地形的画室，日本 / 福山建筑事务所

本建筑项目是在一位画家的别墅用地上建成的工作室。距离东京大概两个小时的车程。被绿意盎然的自然所环绕的建筑用地处在一个向南缓缓倾斜的小坡上，这里依势建造了挡土墙，倾斜的地基也被填得很平整。画家的别墅主体，就这样笔直地落在这平坦的地形上。

This building is a painter’s studio, built as an annex of his villa in a provincial city, approximately a two-hour drive from Tokyo. The site is a leveled ground supported by retaining wall on a gently inclined natural slope facing south.

▼画家的别墅与新建的工作室，Painter’s villa and the newly built studio

▼建筑外观，Exterior view

工作室栋从别墅栋旁的地基开始往下挖，编织出了第三个地形（地形的雕刻），然后通过在地面覆盖建筑将其包裹起来，从而强化了内部空间。随着地形来设计的地板由大量木块随机组合而成。从地基开始下降，再到原本的地表为止的区域，形成了工作室的主要创作空间。

Creating contrast to the villa simply placed on top of the flat land, we dug up the ground to create the “third terrain” and internalized the ground to secure a space for the studio. The floor, modeled after the terrain, is a combination of wood masses cascading down from the surface of the leveled ground and forming a main work space as it reaches the original ground level.

▼三层地形编织而成的工作室，Studio with 3 terrains

乍一看，建筑的平面和剖面就像是在模仿自然地形一般随性而为，但其最终意图是要营造出一个大的理想的建筑空间。这就是「向心性」，这种氛围，就像很多独立工作的画家们，会无意识地使自己被画材和各种各样的物品包围起来，让自身成为整个空间的中心。

At a glance, the plan and section appear to have been designed in a random manner, as if imitating the natural terrain, but they are actually indicating a basic orientation of the centripetal architectural space based on a tendency that painters generally work at the center of the space surrounded by art supplies and other miscellaneous things in their studios.

▼建筑空间的「向心性」，A basic orientation of the centripetal architectural space

创作出一个独立的空间然后使其拥有「向心性」，「地形」成为一个不可或缺的元素。通过对地形的设计和雕刻使地下逐渐形成工作空间以及周围的平台和可以放置物品的台阶。恰恰与向上建造相反，这个建筑意图通过重新组织地形来完成减法构筑的悖论。

The terrain was the key to designing this centripetal open space. Several platforms surrounding the central work space, as well as a number of steps to put miscellaneous things, were planned as if they had been carved out from the solid earth used for land grading previously existed here.

▼工作空间、平台和放置物品的台阶，Central work space, platforms and steps

覆盖地形的地面建筑其实是一个架构简洁的木造平房。六角形切割的平面，确保了向外眺望的视线不被遮挡，同时也在内部构造出「向心性」的框架。工作空间向地下延展的行为使得整个空间体量得到了确保，从而可以让地面建筑的高度尽可能降低。这个抽象的建筑形象使其与别墅主体的木屋以及周边景观形成了对比和协调。建筑内部则是由平均分布的小梁屋顶这种近代主义的水平面，还有挖掘洞穴这种原始建筑行为产生的地形起伏而构成，画家的创作空间在这两个剖面的对立中形成。

The paradoxical approach of “construction by subtraction”, not by addition, was carried out, and the conceived space was covered with a simple one-story wood frame shed. The hexagonal plan was formed by cutting corners of a square to provide views through the space and out, while creating an outer frame orienting the interior space towards the center at the same time. Since a sufficient spatial volume was secured by excavating the ground, the roof and the shed were kept low and flat. The black and abstract exterior of the studio creates a vivid contrast to the raw materiality of the log villa in the overall scenery. Looking into the interior, the modern horizontal plane composed of equally-arranged roof joists and the undulating “terrain” conceived by the primary architectural action of digging conflict with each other, and the studio is inserted into the space in between.

▼室内细部，Interior details

▼地下空间，Underground space

用日本画技法来创作抽象艺术的画家，在散布了无数物品的三维地表空间的中心创作。他在地面上画着零散的片段，然后将其在从顶棚垂下来的最大的墙面上进行整理，最后完成整幅作品。在这里，「地形」成为了链接人与物体的媒介。

The painter creates abstract paintings using the method of Japanese painting: he paints small pieces on the floor, and then lays them out to constitute a single large piece of work on the largest wall hung from the structure. The artist paints at the center of the space surrounded by numerous things stacked three dimensionally on undulating surfaces of the “third terrain”; in this space, the “terrain” mediates between humans and things.

▼场地平面图，Site plan

▼平面图，Plan

▼剖透视分解图，Sectional projection

造价：180万人民币 建成状态：建成 设计时间（起迄年月）：2014.10-2015.12 建设时间（起迄年月）：2016.1-2016.12 用地面积（平方米）：168.98 建筑面积（平方米）：51.42