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发表于 2010-2-2 06:37:05
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The site locates on mountainside of Izu-san, where Pacific Ocean can be looked down on the south. The untouched wilderness, covered with deciduous broad-leaved trees such as cherry trees and Japanese oaks, gives little level ground. But we saw faint glimmer of architectural possibility along the ridge. The architecture would be used as villa for weekends.
I didn’t want to just form the undulating landscape dotted with great trees as normal, nor design an elaborate architecture bowing down to the complex topography. What sprang to my mind is a blueprint for an architecture which is perfectly autonomous itself, at the same time seems to emerge as an underlying shape that the natural environment has been hiding. It’s abstraction of nature, to say.
The architecture was realized by crossing two rectangular parallelepipeds at very right angles. The lower one contains private rooms and bathroom, and sticks half of the body out to existing narrow level ground. The upper one incorporates salon and kitchen, and lies astride the lower one and the mountain ridge. It almost seems like an off-centered cross pinned carefully on natural terrain.
One axis of the cross stretches toward the Pacific Ocean on south, and the other, the forest of Japanese oak and some white birch on west. The rooms in the lower structure and terrace on it enjoy broad vista of the sea and blue sky. And gentle shade of natural forest embraces the space in the upper one. Water-polished white marble (cami #120) was chosen as interior finishing material. It glows softly like Greece sculptures to blend blue light from the south and green light from the west gradationally, thus creates delicate continuous landscape of light which suggests the character and usage of the space. Exterior is also finished with white marble. The surface get smoother as it approaches to the southern/western end till it takes mirror gloss (cami #1000) at the ends. The southern end of white cross melts into the blue of sky and sea, and the eastern end to the green of forest.
Abstraction is nothing to conflict with nature here.
Carved out of nature, it never stops being a part of nature itself, however highly abstracted. Never relativizes the nature with its foreignness, nor generate contradiction to settle for being “artificial nature” by giving up being abstract and mimicking the nature.
The abstraction inspired by Mother Nature defines the nature itself, and still, stays natural.
That’s what I wanted from this abstraction and architecture.
受惠于自然环境的眷顾，日本静冈县依山傍水，而当地的伊豆山更是有名的温泉之乡，度假别墅PLUS HOUSE就坐落在这里。
PLUS HOUSE的设计者原田夫妇是名副其实的爱山之人，他们于2004年成立了自己的工作室，名字就叫做“富士山建筑事务所”（）。在设计PLUS HOUSE之初，夫妻决定忠于自己的爱好，将这间度假别墅打造成别具一格的“洞穴”式建筑。但与其他选址在自然环境中的度假屋有所不同，PLUS HOUSE 的外形既不打算因循就势、巧借地形，也没有为了融入环境而刻意模仿大自然，而是索性来个“鹤立鸡群”，以一种极为抽象的十字形状凌驾于山坡之上，雕塑般的造型与天然环境形成了强烈反差，用设计师的话说，这是一个逃脱了周围环境而“高度自治”的建筑。
在伊豆山的一片郁郁葱葱中PLUS HOUSE的外形十分惹眼，一横一竖交叉叠加的两条混凝土钢筋结构像一个大大的“+”号，PLUS HOUSE因此而得名。这两根巨大的长方形混凝土结构总占地232.77平方米，外部包裹汉白玉大理石，在阳光下发出熠熠光芒，从高空俯瞰时犹如一枚十字形胸针，别在大地的绿色外衣上。“十字”的底层（一楼）一头直指南边的太平洋，另一头则钻入山上的阔叶林中。一楼是卧室和洗手间的藏身之处，出于对私密性的考量，只安装了小面积的玻璃幕墙，但室内的白色水磨大理石地面起到了很好的反光效果，让南太平洋海水的蓝光与西面树丛中的绿光相交织，形成独特的室内风景。
穿过一条狭窄的通道，经过一根白色钢制悬梯可以上到一楼的屋顶，这里是观赏山水风光的绝佳地点。屋顶上特地安装了栏杆，既作为露台又担当二楼的“基座”。为保留露台的完整性，二楼并没有实实地搭在一楼顶部，而是一端架在山脊上，另一端与一楼顶部相连接，“十字”形的重合区域被“掏空”。这样以来，二楼成为了一个半开放式的空间，掏空的部分作为厨房，而里侧则是客厅的所在。客厅一侧的大面积开窗让山上的植被充分暴露在眼前，四季的变化也就成为了客厅中一道生动的风景。
PLUS HOUSE 于去年建成，计划作为度假别墅之用。由于占尽地理优势，PLUS HOUSE不仅坐拥360度的自然风光，能够呼吸道来自山间的纯净空气，就连卧室和浴室的用水也直接取自伊豆山的温泉。原田夫妇说，PLUS HOUSE的与众不同在于它不光选址在山上，这个建筑的设计本身也运用了类似洞穴的元素，屋内极少有任何高科技产品或多余的装饰，让度假成为充分接触大自然的过程，即便是从一楼上到二楼，也有登山的趣味。 |
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