西班牙 NIU N160

Scope | Issue 141

NIU N160, Spain

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弗蘭．西爾維斯特建築事務所

Fran Silvestre Arquitectos

We have always been fascinated by lipograms, which are texts in which a letter is systematically omitted. This limitation is an effort to find the appropriate lexicon. We also love the example of the Blue Nudes, the famous series of works by Matisse in which, when his health was deteriorating, he decided to simply cut out some cardboard that he had previously painted blue with scissors, he used this collage technique when it was impossible for his hands to respond to the brush, the result is moving. Sometimes these limits, not always self-imposed, favor creativity. With this spirit of limiting resources, a series of projects were born, the first example of which is the N160 house.

In this series of houses the starting point is a combination of extruded spaces in which the open parts are the ones that are glazed. A way of proceeding investigated in some works by Jacobsen or Souto de Moura. The work process begins with the use of aluminum profiles to make the models, a system that generates an infinite number of combinations. This work produces a kind of chalk laboratory where the limits are very clear. In the specific case of the N160, a widely explored type is retaken in which the central space is intended for the daytime area as if it were a large terrace bi-supported in two other volumes in which the rooms are located. Variations of this distribution appear in works by Alejandro de la Sota, or in Gordon Bunshaft's own home. A well-known typology that never ceases to amaze us.

我們一直很著迷於漏字文（lipogram）── 一種系統性省略特定字母的文章，之所以設定限制其實是為了找到合適的詞彙。在這類作品中，我們很喜歡《藍色裸體》（Blue Nudes）中的範例。《藍色裸體》是馬蒂斯著名的系列創作。當健康狀況惡化後，他決定以剪刀將之前塗上藍色的紙板剪下簡單的形狀。因為他的手已經無法掌控畫筆了，才不得以使用這個拼貼技巧，但結果相當令人動容。有時一些限制（並非都是出於自願的）反而有利於激發創意。抱持著這樣限制資源的精神，我們誕生了一系列的設計，其中第一個例子就是 N160 屋。這一系列房屋的起點是多個壓縮空間的組合，其中開放的部分採用玻璃建材。這是我們研究雅克布森（Jacobsen）或索圖·德·摩拉（Souto de Moura）某些作品時採用的一種方式。整個工作過程始於使用鋁型材製作模型 ── 一種可產生無限組合的系統，最後產生了某種類似「粉筆實驗室」（chalk laboratory）的結果，其中的限制顯而易見。

在 N160 這個案子中，我們將一種大量使用的類型賦予新形式，將中央的空間作為日間活動區域，彷彿它是一個大露台，被兩個房間所在的量體同時支撐著。這樣的空間分佈變化可見於亞歷杭德羅·德拉·索塔（Alejandro de la Sota）的作品，或戈登·邦希恩（Gordon Bunshaft）自己的家中。這個類型雖已是眾所皆知，卻總是為我們帶來驚喜。