建筑設(shè)計(jì)：跡·建筑事務(wù)所

Architect: TAO (Trace Architecture Office)

1 新建后外景/Exterior view after renovation

2 小巧卻功能齊全的房間/Small yet functional private space

四分院是一個(gè)北京歷史保護(hù)區(qū)城市更新的實(shí)驗(yàn)項(xiàng)目，一個(gè)傳統(tǒng)居住類型的轉(zhuǎn)化，一種對(duì)現(xiàn)代生活模式的應(yīng)變，一場(chǎng)尺度和建造的實(shí)驗(yàn)。

場(chǎng)地位于白塔寺旁邊的胡同片區(qū)之中，屬于北京城區(qū)內(nèi)33片文化保護(hù)區(qū)之一（阜成門內(nèi)大街片區(qū)）。

傳統(tǒng)四合院里位于中間的院子是當(dāng)之無(wú)愧的中心，所有的房間都朝向它。這種空間布局對(duì)應(yīng)著傳統(tǒng)的家庭生活，不再契合今天青年人的個(gè)人生活模式。個(gè)人生活的核心是私密性，所以我們的想法是將場(chǎng)地分為4組空間，每組包含一個(gè)房間和一個(gè)私人小院，它們各自朝向不同的方向，最終共同構(gòu)成一個(gè)風(fēng)車狀布局。通過(guò)這種方式，每個(gè)房間和院子的私密性都得到保護(hù)。對(duì)比于傳統(tǒng)四合院，本項(xiàng)目以四分院命名。從“合”到“分”的變化揭示出社會(huì)結(jié)構(gòu)和生活模式在住宅中的轉(zhuǎn)變。

尺度小巧卻功能齊全，氛圍親密卻向自然開(kāi)放，現(xiàn)代生活卻具有傳統(tǒng)審美，四分院在北京老城高密度歷史肌理中提供了一種生活的可能。

3 新建后剖面/Section after renovation

4 周邊環(huán)境/The surrounding environment

5 風(fēng)車狀布局/Pinwheel con figuration

6 入口/Entrance

7 進(jìn)入私人房間/Into each private room

8 享有天光的客廳空間/Living room lit up by skylight

9 院落新建前/Courtyard before renovation

Split Courtyard House is a key urban regeneration project in Beijing, a transformation of traditional typology, an adaptation to new life style,and an experiment on scale and construction.

The site is located in the historic Hutong area near Batasi (Baitasi, built in 1279AD), one of 33 conservation districts of history and culture in Beijing's historic city area.

In traditional courtyard house (Siheyuan), the courtyard is the centre of the house and all rooms face the yard. Such spatial layout is responding to traditional family living, and no longer suitable for today's young individual life style. The core need of individual living now is privacy. So our idea is to divide the site into four sets of spaces, each with a room and a small but private yard. With each set facing a different orientation, together they form a pinwheel configuration on layout. In such way, privacy for each room and yard is ensured. In contrast to traditional courtyard house, this house is named Split Courtyard House (Sifenyuan). In Chinese, the change from "合" (Unity) to "分" (Split)suggests the transformation of social structure and life style in the house.

Small yet functional, intimate yet open to nature, a modern living style yet with attachment to Chinese traditional aesthetics, is what split patio house offers to urban individuals in high density historical context of Beijing's old city.

項(xiàng)目信息/Credits and Data

地點(diǎn)/Location: 宮門口四條24號(hào)/No.24 Gongmenkou Sitiao業(yè)主/Client: 北京華融金盈投資發(fā)展有限公司/Beijing Huarong Jinying Investment Development Co., Ltd.

主持建筑師/Principal Architect: 華黎/HUA Li

設(shè)計(jì)團(tuán)隊(duì)/Project Team: 張鋒，劉小亞，賴爾遜，劉文娟，伊戈?duì)枴げ祭佣唷べM(fèi)爾南德斯，張芝明，沈周婭，趙瑋/ZHANG Feng, LIU Xiaoya, LAI Erxun, LIU Wenjuan,Igor Bragado Fernandez, ZHANG Zhiming, SHEN Zhouya,ZHAO Wei

項(xiàng)目功能/Program: 出租公寓/Shared rental house

結(jié)構(gòu)體系/Structural System: 賽木輕鋼墻體系統(tǒng)/Luxwood lightweight wall panel system

建筑面積/Floor Area: 82m2

設(shè)計(jì)時(shí)間/Design Time: 2014.01-2014.06

建造時(shí)間/Construction Time: 2015.02-2015.05

評(píng)論

青鋒：在CIAM 第二次會(huì)議（1929年法蘭克福會(huì)議）上討論的最低限度住宅問(wèn)題，成為賴特抨擊現(xiàn)代主義忽視生活豐富性的罪證之一。但TAO讓我們意識(shí)到，最低限度也可以帶來(lái)極高的內(nèi)涵。那些私密的小院，讓人想起在威尼斯城中專門租個(gè)花園，并且堅(jiān)持每天在園內(nèi)樹(shù)下看書(shū)的卡洛·斯卡帕。無(wú)論如何，TAO探討了怎樣在最低限度的條件下維護(hù)我們最珍貴的夢(mèng)想。這可能是眾多四合院改造設(shè)想中最有意義的方案之一。除了成為舉世豪宅與公共設(shè)施之外，四分院保留了可承受的院落居住單元的可能性。這種社會(huì)意義完全有可能進(jìn)一步推廣。相比起來(lái)，這個(gè)項(xiàng)目單一的材質(zhì)處理有些讓人費(fèi)解，它們似乎更接近于公寓，而不是院宅。

王碩：如名所示，其從“合”到“分”的概念置換直指生活方式的轉(zhuǎn)變，并藉此提出一種在低密度老城區(qū)新的空間聚合原型。傳統(tǒng)四合院對(duì)應(yīng)其所處時(shí)代的傳統(tǒng)家庭結(jié)構(gòu)以及生活方式，而自1960年代起逐漸演變而成的“大雜院”，則是由于四合院——傳統(tǒng)大家庭的對(duì)應(yīng)結(jié)構(gòu)被打破后，自下而上在分租合住的社會(huì)結(jié)構(gòu)下重組而形成的空間模式。四分院既提取了當(dāng)代社會(huì)生活中分租合住的結(jié)構(gòu)要素，又在此基礎(chǔ)上梳理并提升出兼具有多個(gè)私密性層次和共享性的創(chuàng)新模式，其適應(yīng)當(dāng)代青年人生活的原型創(chuàng)新相當(dāng)于WeWork 之于傳統(tǒng)的單位大院，小中見(jiàn)大。

Comments

QING Feng: The issue of minimal housing, which was discussed at the second CIAM conference in Frankfurt in 1929, became one of Frank Lloyd Wright's critiques of modernism for neglecting the richness of life. But what TAO did makes us realise that the bare minimum can also bring very rich connotation. Those private courtyards are reminiscent of Carlo Scarpa who specially rent a garden in Venice City and read books every day under the tree. In any case, TAO discussed how to maintain our most precious dreams under minimal conditions. It may probably be one of the most meaningful projects in the renovation of courtyards.Apart from becoming world famous mansions or public facilities, Split Courtyard House retains the possibility of affordable residential units, whose social signi ficance is absolutely possible to spread further, while it was somewhat puzzling that the project uses single material and texture, as it seems to be closer to an apartment than a courtyard.(Translated by PANG Lingbo)

WANG SHUO: As the name indicates, the concept replacement from "merge" to "split" directly refers to the change of lifestyle. Based on this, a new prototype of spatial aggregation in the low-density old city is proposed. The "big miscellaneous courtyard" that gradually evolved from the traditional courtyard since the 1960s, corresponding to the traditional family structures and life styles of its era, are the spatial pattern reconstructed in the social structure of "bottom up"shared renting after the breaking of the corresponding structure of the courtyard-traditional big families.On the basis of extracting the structural elements of shared-renting and co-residence in contemporary social life, Split Courtyard House also sorts out and distills an innovative model with multiple levels of privacy and sharing. Its prototype innovation for adapting to the life of contemporary youths is equivalent to that of WeWork for traditional organization courtyards. Much can be seen in little. (Translated by CHEN Yuxiao)