Scope
Lakehouse in Zell, Land Salzburg, Austria
奧地利薩爾斯堡 澤爾湖邊小屋
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Steiner Architecture f/f
Scope
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Steiner Architecture f/f
Pick up the cadaver of the word c-o-m-p-l-e-x and drive it to the Austrian Alps. Tucked away on Lake Zell is a house to which that royal among the has-beens of buzzwords, depleted of meaning from years of overuse, might genuinely apply. The project’s starting point was formal and postmodern: Louis Kahn’s Trenton Bath House (NJ, 1955). Thus the house’s pyramid hip roof sitting on a square base. The courtyard, which takes its cue from the opening in Kahn’s roof.
But the base demanded primitive powers that the concrete blocks at Trenton would not provide. So monolithic concrete was summoned, fifty centimetres thick. Monolithic with a sustainable twist: conventional concrete in the region relies on a two-layer scheme, with a non-reusable insulating material sandwiched in between. Instead, this house employs insulating concrete, where reused material is scattered in the mixture for thermal insulation. The whole structure can safely decompose in the case of demolition. And having done away with the traditional insulating layer, window and door frames can be placed freely within the reveals.
拾起過時的詞彙「c-o-m-p-l-e-x」,前往奧地利阿爾卑斯山。在澤爾湖畔有一座房子,這座房子可能真的屬於已經過時的流行語—皇室,但它因為多年的過度使用而失去了光彩。這個項目的靈感來自正式的和後現代的:路易斯・康(Louis Kahn)打造的特倫頓浴場(Trenton Bath House,位於新澤西州,1955 年)。因此,房子的金字塔形屋頂坐落在一個方形的底座上,庭院則是被康手下的屋頂的開口啟發。
但基地需要的原始張力,是特倫頓的混凝土塊無法提供的。因此,人們採用 50 公分厚的整體澆注混凝土。該地區的傳統混凝土依賴於兩層方案,中間夾著不可重復使用的隔熱材料。相反,這座房子使用隔熱混凝土,將重複使用的材料分散在混合物中,用於隔熱。在拆除時,整個結構可以安全分解。整體澆注混凝土不需傳統的隔熱層,使窗戶和門框可以彈性地安裝在外牆內。
Such thick walls afford a categorical impression of stability, which the design then revels in finding counterpoints to. Thus the litany of strategies to balance the taciturn polished concrete inside: a lush yellow curtain in the basement, colourful curtains in the ground floor, a joyful carpet in the hallway above, bathrooms covered in bright coloured tiles, and a waterproof curtain that wraps around the garage. And articulating all three levels: a white, steel, spiralling staircase, as thin as possible, emphasising the tones one hardly notes in the frigid concrete walls.
But if the base looks to Kahn, the wooden first floor looks to the Far East. The delicate shutters balance the heavy concrete below, and provide a way to look out that is markedly different from that of the ground floor. And when the shutters are pivoted in hot summer days, the openness of the first floor can be nearly absolute.
如此厚實的牆壁給人一種結實的印象,而設計則樂於找到與之對應的點。該項目有一系列的策略來平衡內部的拋光混凝土:地下室有黃色窗簾、一樓有彩色的窗簾、上層的走廊有繽紛的地毯、浴室覆蓋著鮮明的彩色瓷磚,還有環繞車庫的防水窗簾。而銜接三層樓的是一座白色鋼制螺旋形的樓梯,它極致地薄,強調人們在冰冷的混凝土牆壁上幾乎注意不到的色調。
但是,如果說基地參考康,那麼木制的一樓參照的是遠東地區。精緻的百葉窗平衡下方厚重的混凝土,並提供了一種與底層明顯不同的視覺。當百葉窗在炎熱的夏天被轉動時,在一樓形成絕對的開放性。
Oddly, despite the juxtaposition, the building manages to feel classical in the way it administers weight, so that it sits and stares stately at the pristine lake and the old town across. It is rather classical too because all elevations are nearly identical, their porticos right in the middle or slightly off-centre. It’s unexpectedly symmetrical, slightly Palladian, which could hardly be achieved were the garage not detached, and so what looks like a sleek lounge is in fact parking – a pavilion for the automobile. A sort of villa + folly solution, and the tension between the two volumes ends up determining where the entrance to the house is.
奇怪的是,儘管是並列的,但該建築在量感上卻給人以古典的感覺。它安靜地座落於此,莊嚴地注視著純淨的湖水和對面的老城區。同時,因為所有的立面幾乎都是一樣的,且它們的門廊都在中間或稍稍偏離中心,該建築展現古典意象。它是出乎意料的對稱,略帶帕拉第奧式建築風格,如果車庫不是獨立的,就很難做到這一點。儘管它看似是一個光滑的休息室,實際上是停車場——一個專屬汽車的亭子。一種別墅加上鄉村的方案使這兩個量體之間的張力決定房子的入口在哪裡。
Meanwhile, the house also reminds one of Frank Lloyd Wright - Wright’s Westcott House (1908) and DeRhodes House (1906) principally, with their wooden first floors sitting on sturdier bases. The strong whiff of Wright is of course a likely outcome of the invocation of Japan, Wright’s work being especially indebted to that country. The foreign references have not sapped the Zell dialect from the project. Far from it. The Japanese quotation seems curiously at home. And encouraged by Kahn’s Bath House, the design has avoided the temptation to disguise the pitched roof, as modern architecture tends to. Instead, the house wears its steep slopes with pride. It extends generously and plays with the wooden screens underneath, which seem like a natural progression in delicacy and craftsmanship from the neighbouring houses half hidden in the Alpine woods.
與此同時,這座房子也讓人不禁聯想美國建築師法蘭克・洛伊・萊特 (Frank Lloyd Wright) 打造的劍橋威斯克府(Westcott House ,1908 年)和德羅德斯故居(DeRhodes House ,1906 年),它們的木制結構坐落在更堅固的基座上。萊特的鮮明風格無庸置疑地承襲自日本。異國建築風格並沒有抹煞澤爾當地的特色。該項目似乎看不到一絲日式的影子。受到特倫頓浴場鼓舞,這個設計避免了現代建築傾向於掩蓋斜屋頂,反之,這座房子以陡峭的斜坡為特色。它無懼地延伸,與下方的木制屏風互動,這似乎是與半隱藏在阿爾卑斯山森林中的周邊房子在精緻性和工藝性上的自然發展。
Principal Architects:Flo Oberschneider・Ferdi Porsche
Structural Engineering:Quercraft Gmbh
Contractor:Herzog Bau Gmbh
Character of Space:Private Home
Total Floor Area:Aprox. 450 ㎡
Principal Materials:Insulating Concrete・Wood・Terrazo
Principal Structure:Insulating Concrete
Location:Zell am See, Land Salzburg, Austria
Project Photographer:Florian Holzherr
Collator:Yow-Shiuan Chen
主要建築師:弗洛・奧伯施奈德 費迪・保時捷
結構工程:Quercraft Gmbh
施工單位:Herzog Bau Gmbh
空間性質:私宅
空間總面積:約 450 平方公尺
主要建材:絕緣混凝土・木材・水磨石
主要結構:絕緣混凝土
座落位置:奧地利薩爾斯堡濱湖采爾
攝影:弗洛里安・侯澤爾
整理:陳祐萱
Steiner Architecture f/f