建筑设计：百子甲壹建筑工作室

Architects: 100s+1 Studio

向京+瞿广慈雕塑工作室，北京，中国

Xiang Jing + Qu Guangci Sculpture Studio， Beijing ， China， 2013

建筑设计：百子甲壹建筑工作室

Architects: 100s+1 Studio

向京+瞿广慈的雕塑工作室，相对于我们在宋庄设计的其他艺术家工作室来说，功能综合而且复杂。也是到目前为止我们在宋庄盖的工作室中密度最高的一栋艺术家工作室，容积率达到了2.0。在这样的密度条件下如何实现我们一直坚持的建筑和环境的关系，建筑和建筑之间的关系，以及生活于其中的人的体验——工作室的工作和院落生活不同而互为补充的体验，诸如工作之余的花木维护的田园活动等等，是我们在设计时自然会考虑的问题。基于这个初衷，我们采取了一些办法，这些办法是在宋庄建造我们自己的工作室时所使用办法的延伸：让建筑开放，建筑和周围的关系是密切融合的。

这次采用的设计方法是：设置室外楼梯、连廊、休息亭以及不同标高的屋面庭院等一系列依附在主体建筑上的“主题”路径，这些路径区分和连接公共部分和私人部分，既能通达，同时又是被限制的。构造上采用了大量的红砖漏砌，既营造庭院独特的光影气氛，也起到了邻里之间私密与半私密空间之间的过渡作用。

这次特别设计之处是：我们让如“山”的建筑体积逐层向西北方向退让，以减少建筑体量对自身庭院的压迫感，并获得较好的采光和通风格局。依附着“山”形，我们设计了由地块东南角的地面庭院开始、最后抵达屋顶大庭院的立体分合路径。路径通过各种不同标高的廊子、室内室外楼梯及水石花木，因借助和采光天窗、休息亭等功能空间的连接，让通过路径的人们感受到或虚或实，或转或折，或藏或露，或疏或密，或参或差。而所有的展厅、工作室等是这个特殊路径上的需要停足关注的空间，反过来，这些空间也被纳入路径之中。此时，我的眼前出现的是类似“环秀山庄”中“山”和“洞”之间互借互存的关系。

另外，我们希望做到的一种展示方式是——把展厅对环境开放，把展品融入到自然环境的背景里去。这回我们需要展示的作品是雕塑，将与环境融合的展示方式变为可能。所以模糊建筑内外的关系，从而在展厅内以自然为背景的雕塑作品得以展示出来；或者在展厅外的自然环境里展示雕塑作品，同时又被纳入展厅的视线范围内，这是我们设计的另一个重点。

我们在设计中一直强调的诸如室内与室外、工作室与院落、建筑与自然环境之间的关系，从某种意义上也是对中国传统建筑，尤其园林营造中“移步换景”“造景”“借景”等设计方式的学习和借鉴。（彭乐乐 文）

1　东立面/East facade

2　南立面/South facade

The Xiang Jing + Qu Guangci Sculpture Studio， which was designed by us， is functionally comprehensive and complex when compared with the other studios which we have designed. The studio， whose floor area ratio is almost 2.0， has the greatest density among the studios that we have built in Songzhuang. To achieve the relationship between the building and the environments at such densities， the relationship between architecture and nature as well as the relationship between life experiences in the spaces we design （such as in the studios and landscape maintenance）， was naturally taken into consideration. Based on this intention，we adopted some methods which originated from the establishment of our own studio: making the building open and having a harmonious， close relation with its surroundings.

Our design concept for the studio includes a series of "themed" paths attached to the main building. These include outdoor stairs， corridors，rest pavilions， and roof gardens placed at different elevations. These paths mark the barrier between public and private， as they can be accessible to the public and limited at the same time. With regard to the building's structure， the hollowed-out brick masonry not only creates a unique environment with sunlight and shadow， but also plays a role in transitioning between the public spaces and the private spaces.

Highlights of our design for this studio: We sited the "mountain-like" building to the northwest to reduce constriction in the courtyard and to obtain better lighting and ventilation. By taking advantage of the "mountain-like" form， we designed a threedimensional path which begins in the ground level courtyard in the southeastern corner and terminates at the large roof courtyard. This path，passing through corridors at different elevation levels， indoor and outdoor stairs， pools， rocks，flowers， and trees， allows visitors to experience feelings of both nihilism and existence， and visibility and invisibility. The path is also diversified further

WA: 从百子甲壹以往的设计作品可知，您对砖这种材料似乎有着特别的偏爱。您如何理解砖在当代设计中的文化性与传统性？

彭乐乐：砖的传统性和文化性已经有大量古今中外的经典实例得以说明，砖作为传统材料除了有共性的砌筑方式以外，还会有不同地域因地理、气候、风俗、信仰等不同而导致的特殊构造措施。“因地制宜”地对待砖材料是我们的设计态度，其实，在当代设计中并不需要我们去创造传统材料的构造，而是去发现所需要的传统构造，并加以巧妙应用。另一方面，红砖房子在建国后几十年间的大量建成，给在这期间出生的人留下了很深的生活记忆；同时在现今建筑工程越来越倚重机械化的情况下，砖砌体保留了更多人工的成分，会唤起人们对手工、对工匠的亲切感，唤起对过往时代的记忆。还有一个事实： 目前在大多数的农村地区，红砖砌房子还在广泛应用，其主要原因是砖具有经济性、模数化以及人们熟悉的传统砌筑方法等优点。可见，砖在当代设计中并不是建筑师的创意，而是建立在对传统文化研究和砖砌技艺传承基础之上，应和每一个新建筑，选择适合的构造，建造出真实表达当下的生存体验和感觉的建筑，这样的作品才具有当代性，才是鲜活而有生命力的设计。WA: 作为北京三大当代艺术圈之一的宋庄，其文脉特征可以用实验性、混乱甚至草根来形容。坐落于此的向京+瞿广慈雕塑工作室，在设计上是如何考虑与周边环境对话的？砖在其中起着怎样的作用？彭乐乐：向京+瞿广慈雕塑工作室是我们在宋庄完成的艺术家工作室设计项目之一。宋庄是由老村落和新规划的艺术区组成，老村落由一家一户的单层院落组成，老村的建筑材料基本上是红砖。老村落和艺术家工作室的共同点是自建，材料经济、空间好用是最基本的需求。从2006年开始，我们在宋庄盖第一个艺术家工作室以来，有一个明显的趋势，宋庄发展的速度非常快，地少人多，建筑密度就越来越大，这是到目前为止，我们在宋庄盖的工作室中密度最高的一栋艺术家工作室，容积率达到了2.0。如何在高容积率的前提下，也能生活、工作在有自然环境的庭院里，是我们设计必须解决的问题。我们让建筑与环境的关系由平面展开转为立体穿插，设定空中路径连接室内外空间。成片的红砖房组成的老村落在先，我们设计时场地周围已经建好的艺术家工作室都是红砖房子，再考虑到红砖的价格以及建造和维护成本较低，小型施工队对砖的砌筑方法也最为熟悉，用红砖是我们最自然的选择。在这里，红砖墙作为承重的同时，在需要的位置，采用透空砌筑，空砌的部分避免视线的干扰，降低了阳光的直射，创造了不同的空间体验。

WA: 质朴是该项目给人的第一印象，质朴则来源于构造逻辑的真实和材料的真实。您如何看待当下越来越普遍的饰面砖？

彭乐乐：的确，质朴来源于构造逻辑的真实和材料的真实，返朴归真，见其本质，守其纯朴，回归真实。就材料选择而言，我们在项目设计时，材料的选择和设计起因、目的密不可分。同时，我们会在平时单纯讨论材料，了解不同材料的具体属性，掌握不同材料的多种可能性。之后，我们会把我们对材料的了解应用到实际工程中，每种材料都有构造逻辑上的真实性，同时也存在正常构造逻辑的特殊应用带来的创造性。在具体的设计条件下，选用相应的材料和建造方式，在此语境下讨论饰面砖才具有真实意义。现代结构的出现，导致砖的承重功能与围护体系呈现出相对分离的状态，砖材料在实际应用上越来越多作为填充墙而非承重系统，逐渐沦为富有装饰感的新表皮，仅仅从这点上来说，砖和饰面砖是没有区别的。当下越来越普遍的饰面砖现象和快速建设的步伐是一致的，它反映的是社会对建筑的需求，而不是每个人的需求，也不是建筑师对建筑品质的要求。

项目信息/Credits and Data

位置/Location: 北京通州宋庄/Songzhuang， Tongzhou，Beijing

功能/Program: 雕塑工作室、展厅、主人居住、助手公寓、仓库等/Sculpture studio， exhibition hall， owner's residence， assistant's apartment， warehouse and etc.

项目建筑师/Project Architects: 彭乐乐，曾仁臻，杨光，凌琳/PENG Lele， ZENG Renzhen， YANG Guang， LING Lin

项目主要材料/Material: 红砖/Red brick

场地面积/Site Area: 1721m2

基底面积/Building Area: 1257m2

建筑面积/Floor Area: 3406m2

设计时间/Design Period: 2012.02 – 2012.06

建造时间/Construction Period: 2012.07 – 2013.07

3 首层平面/Floor 0 plan1-向京雕塑工作室/Xiangjing sculpture studio2-翟广慈雕塑工作室/Zhaiguangci sculpture studio3-多功能厅/Multi-function hall4-主展厅/Main exhibition hall5-副展厅/Side exhibition hall6-翻制间/Duplication studio7-打磨间/Polish studio8-仓库/Storage9-卫生间/Toilet10-厨房兼餐厅/Kitchen and dining room11-消防车道/Fire lane12-地面庭院/Courtyard on the ground floor13-水池/Pond14-休闲平台/Terrace

摄影/Photos: 曾仁臻/ZENG Renzhen

by spacing and unevenness in connection with the skylights， rest pavilions and other functional spaces. Simultaneously， the path includes all exhibition rooms and studios in which visitors may stop to pay attention. At this time， a relation similar to the mutual co-existence between the "hills" and "caves" of "Huanxiu Valley" comes into view.

We hope to realize a configuration that allows exhibition spaces to open onto the outdoors，allowing exhibits to integrate themselves into the natural environment. Typically， the exhibits are sculptures， so this makes possible this exposure to the environment. The fuzzy relationship between buildings and the outdoors was designed to highlight and focus the attention on the sculptures.

During the design process， we always focused on the relationship between indoor space and outdoor space， as well as the relationship between the built and natural environment. To some extent，this sensibility originates from traditional Chinese gardens， including "movement of steps and shift of scenes"， and "creation of scenes". （Text by PENG Lele）

7　二层屋面庭院/Terrace on the 2nd floor

5　东立面/East elevation

6　剖面/Section

4　三层屋面庭院看员工公寓/Staff apartment， view from the terrace on the 3rd floor

8　三层屋面大庭院/Great terrace on the 3rd floor

9　二层屋面庭院/Terrace on the 2nd floor

WA: From past projects by 100s + 1 Studio， it seems that you like bricks as a construction material. What is your understanding of the role they play in carrying culture and tradition in contemporary design？

PENG Lele: Brick as a medium for culture and tradition has been illustrated by a large number of ancient and modern examples. In addition to its more common use in construction， there are unique architectural features displayed in different regions， arising from differences in geographical location， climate， customs， religion， and so on. "Localization" is our design approach to brick. In fact， contemporary design does not need us to create a new structure with traditional materials but rather to find the traditional structure needed and aptly apply it. For instance， red brick houses were built in large numbers in the decades following the founding of our nation and have become a keen memory for people born in that period. On the other hand， as current construction projects are relying more and more on machines， brick structures retain more artisanship and will remind people of handcrafts and craftsmen， as well as the past. Another fact is， at present in most of the rural areas， red brick houses are still widely used. Brick has the advantages of being economical and customizable，and people are familiar with the traditional ways to work with it. It can be said that using brick in contemporary design is not the architect's invention but a heritage from our cultural tradition and art of brickwork. Tailoring each new building， selecting the most suitable structure， and constructing projects that reflect true life experiences concurrent to our time—only then will works echo our era that are vital and vibrant.

WA: Songzhuang art village， as one of the three major contemporary art circles in Beijing， can be described as experimental， variegated， and even grassroots in its contextual characteristics. How did you take into consideration the resonance with the surrounding environment in the design of Xiang Jing + Qu Guangci Sculpture Studio there？ What role does brick play？

PENG Lele: Xiang Jing + Qu Guangci Sculpture Studio is one of the design projects we completed for the art studios in Songzhuang. Songzhuang is composed of both the old village and the newly planned art district. The old village is composed of individual courtyards for single-family residences，which are mainly made from red bricks. The old village and the artists' studios are both built in a self-help way， so affordable material and good space usage are essential. Since the first art studiowe built in Songzhuang in the beginning of 2006，a clear trend in Songzhuang is fast developing. With more people and less land， building density is getting greater. Xiang Jing + Qu Guangci is the studio with the highest building density we have constructed in Songzhuang with the floor area ratio reaching 2.0. The problem that must be solved in the design is how to live and work in a courtyard with huge building volume while still being able to enjoy nature. We shift the interplay between building and environment from a plane layout to threedimensional interspersed， using overhead routes to connect indoor and outdoor spaces. The old village consists of red brick houses， as do finished studios around the site. Considering the price of red brick，its relatively low construction and maintenance costs， and that a small construction team is familiar with its masonry， it is our most natural choice. Here， the red brick wall is not just for support. Hollow bricklaying is also used in needed locations to shield out sight and reduce direct sunlight， which creates a different sense of space.

WA: Purity in form is the first impression conveyed by the project， and this purity comes from the honesty of construction logic and of the material used. How do you look at the increasing use of brick veneer？

PENG Lele: Indeed， purity depends on the honesty of construction logic and of the material used. It is to see and preserve the essence and to recover the originality. Choosing the material is inseparable from the design motivation and purpose. On a dayto-day basis， people talk about materials in general to understand their specific properties and to grasp their varied possibilities. After that， people will apply their understanding to practical engineering situations. Each material has a purpose to serve in design logic and also a creativeness in its special application outside the norm. In a specific project，only after the selection of appropriate materials and construction methods will the discussion of decorative brick be meaningful. The emergence of modern construction has separated brick from its load-bearing function and as an enclosing structure. Brick in practice is used more and more as infill walls and is gradually becoming a new decorative skin. In this sense， brick and veneer are not different. The increasingly widespread application of decorative brick at present is consistent with the rapid pace of construction. It reflects society's needs for buildings – not the individual's needs or the architect's standard on building quality.

10　三层员工公寓北侧内走廊/Corridor in the staff apartment

11　副展厅/Side exhibition hall

12　翟广慈工作室室内/Interior view， Zhaiguangci sculpture studio

13　向京工作室室内/Interior view， Xiangjing sculpture studio

评论

范路：向京+瞿广慈雕塑工作室项目的设计亮点是设置立体园林。在高容积率的前提下，设计师将建筑视为“山体”，放置在场地西北侧并逐层退让，由此形成东南角庭院和多个屋顶平台。立体的路径时分时合，将室内房间、庭院和屋顶平台串联起来。在建造层面，透空砌筑的红砖墙，或为屏风遮挡阳光、视线，或为格窗制造光影，或为栏杆引导游线。而对建筑形式来说，这些透空红墙既打破了空间界限，又维持了体量的完整性。此外，它更成为一种符号，标明了立体园林的空间布局。

朵宁：这个位于宋庄的艺术家工作室是一个典型的红砖园林建筑。内向性的建筑造型、复杂的流线设计以及建筑师希冀的“可望、可行、可居、可游”之空间体验，注定了这是一个图面和视觉上难以感受，而需要亲身体验才能判断的建筑。中国园林的空间审美来自于抽象的自然，而当代红砖园林（如果这确实是一个流派的话）的审美则在古典园林的基础上再进一步抽象。这种多重抽象对于体验者是一个挑战，需要他们检验自身的游园经历，究竟是来源于被还原的自然感受，还是被潜意识接纳的社会称许性。

Comments

FAN Lu: The highlight of the project of Xiangjing & Qu Guangci Sculpture Studio is the setup of a stereoscopic garden. The studio building block could be regarded as a "mountain" sitting at the northwest of the site. It keeps setting back from each floor，providing a series of roof terraces. And those terraces are connected by constantly changeable paths making a unity of the interior and the exterior， and courtyards and terraces. Regarding tectonics， the use of porous red bricks to build walls is key to obtain the effect of screens or windows or parapets， and keep the building volume integrated. Last but not the least， they function as a kind of notation， signifying the spatial layout of the hanging garden.

DUO Ning: Situated at Songzhuang， Beijing， this artist studio is a typical building in red brick with a garden. With introversive architectural form，complex streamline design and a spatial experience aspired by architects in sight view， motion， livability and entertainment， the building is destined to be difficult to feel in picture and vision sense but to be experienced before judgment.The spatial aesthetics of Chinese gardens stems from the abstract nature， while the aesthetics of contemporary red brick gardens， if it is indeed a genre， is made further abstract on the basis of classical gardens. Such multi-layered abstraction is a challenge to the audience demanding whether his own experience in garden traveling is sourced from the restored natural feelings or out of social desirability accepted by sub-consciousness.