烟囱之宅
Chimney House

由专筑网李韧，韩平编译

斯洛文尼亚的一个美丽的郊区，多功能木炉烟囱在居住在这里的夫妇的日常生活中起着重要而特殊的角色，因而便产生了这么一个独特的房子，以烟囱形状为原型，结合本土的双坡屋顶，形成了特殊的建筑山墙面。另外，建筑师在烟囱的中心位置与屋面的连接部分做了一个竖向开口，使得烟囱与两侧的坡屋顶形成能够充分采光的天窗。

A chimney with a multifunctional wood stove plays the vital and specific role in the private and social life of the couple living in the countryside, therefore chimney’s central position generates a specific twisted cross-section opening up the locally treasured double-pitched roof with a continuous skylight throughout the linearly organised Chimney house.

我们可以这样理解，在烟囱小屋里人们能够很容易地探索到斯洛文尼亚的本土文化以及地方主义的现代建筑，甚至是传统的工艺，它来自一个建筑原型概念。但是，这些并不是最重要的，因为最关键的问题是这样一个单一的原型建筑元素如何才能构成房子的中心，以及它将如何影响空间与感受。建筑往往被“分离”成艺术和技术两个部分，技术方面通常被弱化，甚至阻碍了许多建筑理念的表达。在这种情况下，技术往往成为一个项目的最重要的挑战之一。从历史上看，烟囱是最早出现在建筑中的技术元素之一，连同壁炉、光和食物等一起成为一个家庭的中心部分。在建筑语汇中，烟囱与壁炉给予厨房和餐厅这样的区域一定的存在逻辑和意义，即，那是一个住宅的中心。该建筑的轮廓体积在某种程度上是由烟囱的轮廓变换而成的。

From the essay Transformed Archetype by Jure Grohar: In The Chimney House, one could easily find references to the Slovene vernacular and critical regionalist modern architecture, local craftsmanship etc. But these references aren’t as essential, as the most interesting question that poses itself is how a single archetypal architectural element became the central theme of the house and how this influenced the spatial concept, perception and the volumetric articulation of the object. Architecture is often ‘separated’ into architectural and technical components, the technical aspect of which is usually understood as a banal necessity, or even an obstacle in expressing a ‘clean’ architectural idea. In this case the ‘technical’ aspect becomes the challenge and one of the most important bases of the project. Historically, the chimney is one of the first technological elements which appeared in architecture, along with the fireplace – the source of warmth, light and food preparation became the centre of the home. The chimney with its ‘fireplace’ gives meaning, in an archaic way, to the kitchen and dining area - the central dwelling space. The volume of the house is, in a way, of an archetypal shape, transformed by the outline of the chimney.

整个建筑的外墙是厚重的材质，使得厨房的后部、具有独特视野和窗口以及整个建筑轮廓使得房屋的主人能够享受到教堂般的室内空间。

The envelope is developed as a thick wall. By integrating multiple storage, rear part of the kitchen, distinctive view expanding and sometimes inhabitable windows and the envelope allows the users to enjoy centrally the church like space to perform an array of activities.

其实从早期古典建筑到现代建筑，再到后现代建筑，烟囱和壁炉都常常成为建筑平面的中心，比如文丘里的母亲住宅，赖特的流水别墅，不论是十字平面还是不规则的“大尺度的小房子”，人们的生活都围绕着烟囱和壁炉，也许这来源于人们传统的集体无意识，即如上文所说，那是人们内心的潜意识对光芒与食物的追求，只是现在的世界更加追求精神效果，反而对最原始的需求有些许忽略，因此建筑师的目的应该是用这样强调烟囱的小建筑来唤醒人们内心的无意识概念，让人们在这样纷乱的世界中更加注重自我与真我。

设计公司：dekleva gregoric architects
类型：住宅 › 私人住宅
现状：已建成
年份：2015年
面积：1000平方英尺- 3000平方英尺
摄影：Flavio Coddou, dekleva gregorič architects

FIRM: dekleva gregoric architects
TYPE: Residential › Private House
STATUS: Built
YEAR: 2015
SIZE: 1000 sqft - 3000 sqft
PHOTOS: Flavio Coddou, dekleva gregorič architects


出处：本文译自architizer.com/，转载请注明出处。