101 工作室设计丨中国南京丨衡建筑

衡建筑主理人们由于常年生活在意大利的缘故，对于历史缝合于当下的方向也是我们长期思考和聚焦的议题，所以工作室选址位于南京历史城区内，陶谷新村处于上海路与广州路交接的片区之中，聚集了各大南京高校，民国建筑，及60年左右近代板房住宅楼，如毛细血管般一样生长出复杂的文脉环境。

Because the founders of Modum Atelier lived in Italy for long years, the direction of stitching history to the present is also our long-term consideration and focus. Therefore, the studio is located in the historical city of Nanjing, Taogu New Village is at the junction of Shanghai Road and Guangzhou Road. In the area, there are many universities in Nanjing, the buildings of the Republic of China, and the modern residential buildings with slab houses around 60 years ago, and the complex contextual environment grows like capillaries.

我们一直围绕着如何平衡市井生活的嘈杂与工作所需思考的沉静，方案应是一个有机结合的答案，即以最低的介入维持原有的街巷生态，不破坏不扰乱。以最小的接口形式展示建筑师的工作，成为街巷日常群像中的一员，与五金店，咖啡店和小卖店并无二至。

We have been focusing on how to balance the noisy life ，while with the quietness of thinking required for work. The project should be an organically integrated answer, that is, to maintain the original street ecology with minimal intervention, without destroying or disturbing. Show the work-being in the smallest interface form and become a member of the daily group portrait of the streets , no different from hardware stores, coffee shops and small shops.

▼街道人视夜景，street view at night ©吴昂

▼正立面夜景，Front facade night view ©吴昂

工作室的正立面设计了一个延展挑出的屋檐，试图去给予一个立面仪式感，让人有意愿去亲近在檐下之口，那么无论是社区里的人还是工作的人都是会去填充在这样一个灰空间中。试图将设计中的日常价值传递给周围的居民之中。

The front facade is designed with an extended roof, trying to give a sense of ritual to the facade, so that people are willing to get close to the roof, so whether it is people in the community or working. Try to pass the daily value in the design to the surrounding residents.

▼沿街正立面，Front facade along the street ©吴昂

▼街面视角，Street view ©吴昂

▼外观局部，details of the facade ©吴昂

院子与街道空间所交汇的空间被一圈白色的构筑物所区隔，有时候人们会称它们为矮墙，但不论如何称呼，它们本质是为了界定边界的秩序，但这是一种微弱的，最大限度保持通达的存在。不论是大面的落地窗，还是建筑物与街道之间的生活化的院子，或者是限定边界的矮墙，建筑都与社区最大限度地产生着联系并维持着空间的活力。院子除了绿植、休闲与交谈以外，也作为一个灰空间承担着外部区域展示的用途。这使其成为了一个自由的模糊地带，为社区生活与传统的建筑工作带来了更多的可能性。

The space where the yard and the street space meet is separated by a circle of white structures. Sometimes people call them low walls, but no matter how they are called, they are essentially to define the order of the boundary, but they are weak. Maximize the existence of accessibility. Whether it is the large floor-to-ceiling windows, the living courtyard between the building and the street, or the low wall that defines the boundary, the building is connected to the community to the greatest extent and maintains the vitality of the space. In addition to green plants, leisure and conversation, the yard also serves as a gray space for external area display purposes. This makes it a fuzzy zone of freedom, bringing more possibilities for community life and traditional construction work.

▼廊下过道，The porch corridor ©吴昂

▼院内花池，planter in the front yard ©吴昂

▼院外角落，corner of the yard ©吴昂

由此，工作室的空间被划分成两个区域，“工作”与“接口”。“工作”区位处平面的两端，沿街里面方向几无开窗，门窗的方向朝向内院，为工作场景提供必要的独立与安静。“接口”是平面上的中间房间，作为面向社区的界面，房间通体附上了黑色，在正面放置了通体落地的玻璃门，如同相机镜头后的暗盒。

▼轴测分析图，axonometric diagram ©吴昂

As a result, the function of the studio is divided into two areas, “work” and “interface”. The “work” area is located at both ends of the plan. There are few windows along the inside of the street. The doors and windows face the inner courtyard, providing the necessary independence and quietness for the work scene. “Interface” is the middle room on the plan. As an interface facing the community, the room is covered in black, and a glass door is placed on the front, like a cassette behind the camera lens.

▼办公区，office area ©吴昂

▼面向花池开窗，window opens to the yard ©吴昂

“接口”房间除了作为展示外在的功能性空间之外，也可比拟成一个被包裹的岛屿，限定在一个具有独立性的构架之中，与外部环境有明显区隔并和其保持的稳定关系，另其成为一个可以沉浸于表现自身的“思想之地”。

In addition to being used as an external functional space for display, the “Interface” room can also be compared to a wrapped island, confined in an independent framework, which is clearly separated from the external environment and maintains stability. And it becomes a “place of thought” where you can immerse yourself in expressing yourself.

▼会客厅，The lounge ©吴昂

▼会客厅往中间视角，viewing the exhibition area from the lounge ©吴昂

▼黑盒子门窗关系，visual interaction in different area through openings ©吴昂

正立面居中的房间与其余几个房间都保持不同大小门窗的联系，门窗控制在一个比例内去暗示不同空间的属性，几个功能盒子可以相互渗透并消化了交通过道。视觉的透视关系在内部相互成立，可以保持日常交流的互通，这样观察与被观察的体验也是一种空间实验，犹如希区柯克后窗式的空间转译。中央暗色的空间和房间中心的顶光灯所带来的聚焦效果也赋予了它犹如舞台一般的庄严宁静的氛围。

The central room of the front elevation maintains the connection with the other rooms with doors and windows in different sizes. The doors and windows are controlled in a proportion to imply the attributes of different spaces. Several functional boxes can penetrate each other and digest the passage. The visual perspective relationship is mutually established internally, which can maintain daily communication. In this way, the experience of observing and being observed is also a kind of spatial experiment, just like Hitchcock’s 《Rear-window 》spatial translation. The focusing effect of the overhead light in the center of the dark room also give it a solemn and tranquil atmosphere like a stage.

▼正中工作区，Central working area ©吴昂

不论你来自哪里，当你在富有生活气息的社区之中穿行并路过此地，只是不经意的一瞥，也许就会被舞台中央的聚光灯所吸引，不论是展台上的模型，或是穿过舞台中央的建筑师，一出名为生活的舞台剧将在你的眼前上演。正如罗西将剧场与城市进行类比那样：城市犹如一个偌大的剧院，有时是空荡荡的；人就像演员，当灯亮起时，他们便开始参与一件他们可能不熟悉的事件，但落幕的那一刻，他们一定会熟悉，一切都将化为记忆的符号。

No matter where you are from, when you walk through and pass through a neighborhood full of life, just a casual glance, you may be attracted by the spotlight in the center of the stage, whether it is the model on the booth or the one passing through the center of the stage. Architect, a stage play will be staged before your eyes. Just as Rossi compares the theater like a huge theater, sometimes empty; people are like actors. When the lights open, they begin to participate in an event that they may not be familiar with, but the curtain ends. For a moment, they will be familiar with everything, and everything will become a symbol of memory.

▼中央房间与灯罩细部，details of the central room and the lampshade ©吴昂

▼平面图，Plan ©衡建筑

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