建筑設(shè)計(jì)：卑爾根建筑學(xué)院

Architects: Bergen School of Architecture

大號(hào)小屋，卑爾根，挪威

Tubakuba, Bergen, Norway, 2014

建筑設(shè)計(jì)：卑爾根建筑學(xué)院

Architects: Bergen School of Architecture

1 遠(yuǎn)景/Distant view

大號(hào)小屋是一個(gè)漂浮在卑爾根市上空的14m2小屋，任何家庭都可以免費(fèi)租借一晚。在OPA FORM建筑事務(wù)所指導(dǎo)下，它由卑爾根建筑學(xué)院（下文簡(jiǎn)稱BAS）設(shè)計(jì)和建造。BAS創(chuàng)建于1986年，是目前挪威最年輕的建筑學(xué)校。這個(gè)作品由15名二年級(jí)的學(xué)生完成，他們從2013年秋天開始初步設(shè)計(jì)，2014年春天完成建設(shè)。

在挪威，戶外設(shè)施理論上是免費(fèi)向公眾開放的，然而這需要投入許多設(shè)備和資源。因此，我們最初打算方便人們免費(fèi)住宿，并借此使戶外設(shè)施更便捷。

但大號(hào)小屋不僅為預(yù)訂房間來留宿的人設(shè)計(jì)，還希望登山者、周末散步的人和附近幼兒園的孩子都能到這里來體驗(yàn)。人們可以在小屋下方的蔭蔽處野餐，也可以在大號(hào)形的隧道里避雨或者玩耍。

大號(hào)小屋是一個(gè)介于帳篷和小木屋之間的場(chǎng)所，形狀為一個(gè)立方體，人們通過一個(gè)大號(hào)形隧道進(jìn)入其中。項(xiàng)目極力表現(xiàn)了漂浮于城市上空的感覺，特別是在靠近巨大窗戶俯瞰陡峭山體和下方市區(qū)時(shí)。

這面帶有洞穴般入口的墻是大號(hào)小屋的設(shè)計(jì)特色之一。用于制作這面墻的松木削片來自當(dāng)?shù)匾患壹庸に赡镜匿從緩S，他們會(huì)幫助將標(biāo)準(zhǔn)尺寸的木條制成顧客需要的尺寸。由于鋸木廠免費(fèi)向?qū)W校提供這種材料，有初始設(shè)計(jì)想法的學(xué)生（居納爾·瑟羅斯）得以先馬上做一只骨架籠子，通過不同品質(zhì)、厚度的木材測(cè)試其抗彎能力。

大號(hào)小屋95%由木頭建成。室內(nèi)由膠合板包覆，室外柔韌的挪威西部松木板由落葉松炭化木包覆。那條獨(dú)特的隧道由彎曲的松木削片層層堆疊而成，以保證足夠的強(qiáng)度。南側(cè)墻體由未加工的落葉松木包覆，隨時(shí)間流逝顏色會(huì)變灰。

炭化包覆層通過日本傳統(tǒng)的“燒杉板”方法加工，是一種能夠預(yù)防木材霉變和腐爛的處理措施。由于這種產(chǎn)品在任何一家挪威建材商店都買不到，學(xué)生們不得不自學(xué)制作方法。解決途徑是用3張木板拼出一個(gè)圓柱，再把它們放到火上讓它形成一根煙囪。當(dāng)火苗的噼啪聲停止時(shí)就意味著火滲透得足夠深了，木板變得可以折彎，火也會(huì)熄滅。

這種處理木材的方式是BAS和當(dāng)?shù)厣a(chǎn)商溝通的結(jié)果。提起用作覆材的木料生產(chǎn)，人們通常更愿意使用邊材來涂漆，為的是讓涂料更好地滲透進(jìn)表皮。然而，未加工覆材必須使用潮濕的西海岸氣候下產(chǎn)出的心材，而且需是90%～100%的心材。這就會(huì)使剩余的木材中含有心材，而利用這些剩余材料的最佳方式就是將其炭化。

這個(gè)房子里沒有電，是卑爾根唯一遠(yuǎn)離日常生活的旅館。于是項(xiàng)目試圖減小室內(nèi)體量來降低取暖需求。用于建造和隔離的材料從墻體、地板到天花都采用木頭。

除了使用靈活，大號(hào)小屋也為這座城市添加了一些當(dāng)下我們可能缺乏的事物：一座城市小屋。要想利用這間小屋，你既不需要開車，也沒必要走很遠(yuǎn)，因?yàn)楦浇幸粋€(gè)公共纜車每隔15～30分鐘在市區(qū)和弗洛延山之間往返一次。□（埃斯潘·佛爾格羅 文，辛夢(mèng)瑤 譯）

2 近景/Nearby view

3 剖面/Section

4 平面/Plan

5 軸測(cè)/Isometric

項(xiàng)目信息/Credits and Data

設(shè)計(jì)團(tuán)隊(duì)/Project Team: 學(xué)生/Students: Gunnar S?r?s, Bent Br?rs, Ida Helen Skogstad, Adrian H?jfeldt, Eivind Lechbrandt, Alice Guan, Luise Storch, Eline Moe Eidvin, Shepol Barzan, ?yvind Kristiansen, Stein Atle Juvik, Eva Bull, Kristian B?ysen and Sondre Bakken; 教授/Professors: Espen Folger?, H?vard Austvoll, Sigurdur Gunnarsson and Hans Christian Elstad

攝影/Photos: Gunnar S?r?s (fig.1,6,8), Espen Folger? (fig.2), Gunnar S?r?s, Helge Skodvin (fig.7,9), Stine Elise Kristoffersen (fig.10)

The Tubakuba is a 14 sqm hut hovering above the city of Bergen that any family can rent for a night free of charge. It is designed and built by Bergen School of Architecture (BAS) under the supervision of OPA FORM architects. Established in 1986, it is by far the youngest school of architecture in Norway. Tubakuba is the work of 15 sophomore students, with the initial design phase beginning in the fall of 2013 and the building period in the spring of 2014.

The Norwegian outdoor facilities are in theory free and accessible for all. To use them, however, would require a lot of gears and resources. The initial idea was just to facilitate free overnight stays and by that make the outdoor facilities more accessible.

Tubakuba is not only designed for those who book it for the night. The project also wants to create an experience for the hikers, Sunday strollers and the nearby kindergarten. Sheltered under the cottage is a picnic area, while the tuba tunnel can function as a shelter for rain as well as for fun and play.

Tubakuba is something in between a tent and a cabin. Shaped as a cube, it can be entered through a "tuba tunnel". The feeling of floating above the city is highly enhanced, especially when one gets closerto the large windows facing the steep hill down towards the city center.

One of the design features of Tubakuba is the wall with the entrance hole. The material used for this is pine shavings from a local sawmill, where custom-size timber can be manufactured from standard size. Because it was given to the school for free, the student who had the initial design idea (Gunnar S?r?s) could immediately start making a rib cage and test the bending strength of wood with various qualities and thicknesses.

95% of Tubakuba is constructed with wood. The interior is clad in plywood, while flexible wooden boards made of western Norwegian pine on the exterior are clad in burned larch. The characteristic tunnel consists of curved shavings of pine mounted in layers to provide sufficient strength, while the south wall is clad in untreated larch, which will turn gray over time.

The burned cladding is made with the traditional Japanese method "Shou Sugi Ban", a technique to prevent fungal decay and damage. As the product that can not be found at any Norwegian building supply store, the students would have to teach themselves how to make it. The solution was to make a column out of three wooden boards, put them on top of a fire and create a chimney fire. The fire had reached deep enough when the cracking noise stopped. The boards could then be folded out while the fire stopped.

This method of wood treatment also came as a result of the dialog between BAS and local industry. When it comes to the production of wood for cladding, one prefers the sapwood for painting as the paint goes deeper into the surface. Untreated wood for cladding has to be heartwood in our west-coast wet climate, and it has to be 90-100% heartwood. This way the surplus material would contain some heartwood. The optimal way of using this surplus is as a burnt cladding material.

Tubakuba is the only off-the-grid hotel-room in Bergen. Without electricity, the project aims to minimize the need for heating by minimizing the indoor volume. The material chosen for construction and insulation is wood, all the way through the walls, floor and ceiling.

In addition to being flexible in its use, the Tubakuba brings something to the city that we may lack today: an urban cottage. To use this cottage, one neither needs a car nor has to travel very far, thanks to its proximity to the public tram which runs between Fl?yen and the city center every 15-30 minutes.□ (Text: Espen Folger?)

6 建造中/Under construction

7 內(nèi)景/Interior view

評(píng)論

方曉風(fēng)：這個(gè)項(xiàng)目既讓人驚訝又覺得親切的地方在于，成果出于低年級(jí)學(xué)生之手，其稚拙之處并無掩飾，而獲得的趣味性又非年輕人所難貢獻(xiàn)。教學(xué)上的成功是一方面，小木屋在樹林中既隱又顯，細(xì)節(jié)上體現(xiàn)了很好的控制。與這座小木屋對(duì)應(yīng)的是勒·柯布西耶晚年做的海濱度假屋，面積相當(dāng)，氣質(zhì)迥異。海濱度假屋構(gòu)造了一種嚴(yán)密的清教徒式的生活場(chǎng)景，而這座小木屋則充滿童趣。毋庸諱言，建筑學(xué)的潮流已發(fā)生了很大改變，現(xiàn)在有趣是王道，建筑越來越脫離了“重”的軌道。

陳龍：這是一個(gè)非常有意思的實(shí)驗(yàn)建筑，若不是有真實(shí)的基地，甚至可以說是一個(gè)空間裝置。多人合作的設(shè)計(jì)方式，呈現(xiàn)出很多松散而有趣的想法，濃縮在這個(gè)立方體中。建筑的兩面呈現(xiàn)出完全矛盾的狀態(tài)，但在空間關(guān)系上又互為因果，產(chǎn)生了很強(qiáng)的戲劇性效果。作為一個(gè)課程設(shè)計(jì)，它成功地完成了對(duì)于空間與形態(tài)、材料與建造的訓(xùn)練，使學(xué)生們親身參與到了建筑設(shè)計(jì)建造的全過程。這種教學(xué)方式很值得我們學(xué)習(xí)和推廣。

8 外景/Exterior view

9 內(nèi)景/Interior view

10 外景/Exterior view

Comments

FANG Xiaofeng: What is both surprising and admirable about this project is the fact that it is a work by a relatively untrained student. The naive and clumsy features of the design are quite obvious, but at the same time, it is hard to find these interesting elements on works by more experienced architects. The teaching and supervision of the student appears to have been successful, and the details are executed remarkably well, allowing the wooden cabin to be simultaneously hidden and visible within the woods. The summer cottage, designed by Le Corbusier during his later years, can be considered as a corresponding work of similar size and area but with a totally different temperament: the summer cottage represents a puritanical living atmosphere, while this cabin is full of childlike fun. Needless to say, the trend of architecture has shifted to a great extent, now the most important factor is to be interesting, while "heavy" architecture is no longer considered mainstream.

CHEN Long: This is a very interesting experimental building. If this building were not designed for an actual site, it could have been utilized as an installation. The multi-player cooperative design implemented here brings about many untested and interesting ideas, all of which are concentrated into this cube. Both sides of the building seem to present a completely contradictory state, but they interact and reinforce each other in a cause and effect spatial relationship, resulting in a strong dramatic effect. As an academic design project, it successfully supplements training in space and form, as well as in materials and construction, and involves students personally in the entire process of architectural design and construction.This teaching method is worth learning and is worth popularizing.