Half House / Architects Group RAUM
由专筑网缕夕，李韧编译
一个可视化框架
Kim, Taecheol（东亚大学教授）
在米歇尔•冈瑞（Michel Gondry）执导的Chemical兄弟乐团的歌曲《永恒之爱》的音乐录影带中，女演员不断地切换于二维空间与三维空间，创造出独特的视觉效果。这段音乐视频展示了米歇尔•冈瑞的独创性，他是著名电影《睡眠科学》的导演，通过连接二维和三维世界创造了一种独特的艺术效果。这种手法出人意料地刺激着观众的感官系统，并鼓励观众参与其中，而不是让他们保持被动。
A Perceptible Frame
Kim, Taecheol (Professor, Dong-A University)
in the music video for the Chemical Brothers’ song ‘Let Forever Be’, directed by Michel Gondry, the actress continuously jumps from two-dimensional to three-dimensional spaces and vice versa, creating unique and repetitive patterns. This music video shows Michel Gondry’s originality, famously the director of the film The Science of Sleep, and creates an awkward effect by connecting two-dimensional and three-dimensional worlds. Its awkwardness unexpectedly stimulates and encourages audience participation, instead of allowing them to remain passive.
© Yoon Joon-hwan
© Yoon Joon-hwan
空间
建筑师如何开始设计一个项目？首先，建筑师致力于制作三维模型，并以独特的方式强调空间感。如果建筑师通过使用一般的三维空间着手设计，那么他们最终只能设计出简单并且浅显易懂的设计作品。这就是为什么建筑师在设计阶段开始时，将空间的点线面单独构思，而不是将它们一味地连接在一起。构思之后再重新连接这些线和面，从而形成一个三维的体量。每个建筑师思考空间点线面之间的连接方式各有不同，这会发展成为每个建筑师独特的建筑理念。
Sinwook Oh在墙上的画设置了框架，它们之间留下一个空间。这是一个使二维框架和图像之间有意识连接的装置，从而形成三维空间。观众需要在自己的视觉空间中重叠这两种元素。
Spacing
How does an architect begin to design a project? First, the architect works on making a three-dimensional structures and emphasizing it in a unique way, in order to create a unique space. If the architect begins by using a general three-dimensional space, he or she cannot help but expect an output that is too simple and obvious to be easily designed. That’s why architects, at the beginning of the design stage, separate lines and faces of a structure instead of matching them correctly and connecting these lines and faces again later, to make a three dimensional mass. The way architects think about the connection, which differs from architect to architect, develops into an original architectural idea. Sinwook Oh sets a frame detached from a picture on a wall, leaving a space between them. It’s an installation that makes a conscious connection between the two-dimensional frame and picture to create a three-dimensional space. The audience is required to overlap these two elements to see a single space.
© Yoon Joon-hwan
一个可视化框架
像周边地区一样，“半屋”的建设向人们展示了新的用地场所，一条道路横穿建筑用地。建筑的名字来源于沿着道路的二维立面切割。虽然没有体现明确的横截面，但建筑的框架及立面就像是从墙体中分离出来一样。其实这个建筑框架在整个设计作品中扮演了重要角色。如果如名字所示，这个房子被设计为一半的结构，同时重点展示房屋的横截面，那么整个建筑将看起来不那么完整。正因为它的不完整使它看起来显得更加完美。这个建筑位于海滨村庄的一群房屋之中。
A Perceptible Frame
Like its surrounding areas, the construction ‘half-house’ shows a situation where the land is cut through by a new road. Its name may connote a two-dimensional facade cut and set along the road. There is no cross section but a frame (skin), however, detached from the wall. In fact, this frame is a formative structure playing an important role. If this house was designed as a half structure, as the name literally implies, and revealed a cross-section of the house, it would look incomplete. It’s well that it does not. Let’s have a look at the rear. This construction is located in the middle of a group of houses in a seaside village.
纵截面／Longitudinal Section
© Yoon Joon-hwan
建筑的后方形成了一条预设的线，体现出这座建筑在设计时与用地红线的关系。建筑师也运用这种手法让建筑看起来与周边环境更加契合。建筑墙体与道路不平行，从而与道路形成一个夹角，建筑师通过这个错位，将这些房子进行体量间的组合。错位的现代主义美学特征来源于许多熟悉的几何数据。这也是一种现代设计手段，使这些房子适应环境的同时也保持场地的传统文脉。然而，这看起来似乎过于简单，因此建筑师把这所房子分成框架与实体两个部分，再尝试连接两者从而建立三维模型。
From the back, forming an intended line, these houses are constructed along the boundary lines on the cadastral map, so they fit in with their surroundings. While the wall line is adjusted to an axis parallel on the boundary line, it is not parallel with the road and instead forms an angle to the road. Through this classical misalignment, these houses try to realise a combination of crossing masses. The misalignment figures the Modernism which features geometrical aesthetics that many are familiar with. It also seems to reflect a kind intention to make these houses accommodate to surroundings and keep the context at the same time. It appears far too plain, however, and that is why the architect divides this house into a frame (skin) at the front and a picture (body) at the back, connecting the two again trying a three-dimensional modeling.
© Yoon Joon-hwan
横截面／Cross Section
© Yoon Joon-hwan
在建模过程中，建筑师通过独特的窗户为业主的日常生活增添一丝情趣。一方面，不同形状的花盆放置在靠近楼梯的一个通向二层的零散空间，这样看起来似乎是对空间的浪费，因为这个小空间阻碍了大体量的组合。然而，建筑师似乎运用的是更加积极和大胆的空间组合模式。另一方面，二楼的露台适合于举办海边的派对，通过一些简单而便宜的材料就可以把房子和主人紧密相连，从而弥补一些设计上的小缺憾。业主是一个温和和简单的人，对这座房子赞不绝口。
Windows and openings designed in the modeling process add zest to the owner’s daily life. On the one hand, including different shapes of pots placed in a fragmented space near the stairs leading to the second floor, seems to imply the owner is at a loss. This fragmented space hinders a mass combination. However, it appears that the architect should be more active and bold when realising a mass combination. On the other hand, the room with a nice view, the terrace on the second floor suitable for a party with a view over the sea, and simple and inexpensive materials emotionally link the house to its owner and make up for any minor drawbacks. The owner is a modest and simple person who always feels grateful for the house.
© Yoon Joon-hwan
考虑到“可视化框架”的概念，房屋左侧的停车空间的上部是建筑的重要组成部分，应该被设计成独立框架。建筑师犹豫该如何构筑停车空间，建筑师想要让停车空间具有多重功能。也许这种想法对环境的要求过于繁琐，事实上，如果像米歇尔•冈瑞（Michel Gondry）的作品那样单纯也许会更好一些。笨拙引起注意，单纯的作品反而更能引起人们的注意，观众希望受到视觉冲击，并且希望具有参与感。访问后，业主赶去上班。我们在建筑外看着他离去的背影，我想，建筑师并不能只拥有扎实的专业功底。
Considering the concept of the ‘perceptible frame’, the upper part of the parking space entrance on the left-front side of the house, which is an essential element of the architecture, should have been designed as a part of the detached frame. The parking space hows the architect’s hesitancy when framing and the architect’s intention to hide behind functionality of the parking space. Perhaps he as tried to be too nice in accommodating the person occupying the house. A little awkwardness is okay. In fact, it would be even better if it were as awkward as Michel Gondry’s work. Awkwardness draws attention. The audience wants to be stimulated and participate. After our visit, the owner was rushing out of the house to go to work. After watching him through the window in the detached frame, I thought that architects don’t have to be only nice.
© Yoon Joon-hwan
© Yoon Joon-hwan
© Yoon Joon-hwan
© Yoon Joon-hwan
平面图／Plan
一层平面图／First floor plan
二层平面图／Second floor plan
三层平面图／Third floor plan
前立面／Front Elevation
右立面／Right Elevation
左立面／Left Elevation
后立面／Back Elevation
图解／Diagram 01
图解／Diagram 02
图解／Diagram 03
图解／Diagram 04
图解／Diagram 05
建筑事务所：Architects Group RAUM
位置：韩国
主持建筑师：Oh sin-wook
合作建筑师：No Jeong-min
面积：75.0平方米
项目年份：2012
照片：Yoon Joon-hwan
制造商: LG Hausys
设计团队：Park Jeong-a., Ha Jeoung-un., Lee Young-sook., Kim Dae-won
结构工程师：Daisung ENC
施工：TAEBAIK
机械工程师：Dyne ENG
电气和通信工程师：Youngsin ENG
Architects: Architects Group RAUM
Location: Jangan-eup, South Korea
Architect in Charge: Oh sin-wook
Partner Architect: No Jeong-min
Area: 75.0 m2
Project Year: 2012
Photographs: Yoon Joon-hwan
Manufacturers: LG Hausys
Design Team: Park Jeong-a., Ha Jeoung-un., Lee Young-sook., Kim Dae-won.
Structural engineer: Daisung ENC
Construction: TAEBAIK
Mechanical engineer：Dyne ENG
Electric and communication engineer: Youngsin ENG
出处：本文译自www.archdaily.com/，转载请注明出处。
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