建筑設計：素里雅·溫攀西里拉特

圍墻里的精舍，春武里府，泰國

建筑設計：素里雅·溫攀西里拉特

1 建筑外景/External view

“圍墻里的精舍”位于春武里府的考布達戈東佛寺中，它是一座供小沙彌們居住的兩層寮房。建筑的設計手法純熟，對建筑基本形體的控制以及對建筑材料創(chuàng)新性的再利用都表現(xiàn)出設計師的獨到之處。一道清水灰墻醒目地佇立于基址之上，顯得簡潔質(zhì)樸。這道高墻將道路的塵囂隔離在僧寮之外，并圍合出一個沙彌們?nèi)粘；顒拥穆短焱ピ?，在?chuàng)造私密生活空間的同時也成為這座寺院的一處地標。圍墻上留有開口，從洞口遠眺可以看到山下海面粼粼的波光。

兩個6000L的大水箱被放置在圍墻內(nèi)順山路轉(zhuǎn)彎而形成的彎角內(nèi)，建筑師將這個棘手的、陡峭的急彎地帶處理成儲存場地，合理地解決了一個極為復雜的空間關系。水箱也可從屋頂收集雨水。由于這個位置是場地的至高點，地勢高差較大，無需安裝水泵就可以滿足僧侶們?nèi)粘Ｓ盟男枨蟆Ｉ钗鬯槃萘飨律狡?，還可以澆灌路邊沿墻基種植的藤蔓植物。這些茂盛的綠色植物會逐漸生長并爬滿整座墻面，進一步地幫助僧寮屏蔽噪音和灰塵，并且弱化墻體本身的厚重感。斜坡、高墻、雨水——這一切都被聚集在一個循環(huán)體系之中。

早先建造在這個位置的僧寮只有兩間臥室、一間浴室和一個小型木制平臺，面向寺廟中最熱鬧的十字路口開敞。新的設計要求提供6間臥室、水箱、浴室和一個供沙彌們修行活動的場地，但是，最重要的是，要注意塑造場所的寧靜和私密性。場地的小三角形地塊緊貼著山路的急轉(zhuǎn)彎內(nèi)側(cè)，上下高差有5m。

在圍墻內(nèi)部，用混凝土澆筑成一個堅固的階梯狀基座，采用混凝土、鋼以及從舊建筑回收利用的木墻建造的兩層僧寮就坐落其上。建筑高抬于壘壁似的圍墻之上，露出一抹朱紅色，在結(jié)構需要支撐的地方設置了橫梁，架設在混凝土墻上。4間臥室和一間浴室在樓上，兩間臥室和一間浴室在底層，每一層因其與圍墻的特定關系而具有不同的特點，兩個風格迥異的私密院落占據(jù)了圍墻與建筑墻體間的夾縫空間——一個靜靜地待在底層，置于相對較封閉的混凝土“洞穴”之中；另一個庭院則比較明亮開敞，有木架和錫鐵片搭建的屋頂為其提供遮蔽。

僧侶們的生活作息規(guī)律，誦經(jīng)作業(yè)、行禪禮佛，24小時周而復始。建筑的這種構造為他們的日常作息安排提供了便利舒適的環(huán)境。比如說，從早上4點到中午，僧人起床之后，在誦經(jīng)、參禪、用齋的過程中，一道東側(cè)的圍墻就可以為他們提供整個上午的蔭蔽環(huán)境?！?（覃鶯 譯）

Situated in Wat khaobuddhakodom, Chonburi Province, Walled Monk's Cell is a two-storey monks' dwelling that exhibits skillful planning, manipulation of basic forms, and creative reuse of materials. A grey rendered wall rises prominently from the site and represents the relative simplicity of the design. The large wall shields the monks' quarters from the clamor of the road, creates privacy, and serves as a landmark for the temple. This wall opens to the downhill view towards the ocean and encloses an outdoor courtyard for the monks' daily activities.

Two large 6000 liter water tanks are placed inside the tight bend where the wall makes a hairpin turn. The architect negotiated with the tricky and steeply inclined site for areas for storage and pockets of space. The tanks gather rainwater from the roof at the top of the site. In this way no pumps are required to supply the monks' daily water use for common activities. The grey water from the facility flows downhill to feed creepers planted along the base of the wall by the road. This lush green wrapping of plants will gradually grow up and fully envelope the wall, further shielding the monks' cells from noise and dust, and softening the visual weight of the wall. The slope, the wall, and the raineverything is brought together in a cycle.

Earlier monks' cells at this location had only two bedrooms, a bathroom and a small deck opening onto the busiest intersection at Wat Khao. The new design calls for six bedrooms, water tanks, bathrooms, a place for monks’ activities and, above all, peace and privacy.

Inside the walls, a two-storey pavilion of concrete, steel and reused timber sits on a solid stepped plinth. It is these walls that rise up with a flash of red. There are four bedrooms and a bathroom on the upper floor and two bedrooms and a bathroom on the ground. Each level is characterized by a specific relationship to the perimeter wall and two very different private courtyards occupy the interstitial space-one hunkering down at street level within the relative mass of the concrete 'cave', the other with a lighter feel, sheltering beneath its timber and tin roof.

The structure supports the monks' daily routine, creating an atmosphere conducive to their practice of noble conduct. The circular form allows for continuous walking meditation and symbolizes the 24-hour cycle of the practice schedule. From 4 am until noon, after waking up, chanting, meditation, and daily meals, a single wall to the East shields the monks from the morning sun.□

2.3 平面/Plans

4 剖面/Section

5 圍繞精舍的小路/Road around the monk's cell

6. 7 精舍外墻/The wall of the monk's cell

項目信息/Credits and Data

客戶/Client: 考布達戈東佛寺/Wat Khao Buddhakodom

場地面積/Site Area: 160m2

建筑面積/Floor Area: 130m2

設計時間/Design Period: 2009

攝影/Photos: Sakrapee Nopparat(Fig.1,6), Pirak Anurakyawachon(Fig.5,7-9)

評論

韓林飛：圍墻里的精舍很好地展現(xiàn)了宗教建筑的崇高與靜謐。在與場地關系的處理上，這座規(guī)模不大的建筑以基本的幾何梯形的形式，充分地嵌入到場地當中。從建筑主入口到室內(nèi)空間，利用地形高差，設計漸漸高起的步行平臺。僧侶們步入其中的過程，寧靜便會在此降臨，精神得到洗禮，感召之中增添了親切和神圣。建筑師通過高度復雜的空間關系設計與外界隔離，為僧侶們提供一個私密而圣潔的環(huán)境，遠離世俗的喧囂與紛擾?；疑拇u石墻面顯示出強烈的紀念性。簡潔的設計褪盡浮華，直露本真?；镜男问胶唾|(zhì)樸的材料創(chuàng)造出純粹的空間，進而喚起人們的一種“莊嚴感”。

郝琳：儀式的場域和張力

法國著名的人類學家李維史陀引導我們?nèi)ダ斫?，在任何的文化中，神圣與世俗是統(tǒng)一體的不同方面 。傳統(tǒng)的宗教活動、心靈的沉思靜修和街頭巷尾的喧囂，組成了文化中不可分割的日常生活儀式。這樣的生活兩面性，在泰國的街頭巷尾，呈現(xiàn)得尤其緊密與曼妙。春武里佛寺，在一處平常不過的盡頭拐角，將僧侶宿舍這樣的日常功用， 呈現(xiàn)出了儀式的場域和張力。墻里秋千墻外道，是關于這處建筑物理、視覺、心理乃至精神的隔與合的最佳描述。如何做到的呢？我看主要是三種手法。首先，建筑的實際體量從圍墻上端浮出，輕盈，無意與世俗同層，我們必須仰望；且充分利用三角端地的錯動，制造出路人看不到的墻內(nèi)庭院的虛空間感和壺中境天。雖說墻是僵硬的物料，但它挑動欲望，并且緩緩地按摩墻內(nèi)外圣俗的心靈。其次，樸素但具有滲透性的外墻，沿著下坡的街道，甩出的長長尾巴，也重新界定了街道高處擺放佛龕端頭的重要性，以及所有人于街道上行的儀式。最后，乃至建造廉價的局限，也通過清晰的建構和回收的考量（木材、雨水），轉(zhuǎn)化成了僧侶對物質(zhì)、欲望的態(tài)度和節(jié)制與修行的一部分。

8 回收自老建筑的舊木墻/Old wooden walls recycled from old building

9 建筑內(nèi)廊及采光/Corridor and lighting

Comments

HAN Linfei: The Walled Monk's Cell perfectly reflects the sanctity and purity of religious buildings. The modest trapezoidal building is simply embedded in the site. Making use of an existing change in elevation, a series of circulation platforms are designed to connect the main entrance to the interior spaces. Moving along the platforms, monks whose spirits will be baptized, are bathed in feelings of tranquility, sincerity and kindness. The architects wanted to design a private holy environment for the monks, one that would take them far away from the speed and chaos of the city. The project allows for a series of complex spatial relationships. While the use of gray brick walls usually calls out monumentality, this simple design talks only of purity and simplicity. The basic forms and materials of the building work together to create pure space and evoke solemn sensuous feelings.

HAO Lin: A Place-making of Rituality and Intensity

The great French anthropologist Claude Lévi-Strauss led us to understand that, in any culture, the sacred and profane are part of a continuum. Traditional religious activities, spiritual meditation, as well as bustling streets are all part of the cultural ritual of everyday life. This notion can be seen weaving seamlessly and elegantly through the lanes and alleys of Thailand. The Chonburi Temple, anchored at an ordinary street corner, transforms the simple function of monk's cell into place of ritual and intensity. A Chinese poetic line, "a life of being inside contrasting with a life of passing by" best describes such a transformation physically, visually, psychologically and spiritually. How does this building achieve this? There are three ways such a poetic perception is achieved. First, the massing of the building is floats. It is lifted away from the secular level of street and makes us look up. The massing takes full advantage of the formal intensity of the triangular corner to create a less visible mysterious void behind the wall. This wall, of a rigid material, straddles two realms, gently massaging and provoking the souls of the sacred and the profane. Secondly, the austere but permeable wall extends down to the street, redefining the importance of the altar at its higher end but also addressing the dayto-day ritual of walking along the street. Even with a limited budget, the tectonic articulation and recycling strategies (timber and rainwater) of this project have been spiritually transformed by the monk's practice of temperance and their religious beliefs about materialism and desire.

Walled Monk’s Cell, Chonburi Province, Thailand, 2010

Architects: Suriya Umpansiriratana