆砂巖與厚重的橡木營(yíng)造出特定的氛圍，但更是這道景觀、這座莊園和這片區(qū)域的典范?！酰▍蔚隆げ紕陧f斯 文，王單單 譯）

3 內(nèi)景/Interior view

The family that has lived for generations built their house, rather a modern country home on what historically has been the Valkenburg Estate,near Ootmarsum in the Twente region. With its dairy farm, the family is part of what shapes the local cultural landscape. A bocage or stage-like landscape with sandy grounds, wooded banks,hedgerows, amphibious pools, ash trees and camps. River valleys cross the estate, among them river De Dinkel. Architect Ard de Vries chose this landscape as the origin of the house.

A sandy path surrounded by heavy walls of Bentheimer sandstone leads to the house. The path's effect is similar to a screen. Following this sandy path, the route continues to a massive front door which gives way through a 9-metrehigh entrance hall to the dining room – the house's heart. Like a slope in the landscape, the stairs lead to the library and living room with its fireplace and views. The route ends at the most esteemed bedroom, high and spacious with a broad panorama. While the home has a clear scenic character, it is not compulsive. Because of the light exposure through the high windows and continuously changing views on a varied landscape, the home's residents experience the building as being naturally embedded in its surrounding environment.

The construction of the house is concrete and wood, and it serve as the home's core. Locally sourced materials set the right tone, emphasised by artisanal processing. Bentheimer sandstone and heavy oak wood create the atmosphere, and even exemplify the landscape, the estate and the region more. □ (Text by Ruud Brouwers, Translated from Dutch by Li-Anne Krol, Proofread by Rens van Hedel)

4 首層平面/Ground floor plan

5 頂層平面/Ceiling plan

6 剖面/Sections

7 剖面/Sections

8 內(nèi)景/Interior view

評(píng)論

朱亦民：這個(gè)看似簡(jiǎn)單的居住建筑流線與進(jìn)入歐洲老城鎮(zhèn)山頂教堂的流線類似，也與勒·柯布西耶建筑中經(jīng)由散步道進(jìn)入建筑的流線類似：都是沿一定坡度長(zhǎng)距離行進(jìn)后，在終點(diǎn)轉(zhuǎn)換為垂直向空間和流線。只不過(guò)上述后兩種流線是向上行進(jìn)，而該建筑是沿斜坡向下行進(jìn)。這種流線的組織方式天然帶有強(qiáng)烈的紀(jì)念性和古典空間的序列感，因此在公共建筑和宗教建筑中常被使用。

在這個(gè)居住建筑中采用這種流線組織方式最大的挑戰(zhàn)就是如何消除這種強(qiáng)烈的紀(jì)念感。建筑師巧妙地利用外部景觀、空間構(gòu)成、以及木石等鄉(xiāng)土材料和做法逐層卸去紀(jì)念性，使得建筑內(nèi)部空間一方面既貼近居住生活，另一方面又具有一定的生活儀式感。和馬町：乍看內(nèi)景照片，該項(xiàng)目是一個(gè)農(nóng)民家庭在其祖?zhèn)鞯禺a(chǎn)上搭建的獨(dú)棟住宅，看上去不像荷蘭的建筑。項(xiàng)目精打細(xì)造、細(xì)節(jié)精美，且并沒(méi)有凸顯鮮明概念的意思。

相反，其建筑材料及內(nèi)部空間使人想起弗蘭克·勞埃德·賴特在20世紀(jì)中葉設(shè)計(jì)的草原住宅。正如建筑師所說(shuō)，這些空間讓人想起遙遠(yuǎn)的東方文化，就像日本茶室所呈現(xiàn)出的空間、材料和細(xì)部?？蛻艉徒ㄖ熤g的信任協(xié)作似乎也發(fā)揮了很大作用。關(guān)于空間類型和首選材料，客戶從一開(kāi)始就有了非常清晰的構(gòu)想——他買下了附近一間老舊農(nóng)舍的所有砂巖。設(shè)計(jì)工作伊始，客戶帶設(shè)計(jì)師參觀了一所受人稱贊且堅(jiān)固的當(dāng)?shù)亟烫?，其空間特色及對(duì)材料的應(yīng)用影響了這棟住宅的設(shè)計(jì)，諸如使用當(dāng)?shù)氐纳皫r和未經(jīng)加工的原木。

然而，經(jīng)過(guò)深入查看，該住宅無(wú)疑是符合當(dāng)?shù)剞r(nóng)家傳統(tǒng)的。視野中心清晰的幾何體、那種清穆及層次感，傳達(dá)出荷蘭人想要“掌控自然”的天性。未呈現(xiàn)周遭環(huán)境的建筑模型似乎也體現(xiàn)了這一點(diǎn)，即，追求一個(gè)干凈利落的幾何形體。（天妮 譯）

9 餐廳/The dining room

Comments

ZHU Yimin:The circulation of this seemingly simple residential architecture is quite similar to the circulation entering the mountaintop cathedrals in Europe, which also represents the analogue "Promenade" way of entering an architecture of Le Corbusier: at the end of a long-distance sloping march, the spatial organisation and relating circulation both converts into a dimension of vertical-oriented. The difference lies in that the routes which go uphill in the latter two circulation types, contrarily go downhill in this project. This kind of circulation organisation is generally used in public and religious buildings because of its inherent strong monumentality and inner sense of classical spatial sequence.

The greatest challenge to adopt this type of circulation organisation in this residential project is to eliminate the strong sense of monumentality. The architect subtly tore the monumentality off layer by layer, from the use of external landscape and spatial composition to the adoption of local materials such as wood and stone and vernacular tectonics. Thus, on the one hand, the interior space of the building is with an intimate feeling of everyday life while living in there, on the other hand, the rituals in life are well kept to a certain extent. (Translated by CHEN Xi)

Martijn de Geus:At first sight of the interior photographs, this project, a free-standing house for a farmers' family on their historic family estate, reads as an almost non-Dutch project. It is carefully crafted,beautifully detailed, and does not aim to make a strong conceptual or programmatic statement.

Instead, the materiality and interior spaces remind more of the mid-20th century American prairie houses of Frank Lloyd Wright. Or, as the architect himself also cited, the spaces are reminiscent of far away Eastern cultures, such as the space, materials and details that can also be found in Japanese teahouses. The trusting collaboration between the client and architect seems to have played a large role in this project as well. The client from the start had a very clear idea about the preferred spatial typology and materiality, having bought up all the sandstones of a neighbouring dilapidated farmhouse. At the start of the design work the client even took the architect on a tour through an admired, albeit very sober, local church liked by the family, featuring many of the material and spatial materials currently used in the project, such as the local sandstone and the untreated wood.

However, upon further inspection, the house unmistakablely fits in a tradition of Dutch farm-houses of the region. There is a clear geometry, soberness and hierarchy, as an object in the centre of the landscape,expressing the Dutch natural instinct of "controlling nature". The architectural models made for this project also seem to embody this, seeking a very rigid geometry, with a more formal study model that shows no surroundings.

項(xiàng)目信息/Credits and Data

主持建筑師/Project Architect: Ard de Vries

參與方/Contributors: Will Stokkermans

承包商/Contractor: Saterslo bouw bv/Saasveld

結(jié)構(gòu)/Constructor: BREED integrated design /den Haag

總建筑面積/Gross Built Area: 500m2

竣工時(shí)間/Completion Year: 2016

繪圖/Drawings: Ard de Vries Architecten

攝影/Photos: Kim Zwarts(fig.1,3,8-10), Scholten Linde Fotografie(fig.2)

10 藏書(shū)室/The library