Koya 之家

公司：	Alain Carle Architecte	类型：	建筑
地区：	加拿大	标签：	别墅私宅

场地是通往劳伦蒂斯圣索维尔镇的房地产开发项目的一部分。该地区位于蒙特利尔的第二环外围社区，住户选择在这里定居，将自然环境（山中）的生活方式与区域小城的便利性结合起来。

The site is part of a real estate development on the approaches to the town of Saint-Sauveur in the Laurentians. This area is in Montréal’s second ring of outlying communities, where the occupants have chosen to settle to combine a lifestyle in a natural setting (in the mountains) with the conveniences of a small regional town.

他们还选择让他们的项目多代同堂，为祖父母和他们的孩子分配空间。因此，有一个时间关系，这为这个住宅的空间设计提出了一个有趣的问题。建筑师对改变项目的性质、家庭组成以及居民在空间中的位置感兴趣，而这些空间必然会随着时间的推移在空间中发生变化。

They have also chosen to make their project multigenerational, by allocating spaces for grandparents and their children. There is thus a temporal relationship, which poses an interesting problem for the design of this residence’s spaces. The architect is interested in changing the nature of the program, the family composition, and the residents’ location in the spaces that are bound to change over time within the complex.

项目则围绕着这种时间关系，通过构建一种与地形特征相关的实施模式，而不是郊区典型的单户排屋的逻辑。该项目的形态将混凝土住宅的永久性元素与木质的短暂性元素进行了实质性的区分。就像一个雕塑浮雕一样，场地上的主要交通轴线成为综合体构成的两条轴线。

The project instead revolves around this temporal relationship, by structuring a mode of implementation related to the topographical features rather than to a logic of single-family row housing, typical of suburban areas. The project’s morphology materially distinguishes the more permanent elements of the residence, in concrete, from the more ephemeral components in wood. Like a sculptural bas-relief, the main traffic axes on the site become the two axes of the composition of the complex.

不同的混凝土挡土墙、平台和过渡楼梯在场地上安装了一个新的地形，为接下来发生的事情提供了结论性的结构。深层的地热钻孔 "锚定"了可持续发展的构成，并以隐喻的方式而非严格的技术术语来解决能源需求。

Different concrete retaining walls, landings, and transitional stairways install a new topography on the site, a conclusive structuring for what happens next. Deep geothermal boreholes “anchor” the composition in sustainability and address the energy needs metaphorically rather than in strictly technical terms.

然后，在这个新地形的外部沉积了三个木质体积，以适应该计划的变化性质。它们悬空在混凝土结构上，在不稳定的情况下，分别指向相反的方向。因此，这个建筑群脱离了传统的郊区单户住宅的构图，后者的前后立面之间往往有非常明显的表达，而不利于侧面。而Maison Koya则试图在更广泛的意义上与场地建立一种更开放的关系。这里的形态学则试图通过多个锯齿状的形态和小型的室外子空间，建立起对景观的多元化解读，而不管是地段结构还是单一的景观组成部分。

Three wooden volumes are then deposited on the exterior of this new topography to accommodate the changing nature of the program. They are cantilevered on the concrete structures, in an unstable situation, and point respectively in opposite directions. Thus, this complex is detached from a conventional composition of the suburban single-family home, which often has a very distinct expression between the front and rear facades, to the detriment of the sides. Maison Koya instead seeks to establish a more open relationship with the site in the broader sense. The morphology here instead attempts, by multiple sawtooth patterns and small outdoor subspaces, to establish a diversified reading of the landscape, regardless of the structure of the lots or a single landscape component.

偏重于对景观的单一视角（作为主导观察者）的想法似乎证明了一个反复出现的建筑问题，即偏重于将建筑作为 "对象 "的思维结果。在这个角度，空间的设计是在没有现实的情况下进行的，因为它是提供的，在其所有的模糊性和不纯洁性中，使一种风格（即规范）的方法而不是基于形式的改变性的方法合法化。再次，问题不在于工作为模糊而模糊，使其本身成为一种 "风格"，而是接受现实的无限配置所提供的那份改变性。

The idea of preferring a single point of view on the landscape (as the dominant observer) seems to attest to a recurring architectural problem, the outcome of thinking that favors the building as an “object”. In this perspective, the spaces are designed in the absence of reality as it is offered, in all its ambiguity and impurity, legitimizing a stylistic (i.e. canonical) approach instead of an approach based on the alterity of the form. Once again, the issue is not to work with ambiguity for the sake of ambiguity, to make it a “style” per se, but rather to accept the share of alterity offered by the infinite configurations of reality.

建筑有多个通道，没有特定的层次。在与景观的连续性中，这些通道与较低的空间有一种流动的关系，建筑内部交通系统的冷漠性试图与景观建立一种非等级的关系（参见邻近建筑的典型郊区背景）。

There are multiple accesses to the building without a specific hierarchy. In continuity with the landscape, these accesses have a fluid relationship with the lower spaces, where the indifferenciation of the building’s internal traffic system seeks to engage a non-hierarchical relationship with the landscape (see the typically suburban context of the neighboring structures).

只有一个位于三个木质结构交汇处的中心空间，构成了三代人居住在这个建筑群中的汇合点。这个空间隐喻了聚会的场所，是一个物质上刻在矿物结构的永久性中的 "公共场所"。这是建筑群的创始地，铭刻于运动之中。这种在建筑内部和外部之间移动的可能性涉及到一种开放性的使用，一种随着时间的推移重新配置空间的可能性，好像三个结构中的每一个都可以根据使用的变化而重新配置。

Only a central space situated at the intersection of the three wood structures constitutes a place of convergence for the three generations inhabiting the complex. This metaphorically is the meeting place, a “public place” materially inscribed in the permanence of the mineral structure. This is the founding place of the complex, inscribed in movement. This possibility of moving between the internal and external parts of the building engages a type of open use, a possibility of reconfiguration of the occupations of the spaces over time as if each of the three structures could be reconfigured according to the changes of use.

在某种程度上，这个项目的本质在于为每一个建筑结构创造时间性的必要性，在时间中刻画空间的概念，或者至少是在时间的预期中。

In a certain way, the essence of the project resides in the relationship between the necessity of creating a temporality for every built structure, of inscribing the concept of space in time, or at least in anticipation of time.