由专筑网nina，vigo，卢荣姝编译
来自事务所的描述：景观
索都诺毗邻瑞典南方的一座历史名城洛迦诺的郊外。我就在不远处，，一个夹在20世纪早期摩天大厦与60年代的砖房公寓之间的地方长大。如今，那些20世纪早期的建筑都已经被近代不知名的大楼所替代。而我们的工程师们被要求在一种在这样比较冷色的环境中设计出一种显山不露水的项目。我们十分珍惜这个机会，借此能够打造一个现代化，融汇近代风格，以及和周围建筑融为一体的住宅和商业地产，我们欣然接受了这个想法。城市项目对我们来说是一种承前启后的方式，融合了过去和未来。理解一个建筑，包括了其外表和风韵。
From the architect. Landscape
Solduno is a neighbourhood on the outskirts of the historical centre of Locarno, southern Switzerland. I grew up a few steps from here, in an area of eclectic early 20th century bourgeois mansions and brick condos from the 1960s. Today most of those early-to mid 20th century buildings, have given way to more recent anonymous edifices. The engineer that commissioned us, was persuaded that even in this rather dull context, a distinguished project would not be out of place. We have embraced the idea, cherishing the opportunity to build a modern residential and commercial estate, in tune with the luster of a recent past, and yet merging in the fabric of the neighbourhood. City projects are for us an act of reconciliation, a mediation between past and present. The interpretation of a site, its form and atmosphere.
© Marcelo Villada
城市和三角洲
这个地段是在两个迥然不同的区域的边界之间。一边是敞向自然，一边是城市。朝南倾斜的原因让在马贾河三角洲的小树林能够通向北部一个交通非常繁忙街道。这是能从街区两排建筑两侧都能穿插进入的一个最后过渡空间。我们考虑的则是如何能创造出一个开放式的综合体，在一个空间里集合这种设计，还有邻近大厦的竞争，特别是里诺塞塔米建筑。
The city and the delta
The plot is between two distinct and contrasting fronts. On one side open nature, on the other the city. Facing south the sloping grounds leading to the groves of the Maggia river delta, on the north a busy street with heavy traffic. This is the last lot where two rows of buildings can be inserted on both sides, therefore a transition space. Our concern was to create an open complex, integrating in its design the empty spaces and fronts of the adjacent edifices, in particular the Rino Tami building.
© Marcelo Villada
Site Plan/平面规划图
社区
我们设想的三个建筑物：一个是通过Varenna的城市街坊，还有两座朝向马贾河流山脉独立的钟塔楼。建筑物之间的空隙和空的空间，将错综复杂的塔米砖结构和相邻建筑群包围着的花园连接形成了一幅全景图。
A neighbourhood
We envisioned three buildings: an urban block on via Varenna, and two freestanding minute towers facing the Maggia river and the mountains. The interstices and empty spaces between the buildings, connect the complex to the panorama, Tami's brick construction and the enclosed gardens of the adjacent buildings.
© Marcelo Villada
平面图
典型的三层建筑
这座建筑的空间元素设计灵感来源于一些稀少的但依然存在的老别墅区，以及那些已拆除建筑的记忆。我们计划做两个窄塔的每一层设置一个公寓，让人联想到别墅楼层设计类型（别墅楼层），20世纪初的米兰典型的资产阶级公寓。这种做法让河流山脉景观建设背朝Varenna，把一个过渡空间变成一个统一的综合体。
Plans
Typical floors 3rd floor.
The spatial character of the estate was inspired by the few still existing old villas in the area, and the memory of the ones that were demolished. We did set to realise two narrow towers with one flat on each floor, reminiscent of the typology of the villa a piani (villa on floors), characteristic bourgeois apartments in early 20th century Milan. This approach granted river and mountain vistas to the building facing via Varenna, turning a transitional space into a unifying complex.
© Marcelo Villada
Floor Plan/平面布置图
典型的4层建筑
与之相反的是我们不从项目的平面布置图开始着手，我们打算从三个不同高度从上到下各自包围着的立面部分开始；2.31米的厨房，2.62米的卧室2.93 米的接待室。每个公寓的平面与立面都具有不同配置的特点，旨在建立多元化的个人环境。一些接待室朝向内部法庭，一些则朝向河流；一些被设置在暖房里，其他一些提供朝向三角洲的工作室空间。
Typical floors 4th floor
Instead of beginning the project working on the floor plans, we started with the section, planning three varying heights encasing into each other from floor to floor; 2.31 m for the kitchens, 2.62 m for the bedrooms and 2.93 m for the reception rooms. Each flat features varying configurations, both in floor plan and section, creating diversified individual environments. Some reception rooms are facing the internal court, others the river; some are placed inside the conservatory, and others offer studio space facing the delta.
© Marcelo Villada
Floor Plan/平面布置图
横截面
由于完全缺乏流动性的走廊提供空间，从而允许穿梭一个公寓到另一个，让人充分感知建筑内部的真实尺度。甚至是那些被当做是外部空间的凉廊，都能被转化成时尚老别墅的温室。建筑正面朝向河流，暗示了铰接式的室内构成空间（平面图的调整，以及空间和高度），而不是仅仅的自我复制。
Cross section
The fluid spatiality given by a total lack of hallways, allows to live the flat from one pole to the other, fully perceiving from the inside the true dimension of the building. Even the loggias, which were conceived as external space, can be turned into a conservatory in the fashion of old villas. The facades of the buildings facing the river, hint at the articulated interior organisation of space (the modulation in floor plans, spaces and heights) without being its mere photocopy.
© Tessa Donati
Section/剖面图
纵切面
由于对只有三种窗户类型和尺寸采用了合理的使用，尽管问题繁多的情况下，我们依然实现了团队合作。相反城市街区朝向建筑，不管是立面还是平面呈现了更多的线性结构段。这是我们经由通过Vrenna单向系统给出的对街流概念性回应。我们建造了一个完全封闭式的街区，一楼全玻璃镜面反射出远处的景色，就像一个巨大的屏幕。
Longitudinal section
Thanks to the rational use of only three window types and dimensions, we achieved an expressive unity, despite the great variety of situations. The urban street facing construction instead, presents a more linear structure in bands, both in floor plan and facade. This was our conceptual response to the street flow, given by the one-way system of via Varenna. Over a fully glazed ground floor, we developed a totally closed street facing prospect, like a monumental screen.
© Marcelo Villada
Section/剖面图
立面概念
我们希望通过使用砖头来加强与邻近建筑Rino Tami的联系，但在21世纪科技的帮助下出现了一个新的当代阐释。在与ROB AG -a ETH以及来自瑞士普丰根Keller AG公司 合作分拆负责数字编程，我们建造了一个机器人装配的模块化立面。每个模块的砖块向内或向外弯曲的设计，让人联想到凸浮雕。
Facade Concept
We wished to use brick to reinforce the link to the adjacent Rino Tami building, but with the help of 21st century technology delivered a contemporary reinterpretation. In collaboration with ROB AG -a ETH spin off responsible for digital programing- and the firm Keller AG from Pfungen, Switzerland, we developed a robot assembled modular facade. The bricks of each module bend inwards or outwards, reminiscent of bossage.
© Nicola Roman Walbeck
固体砖毛面浮雕立面“拼凑的像素块”
从立面图看到大数量的砖头体块很容易让人联想到像素块。其尺寸是经过仔细选择，才能让组合适用于每个建筑物面的比例。ROB为了生产大批相同尺寸的参数化了这些模块，而Keller公司则用来自Jura的黏土在沙漠遮阳下制作了一批砖头。通过在三个建筑每个面使用面板随机产生的组合，无论是窗户还是凉廊我们创造了一个砖头像素块。
Brick solid bossage elevation “Pixel patchwork“
Super brick blocks reminding of pixels, form the facade's image. Their scale was chosen carefully to enable combinations adaptable to the proportions of each of the building's faces. ROB mathematically parameterized the modules for the production, while Keller developed custom bricks in a desert sand shade, using clay from Jura. Applying the randomly generated combination of panels on each of the three building's faces, we created a brick patchwork regardless of windows and loggias.
© Marcelo Villada
在固态立面切割框架
然后我们从固态立面切割了已经计划好的门，遵从了不同的逻辑，即通过框架和窗口的交替来确定。依据这两个过程彼此独立，所得到的外观模式和关系是完全不可预测的。
Cutting the frames in the solid facade
From this solid facade we then cut the already planned openings, following a different logic, namely the one determined by the alternation of frames and windows. Being the two processes independent from each other, the resulting facade pattern and relations were totally unpredictable.
Detail/细节
整体格调是由一块块砖形成的波浪形嵌板构成
最终Keller公司通过遵循蒙太奇逻辑，进一步细分了不同形状尺寸多样化元素。这些千奇百怪的嵌板上，那些链接在一起的砖头形成了一堵砖墙。最终，将不锈钢的支架和钩子插入建筑的外墙当中，整个过程前所未有。
Assembly drawings with single bricks weaving the panels
The firm Keller finally subdivided the various elements in further panels of varying shape and size, following a further montage logic. Among the various panels, there are junction bricks that weave together the patchwork brick layer. Finally the whole facade sits on stainless steel brackets and hooks, a process never explored before.
© Tessa Donati
3D浮雕里面模拟研究
最后一层的外表有纹理装饰效果的质量，例如开窗的地方，砖墙会被打磨至吻合。整个建筑使人联想起膨胀的纹理在微风中激荡。
3D Bossage elevation simulation study
The final appearance has textile ornamental qualities, like fraying fabric where the bricks have been cut to accommodate the openings for the windows. The whole building reminds of a curtain swelling and contracting in the breeze.
Elevation/正面图
© Marcelo Villada
结论
这个项目是Cà Bianca的平行项目，但是他们却迥然不同。如果说前者是一种对秩序的感知，那么后者则是对未知可能性和缺乏秩序充满表现力的探索。不断增加的财政压力缩短了项目截止日期，压缩了成本。尽管瑞士人非常严谨，但财政压力也增加了实际应用时不精确导致的损失。但是我们将来自于市场的劣势转换为创新的工具，我们将设计中不协调的地方通过手工艺融合在一起。执行难度铸就了项目的细节，和那些粗糙的地方。墙面，通道以及楼面基本上都没对齐。甚至那些外部的砖墙都不是同一平面的，甚至高出窗户。事实上，室内设计和室外设计并没有什么线性关系。建筑的外观甚至可以说是完全随机的，独特的，守旧的一种流线型风格。砖墙遮盖或凸显了那些藏在他们下面，毫不相关的厚厚的墙面，或者是窗户。
CaBugnada证明了整个项目有条不紊的发展和逻辑过程可以制作出随意，出乎意料，令人震惊的结果。
Conclusion
This project was born parallel to Cà Bianca, but they could not differ more. If one thematises the precision of an ordering grid, the other explores the possibilities of imprecision and lack of alignments as expressive potential. The growing economical pressure determines shrinking deadlines, and a compression in construction costs; is also cause of a growing loss in manual accuracy, in spite of highly prized Swiss precision. We turned the adversity of the market situation into a creative tool, assimilating in our design the imprecisions connected with manual skills on the building site. Execution difficulties were to define details and anti-details in the project. Walls, openings and levels are never in alignment. Even the brick encasement is not coplanar, at times protruding over the windows. In fact there is no linear correspondence between interior and exterior. The facade could be considered totally arbitrary, picturesque and mannerist in the style of a decorated shed. The brick grid covers or reveals what lays beneath, disregarding whether plastered wall or window.
Cà Bugnada proved that a project undergoing rational developments and logical processes, can produce informal, unanticipated and astonishing results.
© Tessa Donati
© Marcelo Villada
Floor Plan/平面布置图
Floor Plan/平面布置图
Floor Plan/平面布置图
Floor Plan/平面布置图
Floor Plan/平面布置图
Floor Plan/平面布置图
Elevation/正面图
Elevation/正面图
Elevation/正面图
Elevation/正面图
建筑设计：建筑师Buzzi
地点：Solduno, 6600, 瑞士
项目团队：Francesco Buzzim, Britta Buzzi – Huppert, Marta Comaschi, Matteo Inches, Luca Nocerino, Davide Scardua, Mattia Martinelli
工程时间：2015年
摄影：Marcelo Villada, Tessa Donati, Nicola Roman Walbeck
Architects: Buzzi Architetti
Location: Solduno, 6600, Switzerland
Project Team: Francesco Buzzim, Britta Buzzi – Huppert, Marta Comaschi, Matteo Inches, Luca Nocerino, Davide Scardua, Mattia Martinelli
Project Year: 2015
Photographs: Marcelo Villada, Tessa Donati, Nicola Roman Walbeck
出处：本文译自www.archdaily.com/，转载请注明出处。
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